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18 Feb 2017

Pierpaolo Bibbò ‎"Diapason" 1980 Italy Prog Electronic,Symphonic





Pierpaolo Bibbò ‎"Diapason" 1980 Italy Prog Electronic,Symphonic
full
This unknown album released in 1979, at the hands of an artist from Sardinia, is certainly the most purely progressive disc posted so far in this series, with a sound definitely geared towards the predominance of keyboards and synthesizers, played by the same Bibbò and De Murtas with skill and imagination. The same Bibbò is the factotum of the album, as are his lyrics and music, also we dance, we sing and we play bass, guitar and synthesizer (miracles overdubs, I think you live the good Pierpaolo would have had some problems, being I think he, as a good human being, unable all'obiquità). Echoes of the Orme, sometimes Flight (first song), the usual PFM and Banco emerge at times in the various pieces, but we must say that the artist is able to break away enough from the models just mentioned, giving us a sound all in all quite original (although progressive rock, in 1979, was a musical genre now really out of time and I think he had already said almost everything there was to say). The most beautiful piece, in my opinion, as often happens in progressive rock albums, it is also the longest, "The Time Machine", very elaborate and well-articulated, full of changes of atmosphere as it should be a suite that respects . To conclude, dear lovers of progressive rock, listening to this album proves to be really nice and I would recommend it without any hesitation...........

Many prog fans feel there was a dark winter in their favorite genre from sometime in the late '70s until the resurgence began in the '90s. But the truth is that despite the conscious sell-out of many groups putting sales ahead of art- the gems still existed, you only needed to dig a bit more. In Italian prog there are plenty of hidden gems from every period that need more exposure and Pierpaolo Bibbo created one such album, "Diapason." Recorded in 1979 and released on a small label in 1980 the album was composed and carefully crafted by multi-instrumentalist and studio whiz Pierpaolo Bibbo. Bibbo handles guitars, bass, synths, and vocals with good command and employed a second keyboardist Adriana De Murtis and drummer Franco Medas to assure a good band sound. Flute and violin are also present but quite sparingly. "Diapason" is a unique sounding album to be sure. While it surely features the beautiful, traditional Italian symphonic backdrop of a PFM/Locanda Delle Fate in general, Bibbo's rather adventurous approach to the instruments, his irreverence to any fixed notions toward the palette of sounds, gives "Diapason" a personality all its own. Because of his knowledge and comfort in the studio (Bibbo's career is in the recorded arts production and he now owns his own studio) one senses that he took plenty of time laboring in the construction of these tracks. This is busy music with plenty of layering going on throughout, multiple keyboards, multiple guitars, clearly an enjoyment for the process of recording is present. Many of the songs are linked together with similar themes occurring more than once giving the album a more conceptual feel.

The first time you listen to "Diapason" you may well think it is one strange sounding album. After a few listens you begin to appreciate Bibbo's sense of aesthetic. At the core are melodic symphonic tracks of 3-10 minutes in length with heartfelt vocals. And then you begin to notice the *way* the instruments sound and the layering taking place. You begin to notice the sound effects and the way each track has many interesting changing sections rather than just one or two. The keyboards are weighed about equally to Bibbo's guitar playing with both being very prominent. The synths are modern sounding for the time and multi-layered with other synth, piano, or organ, though mostly synths dominate. The synths are frequently fuzzy sounding, manipulated with a "phasing" effect, and often run in loops to create their own distinct color. The same is true with the guitars that are often right there with the synths, more often together than taking turns. The electric guitars are often played through effects of some kind and they are layered often with two distinct parts and sometimes I noticed three parts. And the most distinct thing which gives "Diapason" its own sound is the positively wired, high-pitched range Bibbo often plays in. He's WAY up there at times to the point where the album could be sub-titled "Music for Dogs" because only they can hear it. I'm joking of course but the range is something that stands out right away, a unique sound choice that was gives this album an eclectic edge. The longest track "La macchina del tempo" (The Time Machine) features a two-minute opening of spacey guitar notes reverberating with a harpsichord-like keyboard sound sprinkled around the edges. It leads later to a punchier rock section and then evolves slowly to a fairly grand and majestic conclusion. The experimentation in his sound that Bibbo was obviously going for might irritate some listeners as the looping effects especially can drone on. But he successfully counters this by mixing in enough traditional symphonic grandeur to balance it: beautiful acoustic guitar and piano, a bit of flute and violin, warm and optimistic vocals, a stable and reassuring rhythm section. It is this balance which makes the album easily accessible and enjoyable while not sounding the least bit stagnant to my ears, the charge of stagnation being something that was leveled at many prog acts in this period.

Pierpaolo Bibbo made only one album in the progressive vein but he made the most of it. He deserves credit for delivering "Diapason" during the cold winter of prog and Mellow deserves credit (again) for its reissue on CD. The sound quality is generally good though perhaps a bit light on low end for my taste. "Diapason" is a solid recommendation for fans of Italian Prog and could be recommended to any fan of symphonic or Neo-prog. The CD booklet comes with full lyrics in Italian and a nice period photo of Bibbo but unfortunately with no Bio...... by Finnforest .......

Pierpaolo Bibbo is one of the most unknown musicians in prog rock realm, not only in Europe , but also in Italy is rather unnoticed by many prog listners. Working as musician from mid '70's he manage to release only one album in 1980 named simply Diapason. This album overall is quite good and little known in prog filed, and at the time of the issue was very unpopular, mainly because of the year of release 1980 - when prog music was almost out of date, with exceptions of course. The album has simple plain blue cover who goes hand in hand with the music, sometimes quite dark and very sobre. The music is symphonic prog with some very nice keyboards passages made by him as like almost all instruments bass, guitar and vocals aswell helped by Franco Medas on drums and ocasionaly on synth and piano by Adriano De Murtas. Some very good and well balanced moments between guitar and synth, specialy the opening track Cercando una terra fantastica , the longest one La macchina del tempo and the instrumental Contaminazione are perfect examples of great symphonic prog moments. The voice of Mr Bibbo is ok, well nothing over the top but is melting very well with the rest, he has a melacholic voice, very dark sometimes, but always smooth. So avery pleasent album, quite a lost little gem in places, but don't expect to somthing close to a masterpice, 3-3.5 for Diapason, who has some very good moments, but overll nothing realy exciting. Definetly worth some spins, the RPI lovers will enjoy this album but aswell the more lesser symphonic orientated listners will find some good moments here and there. My CD is re issued by Mellow records who has again a white ball from me and I guess from many of you for releasing lost albums, but each one with their own contribution to progressive rock.........by b olariu .....

 From 1980 comes this lovely prog inspired album from Pierpaolo Bibbo. It's a mainly song based album with Bibbo himself handling guitars and vocals, ably accompanied by a keyboard player and drummer. There's also a flautist and violinist guesting on one track each. By all accounts Bibbo spent some time on the recording of the album and it certainly shows. The overall sound is warm and lush, with much use of multitracking and effects. However, what I like is that there are also occasional background sounds between some tracks, which gives the impression of a band playing live in the studio. The tracks also tend to segway into one another making the album seem like one long suite of music.
The album opens strongly with the beautiful Cercando Una Terra Fantastica. The instrumental section midway through this song features a chord progression that reminds me of Seven Stones from Nursery Cryme by Genesis... no bad thing. Track 2, Contaminazione, is the only instrumental piece on the album. It begins slow in tempo with spacey synths and guitar, then the tempo quickens when the rhythm section join in. This pattern repeats itself, then the track leads into Incantautore. This is another lovely song featuring violin, celesta, bubbling synths and acoustic guitar. Bibbo's voice is good throughout the album, but on this track he excells. His voice is a very nice lyrical tenor, perfectly suited to this song. Track 4, E Dalle Mie Macerie, is quite a long piece at 7.51. It starts out as a piano led ballad before developing into a more upbeat piece with a very infectious melody and angst-ridden vocals.

The second half of the album is arguably of more interest to prog fans. At 9.37, La Macchina Del Tempo is the longeast track here. it is also the centrepiece of the album. It features many different sections, tempo changes, vocal and instrumental parts. Track 6, Suoni, Echi, Voci, continues in similar vein with more tempo and mood changes. Possessori Della Mente is a short, up-tempo rocker... ok, but nothing startling. However, the album finishes strongly with a reprise of Incantautore. Bibbo sings one verse before the song finishes with an extended instrumental passage featuring one of the most beautiful melodies on the disc.

My one criticism of this album is that, texturally, there is a bit of similarity between some songs. Fuzzed guitars, synths and celesta seem to be omnipresent, although the other side to the argument is that this provides continuity and adds to the band feel. Despite this one small criticism this is a gorgeous album and is highly recommended, especially to fans of RPI....by seventhsojourn ..........

 An Italian songwriter and multi-instrumentalist from Cagliari,Pierpaolo Bibbò was born in 1954 and started his career along with Giampiero Melosu on the Country/Rock duo Distilleria M.B.,which released only two singles,''Spettatore di un'idea/Camilla'' in 1976 and ''Il ricordo dei tuoi si/Dolce Silvana'' the next year,both on La Strega label,specialized on artsits from Sardegna.After this Bibbo worked on his first solo work at his own Diapason studio.The album,which carries the name of the studio as a title,was recorded in 1979 and released the next year on La Strega.
Along with Hopo's ''Senti'',''Diapason'' is one of the most well-arranged and respected works of Classic Italian Prog appeared in early 80's.The album flows into a melodic Symphonic Rock style with heavy vocal content but also plenty of intricate harmonies and dreamy soundscapes with only a couple of tracks being more into a melodic ballad-pop style.Bibbo handles all guitars,bass,synths ans sings on the album along with Adriano De Murtas on piano and organ and Franco Medas on drums.Most of the arrangements are in a high compositional level,dominated by the keyboards of Bibbo and De Murtas' piano in a light and ethereal symphonic style and Bibbo's vocals are quite expressive and balanced.Guitar work is also very melodic,though it only appears in moments.''Diapason'' could reach a higher level,if it wasnt for its mediocre mix,where keyboards sound too cheap with the other instruments being rather very low.

After ''Diapason'',Bibbo joined the rock band Segno,with whom he released the single ''Il Segno/Pianista'' in 1982,again on La Strega.In late 80's he worked at the ''Mixer'' studio of di Giancarlo D'Amico,participated in the group Colors since 1993 and constantly worked as an arranger and composer at his ''Diapason'' Studio until today.

''Diapason'' succeeded little fame back in the days of its release,but the album was fortunately re-issued on CD by Mellow Records.It remains a rare underground album of early 80's Italian Prog,but its content will please any fan into progressive rock with a highly melodic approach.Strongly recommended.....by apps79 ...............

Diapason" recorded in 1979 and released on a small label
in 1980 the album was composed and carefully crafted by
multi-instrumentalist and studio whiz Pierpaolo Bibbò.
Bibbò handles guitars, bass, synths, and vocals with good
command and employed a second keyboardist Adriano
De Murtas and drummer Franco Medas to assure a good
band sound.
Flute and violin are also present but quite sparingly.
"Diapason" is a unique sounding album to be sure.
While it surely features the beautiful, traditional Italian
symphonic backdrop of a PFM/Locanda Delle Fate in
general, Bibbò's rather adventurous approach to the
instruments, his irreverence to any fixed notions toward
the palette of sounds, gives "Diapason" a personality
all its own.
Because of his knowledge and comfort in the studio
(Bibbò's career is in the recorded arts production and
he now owns his own studio) one senses that he took
plenty of time laboring in the construction of these tracks.
This is busy music with plenty of layering going on
throughout, multiple keyboards, multiple guitars, clearly
an enjoyment for the process of recording is present.
Many of the songs are linked together with similar themes
occurring more than once giving the album a more
conceptual feel.
Pierpaolo Bibbò made only one album in the progressive
vein but he made the most of it.
He deserves credit for delivering "Diapason" during the cold
winter of prog and Mellow deserves credit (again) for its
reissue on CD.
"Diapason" is a solid recommendation for fans of Italian Prog
and could be recommended to any fan of symphonic or
Neo-prog.
The CD booklet comes with full lyrics in Italian and a nice
photo of Bibbò................

Line-up / Musicians
Pierpaolo Bibbo - bass, guitars, vocals, synthesizer
Adriano De Murtas - organ, synthesizer, piano, electric piano
Franco Medas - drums, percussion
Giacomo Medas - violin (one track)
Antonello Severino - flute (one track)
Leonardo Tummolo - un tocco di classe in piu

Tracklist
Espanzione
A1 Cercando Una Terra Fantastica
A2 Contaminazione
A3 Incantautore
A4 ...E Dalle Mie Macerie...
Contrazione
B1 La Macchina Del Tempo
B2 Suoni, Echi, Voci
B3 Possessori Della Mente
B4 Incantautore (Reprise)


Calda(e)ra "A Moog Mass" 1970 US Electronic,Experimental,Avant Garde Ambient









Calda(e)ra  "A Moog Mass" 1970 US Electronic,Experimental,Avant Garde Ambient
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One of the most beautiful Moog albums ever produced. Also called Caldera, they later became better-known Tonto's Expanding Head Band. This is an electronic re-interpretation of the Stabat Mater by 18th century composer Antonio Caldara making heavy use of Moog Synthesiser but maintaining a classical style. Fantastic early use of the Moog with (creepy) speech synthesis effects..... awesome !!
 A Moog Mass is an obscure electronic version of the infamous hymn to Mary. This album by Caldera is a bit different than other electronic artists on this site for a couple reasons - spacey, cosmic and experimental sounds are traded out for harpsichords and moogs played in the medieval style, and vocals are included that are vocoded to the point where the language being sung is incomprehensible. A Moog Mass is a strange combination of new technology (for the time) and extremely old musical material and concept, but it seems to work pretty well in my opinion. I certainly wouldn't compare this to anything by Tangerine Dream or Schulze, or anything else I've heard; based on all of the electronic music I've heard, A Moog Mass is unique. The best thing that I could compare this to would be a combination of Daft Punk vocals and Justice's musical epicness, minus the dance tendencies.
This album really is very interesting, and definitely not bad. The only part of the album that I don't care for are the male spoken introductions to each track that are backed by hypnotizing spacey sound effects, because it doesn't fit with the music at all.

If you ever have the opportunity to listen to this album, I'd definitely recommend that you do so. Something different like this is always good to experience at least once. I found A Moog Mass to be a greatly enjoyable and refreshing listen, like some experiments tend to be, but I do realize that this album is nowhere near essential listening material.....by colorofmoney91 ..................... 

Earlier this month Moog Music announced that it would recreate three of the sophisticated modular-synth systems that made the company famous in the 70s. System 55, System 35, and Model 15, as they're rather prosaically known, are straight-up battleships compared to most modern synths—enormous and heavy, with intimidatingly cryptic interfaces and solid walnut cabinets.

They're also going to be very expensive. The 55 units of System 55 that Moog plans to build will cost $35,000 apiece; System 35 will be $22,000 a pop, with only 35 copies made; and the smaller Model 15 will run you $10,000 for one of its 150 iterations. "The modules are built from the original circuit board films," says the company's PR, "by hand-stuffing and hand-soldering components to circuit boards. . . . The front panels are photo-etched aluminum . . . to maintain the classic and durable look of vintage Moog modules."

And since we're talking about vintage synths and nostalgia, what better choice for today's 12 O'Clock Track than a 45-year-old Moog rendition of the Stabat Mater, a 13th-century Catholic hymn to Mary that meditates on her suffering during Jesus's crucifixion.

This setting of the hymn is by Italian Baroque composer Antonio Caldara, written around 1725, while he was serving as music master to the imperial court in Vienna, a position he held until his death in 1736.

Caldara: A Moog Mass was released by the Kama Sutra label in 1970, and many people on the Internet now assume it to be the work of a group named Caldera, in part because some editions of the LP misspell the composer's name that way. (And a "caldera," of course, is a huge basin formed by the collapse of overlying land into an emptied magma chamber after a volcanic eruption. This would admittedly be a cool thing to name a band.)

The ensemble on this recording doesn't have a name, but its key members are Robert Margouleff and Malcolm Cecil, soon to become known as UK electronic duo Tonto's Expanding Head Band; they're perhaps best remembered for their extensive collaborations with Stevie Wonder. "Tonto" refers to the massive integrated battery of analog synths they used in the project, christened the Original New Timbral Orchestra—according to Wikipedia, it fills a "semicircle of huge curving wooden cabinets, 20 feet in diameter and six feet tall," and it's still the largest instrument of its kind ever built.
Cecil delivers the spoken English verses at the beginning of each of the seven movements of the Stabat Mater. Radical vocal treatments and speech-synthesis techniques make this stately, melancholy music feel almost otherworldly, underscoring the elaborate stylization of its grief. The cello blends surprisingly well with the Moogs; the harpischord, not so much....By Philip Montoro ................

Here's a real strange one!Caldera produced one album, the electronic oddity called A Moog Mass, which combines Switched-On Bach type multi-part Moog arrangements with some other keyboards (mostly organ and harpsichord) and vocals (often treated or vocodered) for a version of a Catholic mass. The album was released in 1970.A kinda of Christian electronic weird psychodelic music!Superb by all means!
One of those vintage obscurities, A Moog Mass features music composed and played by Robert Margouleff and Malcolm Cecil who would later become Tonto's Expanding Head Band. A vocoded speech is laid on top of their electronic score. There is another band with the name "Caldera" which is a Latin Jazz ensemble and has nothing to do with them..............

Continuing on the religious themed albums for the day, we find Caldera with their Moog Mass. This album hits me in a couple of soft spots. I'm typing these reviews out accompanied by my trusty Moog Voyager on the table, so obviously I've got a yen for hearing that sort of instrument. I also receive an irrational amount of enjoyment from the Electric Prunes' Mass In F Minor (admittedly even more that the legitimate Prunes releases), which this disc just seems to beg comparison with,.

Now for those of your coming in for your Moog fix, this isn't necessarily the best place to find the signature space-defying filter sweeps. Much of the synthesis seems to be relegated to a somewhat annoying vox/vocoder sort of sound (I guess you'd run the mic through the filter and max out the resonance) while some of the harpsichord, strings, and organ sounds seem to be organic; that or these guys were master synth programmers, which I sort of doubt. "Who is the Man" does introduce us to a nice ball-busting synthetic brass sound that will continue through the album though, so you'll find something here to like. When the Moog does take on the organ parts, it's a lot of fun too.

Ditching the rock and roll approach of Mass In F Minor, A Moog Mass stays relatively true to a solemn old school Catholic service, albeit filtered through a, uh, Moog filter. There's occasional narration from a fellow with a nice cultured accent who keeps making me think that we're going to slip into Moody Blues territory (this never happens if you're wondering). I guess it does approach a sort of 'Switched On Gregorian Chants' vibe, but the couple of acoustic instruments present fill up the sound and keep that from happening.

Once again, like the Mass In F Minor this is an amazingly short album not quite topping out at 25 minutes. But it does provide a welcome contrast with that earlier disc. If your overly pious aut and uncle show up for a pious radish dinner while you're having a great booze-up in the next room, playing this will hopefully make everyone happy.................

These albums were conceived by two very different entities laying claim to the "Caldera" name. The intriguingly titled A Moog Mass was the brainchild of Robert Margouleff and Malcolm Cecil, who would later work together as TONTO and provide kozmik texturing for Stevie Wonder's funky pop expeditions. Too bad this album is such a dull proposition: it's exactly as described, a surprisingly long half hour of vocoded Latin text and Mooged baroque. Somewhere deep in the exotica camp, A Moog Mass might well be treasured but man, it sure ain't recommend for our purposes. Maybe I'm just too sensitive when it comes to Xtian doctrine but c'mon, even the Electric Prunes were occasionally funky. Still let's give it props for the truly unhinged cover pic of the Virgin Mary. The latter Caldera (on Capitol) is a Latin-jazz ensemble (without the Latin texts, natch.) The jacket also credits Raul De Souza on trombone and various Earth Wind & Fire members on "Positive Energy". Unfortunately this is mostly an unremarkable jazz/funk fusion (typical of the era) that remains quite earthbound for its entirety. I've seen at least one further release from this ensemble but didn't bother to bring it home. [DW]...............

Line-up / Musicians

- Robert Margouleff / Moog programming, interludes, Synthetic Speech Techniques
- John Atkins / Moog keyboards, harpsichord (continuo)
- Robert White (tenor) / Moog diction
- Toby Sacks / cello (continuo)
- Malcolm Cecil / spoken words (English text)

Songs / Tracks Listing

1. I. The Mother Stood / Stabat Mater
II. Who Is the Man / Quis Est Homo
III. Share With Me the Pain / Tui Nati Vulnerati
2. IV. Virgin of Virgins / Virgo Virginium
V. Make Me Carry the Death of Christ / Fac Ut Portem Christi Mortem
VI. In Flames May I Not Be Burned / Flammis Ne Urar Succensus
VII. Christ, When I Leave This Life / Christe, Cum Sit Hinc Exire

Butler “Butler” 1973 New Zealand Psych Blues Rock

Butler “Butler” 1973 ultra rare New Zealand Psych Blues Rock
Butler "Green River" 1973 dailymotion
http://www.dailymotion.com/video/x114uzc

full spotify

https://open.spotify.com/album/2U9XKsLn3tKQFOjfcSUwJ0



Butler, Christchurch Old University, 1971. Left to right Angel (Robert Adams), Steve (Apirana), Heidi (Matthew Warren). Hori Sinnott is hidden behind Steve on the drums.

Hori Sinnott

Left to right Steve, Hori, Heidi, Angel

Matthew Heidi Warren





Robert Angel Adams

Steve Apirana
Butler were one of few all-Maori rock bands. All four members were originally from Rotorua, but the band actually formed in Christchurch in 1970. Predominantly an underground group, they played their early gigs at the Open Door, before moving into Trevor Spitz's nightspot Aubrey's. 

Having built a strong Christchurch following, the band took stabs at other South Island centres, returning to hometown Rotorua in 1971. From there they began building up a North Island following, proving popular on the University circuit with their combination of originals and Led Zeppelin / Wishbone Ash covers. 

Some television exposure followed with a spot on 'Happen Inn', 'Popco' and 'Free Ride'. This was fairly rare for an underground group and even with this they never really gained much pulling power. In 1973 they recorded a self-titled album for Pye. It was released on the Family label and from it came one single, "Green River"/"Especially For You".............. 

Their fusion of psychedelia, progressive and blues-rock shone in a live setting, and Butler became a highly popular band on the national campus circuit. One of the few all-Māori bands of that era, the story of their formation is one of the most fascinating in NZ rock. 
The creation of Butler was both spontaneous and unconventional. A typical New Zealand rock band circa 1970 would comprise high school pals or early twenty-something Pākehā males, jamming in a garage or rehearsal space. The bonds between the four members of Butler were forged in the tobacco fields of Motueka and a drop-in centre in Christchurch. 
Butler comprised four Rotorua area born and raised Māori teenagers. The original (and only) line-up comprised Steve Apirana (guitar, vocals), Heidi Warren (guitar, vocals), Angel Adams (bass), and Hori Sinnott (drums). 

In a 2013 AudioCulture interview, Steve Apirana, Butler's acknowledged leader, relates the story of the band's formation. “A bunch of us from Rotorua went down to Motueka to work in the tobacco crop. Back then there was a scheme where the government would fly you down. If you stayed working for six weeks, you didn’t have to pay back the fare. They were going to fly us back but we decided we’d try living in Christchurch. We didn’t know how cold it’d get! We were basically street kids. We’d sometimes crash on people’s sofas for a few nights, but we often slept in the park too." 

To find warmth and a cheap meal, the four guys and their friends began hanging out at The Open Door, a Christian drop-in centre on Tuam Street. "It used to be an old pub and it was donated to the Anglican Church," says Apirana. "There were three centres like that in central Christchurch, but we chose this one because it had band gear there." 
In an interview with English music website Cross Rhythms in 1997, Apirana recalled the centre. "It was the only place that would let smelly-looking kids come into their buildings. We were heavily into rock music and they had a dilapidated drum kit, an amplifier and a couple of guitars. They let us play on them and we thought we were the Rolling Stones or somethin'. We would toss a coin to see who was going to play the drums because no-one wanted to play the drums, we all wanted to play the guitar. We taught each other how to play. Being brought up in a Maori community, just about everyone would have a guitar and just about everyone sings. We would have a lot of parties ... and that would be where you learnt to sing as well." 

Apirana started playing guitar at age 15, and a year later he and Warren (who was a year younger) decided they'd start a band. Their dream, however, only coalesced with these jams in Christchurch. "We approached the guy who was running the centre and got him to open it up on a night it was not normally open so we could practice," Steve told Cross Rhythms. "Three days later, the son of the minister offered to be our manager. Here we were, a band formed in three days, nowhere to play, only a couple of instruments, but we had a manager!" 

"He saw something in us," says Apirana. "He said ‘see how far you can take this'. To me, it was just a dream. I didn’t expect anything from us. We started practising more and saving up to get proper gear within a year. He kept us on the straight and narrow, as we were all over the place emotionally then.” 

Perhaps not totally straight and narrow, he mentioned to Cross Rhythms. "We still got into a bit of trouble, but we stopped the crime side of our lives. I'd been in trouble all my life, sent to boys homes, family homes and stuff, and I just carried that into my adult life." 
There was safety in numbers for Apirana and his fellow street kids then, he recalled. "There were eight or nine of us, so we never got bothered by anyone ... except the police." 

The story behind the choice of band name has a tragic side, says Apirana. "Butler was one of our friends, a street kid too. He was maybe going to be our singer. He was a good-looking guy with a big afro. He’d be out on photo shoots and we’d often see his poster around, modelling clothes. He was going to call into the drop-in centre for us to audition him, but I was picked up by the police that day, for non-payment of fines, and I spent the weekend in Addington Prison. Butler turned up for the audition but it wasn’t on. He went out to a party instead and later that night he was killed in a car crash. We didn’t have a band name then and we decided to call ourselves Butler as a tribute to him." 

Nicknames for some of the band members stuck. "Heidi was nickname of our other guitarist Matt Warren, and Angel and Hori were nicknames too, dating back to our Rotorua days," says Steve. 

The natural musical talent of the newly minted band was soon audible. "Even the staff and social workers and the mostly middle-class pākehā volunteers there started to enjoy it," Steve recalled. "We started to get a following, and we’d play a concert there every Sunday night. Word of mouth spread and it was often packed. Quite a few students and general town people started coming. There were plenty of Polynesians and Māori in town, so we’d get invited to play at their parties and weddings sometimes too.” 
The campus circuit 
As a buzz around Butler built, the band was invited to play orientation week gigs at the University of Canterbury, starting in early 1971. I had just begun studies there, and I have fond memories of beer-soaked campus gigs featuring Butler serving up high-energy and more than competent cover versions of the songs we'd play in our frigid student flats. 

Apirana recalls, "We built up a repertoire of covers early on. People loved Hendrix, Santana and Joe Cocker, stuff we liked too." A next step was to begin writing group originals. "I’d write some words that rhymed and the others chipped in," says Steve. 
One asset that helped Butler stand out was a warm sense of humour, something their peers often lacked. One website post remembers Steve introducing a Santana cover as a song "by Carlos and the Sultanas". Another post on the ProgNotFrog site recalls their Christchurch Town Hall gig supporting Osibisa: "When someone's guitar strings broke, the band left onstage started singing a song about 'blowing their big break' cause the guy broke his guitar strings." 

The eclectic sound of Butler came naturally, Apirana explains. "Growing up in the 50s and 60s we all liked pop music, whatever was on the radio," says Apirana. "Howard Morrison was a big influence, 'cos he was from Rotorua." In a June 2013, Māori TV interview called Unsung Hero, Apirana expanded on this. "I watched Howard Morrison sing with the Quartet, and I saw the reaction of the audience, all loving him. I thought, 'that's what I want'." 
"When I was 15 or 16 the psychedelic and hippie thing started so I got into people like The Lovin' Spoonful, Vanilla Fudge, and Donovan," says Apirana. "By the time we got to Christchurch, we had a head full of different stuff. Initially I thought blues was boring, all that 12 bar stuff, but from hanging around student flats then I heard more of it. I loved early Fleetwood Mac and John Mayall. I became a huge Peter Green fan, as a guitarist and singer. Then of course there was Hendrix, Santana, Jeff Beck, Clapton and Janis Joplin – all that blues-rock. I always loved vocal harmonies too, from The Beatles to The Four Seasons and early Bee Gees. It was more the cool stuff we’d play at gigs though. Another inspiration was a Māori band from Rotorua, Collision, and we rather modelled ourselves on them." Other New Zealand rock bands to have a big impact on the young Apirana included The Underdogs, The La De Da’s, and The Human Instinct with Māori guitar hero Billy TK. 

Butler's career took a significant leap in 1972 when they took over from fellow blues-rockers Ticket in a residency at top Christchurch music club, Aubrey's. Apirana told Māori TV, "Ticket were like The Beatles to us. They were the number one band around. I'd go to see them whenever I could, getting tips from their compositions." 

Regular playing at Aubrey's, support slots for visiting bands like Daddy Cool and other gigs in Christchurch and beyond helped Butler hone their skills, and they began asserting themselves as one of the best live bands in the country. 
A Record Deal 
This fast-growing reputation led to an invite to appear at the now-legendary Ngaruawahia Festival in early 1973, alongside such other fledgling New Zealand bands as Dragon and Split Enz. "Back then everyone was getting record deals," notes Apirana. "Our manager asked around for a deal and Pye took us up on it. They put us on a new label, Family. I think John Hanlon was the only other artist on it." 

Initial high hopes would soon sour, however. "In June 1973 we went into Stebbings studio in Auckland to make our first album. It was a fantastic studio but we had a hard time with the producers and engineers. We were very green about the studio. We thought we’d just play live, but they wanted to record our parts separately. We were so used to playing together as a band that we got so disoriented by this. It was such an unpleasant experience." 

Butler's disenchantment with the record and the label grew as time went by. "It took them 18 months to release it and by then we’d progressed more into prog rock and bands like Wishbone Ash. We weren’t even playing many of those songs on the record." An initial single had a cover of Creedence Clearwater Revival hit 'Green River' as the A-side, but it fared poorly. "The label never really got behind it," Apirana laments. 
On the Butler album, nine group originals nestled alongside covers of 'Green River’, Cher's hit 'Bang Bang’ and the Four Tops classic 'Reach Out I’ll Be There'. 

Despite the album's failure, Butler remained popular on the touring circuit, and they opened for such visiting groups as The Average White Band and Osibisa. "It was great to meet legends like that," he says. 

The story behind the AWB slot is an interesting example of positive racial discrimination. "When Average White Band toured New Zealand in early 1975, they wanted a black band to open and they asked us. We did three gigs with them, Nelson, Mount Maunganui and Auckland. That was a great tour." 

Apirana notes that, "Some of the media attention we got around the country was based on being all-Māori. We were proud of that identity and we did get some gigs because of that." 

By 1976, Butler were hoping to make another album, one that better captured their improved musical chops, but internal and philosophical differences within the band deepened, causing them to call it quits in 1977. 
A key factor here for Steve Apirana and Heidi Warren was their deepening faith, Apirana recalls. "By the end of 1976 we had new management and we’d bought a bus, but the timing was not so good. We became Christians and that had a big impact on Heidi and myself especially. We split when our bassist Angel decided he wanted to spend more time on his marriage and with his family. Both Heidi and I had been married and had children by then. After Angel‘s wife said he had to reassess things, we decided not to replace him. Heidi and I decided to explore the Christian music scene and make more of a commitment to Jesus." 

The problems inherent in pursuing both their faith and a rock and roll life came into full focus when Butler was offered the support slot for a show by a musical hero, Joe Cocker. They reluctantly turned it down in as it conflicted with a bible study night and their friends Dragon stepped in. 

Reflecting on their earlier rock and roll lifestyle, Steve Apirana now candidly expresses some regret. "We treated our wives like rubbish. We thought it’d all be fine when we bought them fur coats and flash cars!" 

Steve is equally blunt in explaining why such material gains never came Butler's way. "We were a messy and undisciplined band. We were not a hungry band. We were unambitious in terms of working hard. We spent too much time trying to find drugs. I remember Dragon were rehearsing in Christchurch at one stage, so we thought we’d go over and hang out with them. They were like ‘sorry guys, we’re working'. This was in the middle of the day. They were working hard – they had plans. We just thought it’d come to us, so I guess we were arrogant then.”....by Kerry Doole ...Audio Culture............. 

Personnel: 
Steve Apirana — guitar, vocals 
Heidi Warren — guitar ,vocals 
Angel Adams – bass guitar 
Hori Sinnott – drums 

Tracks: 
01. Bang Bang – 4:00 
02. Suicide Ride – 4:32 
03. We’re Getting Nowhere – 2:47 
04. In The Morning – 3:06 
05. Especially For You – 3:11 
06. Green River – 3:32 
07. Reach Out – 3:07 
08. Tilde Jane – 2:13 
09. Mistake – 1:38 
10. Southern Magic – 1:49 
11. Here We Come – 2:50 
12. Mirror Don’t You Weep – 4:29 

Panther “Wir Wollen Alles!” 1974 Germany Private Kraut Rock












Panther “Wir Wollen Alles!” 1974 Germany Private  Kraut Rock
full
A largely polito-Kraut underground rock band from Ahrensburg, formed in 1972, in Ton Steine Scherben, Tobogan or Lokomotive Kreuzberg vein, with rock 'n' roll edges too - but no folk!.............

Those who claim that this LP has proto-punk sounds are pretty far off, and similarly far off is Dag Erik Asbjornsen who accused Panther of playing short rock'n'roll songs. True, there are a few duff boogie tracks on this LP, but the majority of the songs presented here are very nice, sitting squarely in a typical German agit-rock aesthetic which means one half political rants and one half excellent jamming hard-rock. Two longer songs ("Kingesperrt" & "Vodka-Lemon") are particularly good, with inventive guitar playing and some recognizably German synthesisers bubbling on the background, the other stuff is decidedly more pedestrian, though still decent. And they were pretty extreme in their anti-capitalist stance - the GEMA word on the label is spelled as GEMAfia!..............

Klaus "Julle" Ahrens (bass, guitar, vocals) 
Gregor Ahrens (drums) 
Olaf Lietzen (drums) 
Klaus Schulz (lead guitar, vocals) 
Gert Lange (guitar, vocals) 

Manne Rόrup (synthesizer) 
Richard Borowski (bongos)

Tracklist 
1 Wir wollen Alles 4:20 
2 Papiertiger 5:18 
3 Putte muß bleiben 2:50 
4 Mach die Augen auf 4:33 
5 Daimler Se 4:16 
6 Eingesperrt 7:26 
7 Die Sirene heult 2:31 
8 Wodka-Lemon 9:07

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