body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

18 Mar 2017

Akira Ishikawa & His Count Buffalos "Get Up !“ 1975 Japan Jazz Rock,Jazz Funk



Akira Ishikawa & His Count Buffalos  "Get Up !“ 1975 Japan Jazz Rock,Jazz Funk
full

Akira Ishikawa his long time friend the pianist & arranger, Hiromasa ‘Colgen’ Suzuki, in a joint project of Fusion Jazz Funk such as played the Weather Report, featuring the Count Buffalo band. Titles include only original tracks specially composed for this album by Suzuki, except The Heated Point & Painted Paradise respectively recorded for Electro Keyboard Orchestra & Jiro Inagaki’s Funky Stuff albums, both released in 1974. All tracks arranged by Hiromasa Suzuki…………..
Akira Ishikawa was born in Yokosuka in 1934. He played with Akira Miyazawa’s Modern All Stars; and later with Toshiyuki Miyama and his New Herd (in its early days), then left to form his own band The Gentures (try this on YouTube), which later gave birth to Count Buffalos. He was hugely influenced by African rhythms after visiting East Africa in the 1970. Hence the albums Uganda: Dawn of African Rock (more here) and then Bakishinba. 
Besides working as a session musician and also on TV (he takes the blame for this theme tune for an NHK kids show), he spent a lot of time working on projects to benefit African kids). In the 1990s he founded the music club Piga Piga in Ebisu, which hosted some of the best live African sounds in Tokyo. He later moved back to live in Kenya, which is where he died in 2002………….

Akira Ishikawa - drums 
Masaoki Terakawa - electric bass 
Hiromasa Suzuki - electric piano, synthsesizers, arrangements 
Takao Naoi - electric guitar 
Larry Sunaga - percussion 
Takeru Muraoka - soprano saxophone, tenor saxophone, flute 
Eiji Arai - trombone (#2,4) 
Masao Suzuki - alto saxophone, baritone saxophone, flute (#2-6) 
Koji Hatori - trumpet (#2-6) 
Hideo Ichikawa - electric piano (#1) 

Recorded at Victor Studios on August 4-20, 1975.

Tracklist: 
1. Get Up! 
2. Discharge 
3. Heated Point 
4. Painted Paradise 
5. Stone River 
6. Minor Jump 

Various - “Cologne Curiosities: The Unknown Krautrock Underground, 1972​-​1976″ (Mental Experience, 2016)







Various - “Cologne Curiosities: The Unknown Krautrock Underground, 1972​-​1976″ (Mental Experience, 2016) …recommended…!
full
24–bit domain remaster from the original master tapes.

Insert with liner notes by Alan Freeman (Ultima Thule, The Crack In The Cosmic Egg). 

RARE KRAUTROCK SOUNDS ON VINYL FOR THE FIRST TIME EVER! For Cologne Curiosities, Mental Experience digs deeper than the rest and collects a trove of unpublished/un-reissued material, originally only available on the out of print Unknown Deutschland - The Krautrock Archive CDs from 1996. The tracks here go far beyond stuff from Can, Neu, Ash Ra Tempel, Amon Duul, etc., delving into the true underground rock sound of experimental Germany circa the mid-70's. I have to admit, I've never even heard of any of the bands featured here (despite having a decent pretty krautrock collection), so this comp should be a revelation to even veteran diggers. From the label - "Toby Robinson, aka The Mad Twiddler, aka Genius P. Orridge, is well-known to krautrock collectors as one of a number of engineers working at Stockhausen's WDR and Dierks Studio in Cologne in the mid-1970s, where he assisted on recordings by many famous kraut bands such as Can, Birth Control, Mythos and Dzyan. The recordings included here were made between 1972 and 1976 using studios in and around Cologne, produced by Toby Robinson for his own amusement. Bands would come in for practice sessions, to record demos, and during slack periods, impromptu jams would happen. Most of these sessions were recorded by Toby, and they feature Toby himself plus a revolving cast of friends and musicians (some of them apparently big kraut names under pseudonym). Including lost-in-time bands/studio projects like Astral Army, Fuerrote, Spirulina and Baal among others, the music here ranges from killer proto-new wave kraut psych to wild space rock, proto-ambient electronic, dark psychedelia and raw kosmische sounds with lots of analog synths/Moog. It was during that time in Cologne, that Toby, along with Fluxus artist Robin Page, gave birth to the mysterious and controversial Pyramid label, for which these tracks were originally made for." Recorded and remastered from the original master tapes and comes with insightful liner notes by Alan Freeman (Ultima Thule, The Crack In The Cosmic Egg). Recommended.................

The “Nuggets”of Krautrock???? New from Spanish vinyl archaeologists Guerssen Record’s Mental Experience imprint comes a collection of 70s Krautrock rarities from the Pyramid label……a label with such an obscure history, that when these recordings appeared on the three Unknown Deutschland - The Krautrock Archive CDs released on Virgin during 1996 their authenticity, fuelled by internet conspiracy theories, was very much in doubt with the rumour being that they had been recently been knocked together by a bunch of Kosmische jokers cashing in on the 90s Krautrock revival. Cologne Curiosities – The Unknown Krautrock Underground 1972 – 1976, cherry picks the best of the Virgin CDs and presents these tracks together for the first time on vinyl. Cologne Curiosities collects together music inspired by Pink Floyd, Gila, Cluster, Hawkwind, Ash Ra Tempel, Amon Düül II, Popol Vuh and Cosmic Jokers as the first part of a series of reissues of the entire catalogue of Toby Robinson’s legendary label, remastered from the original tapes and includes an insert with detailed liner notes by Alan Freeman (Ultima Thule, The Crack In The Cosmic Egg). The CD releases were originally compiled by the late Trevor Manwaring (Paratactile, Impetus, Virgin, Harmonia Mundi) from tapes supplied to him by Toby Robinson. Toby (aka The Mad Twiddler, aka Genius P. Orridge) is well-known to Krautrock collectors as one of a number of engineers working at Stockhausen’s WDR and Dierks Studio in Cologne in the mid-1970's, where he assisted on recordings by many famous Kraut bands such as Can, Birth Control, Mythos or Dzyan. The recordings included here were made between 1972 and 1976 using studios in and around Cologne, produced by Toby Robinson for his own amusement, just having fun on the studio. Inevitably, bands would come in for practice sessions, to record demos, and during slack periods impromptu jams would happen. Most of these sessions were recorded by Toby, and they feature Toby himself plus a revolving cast of friends and musicians (some of them apparently big Kraut names under pseudonym). Some of the tracks made it to wax in very limited pressings by Pyramid Records that were given away at art happings and the like or sold in head shops, however before being unearthed in the 90s most had remained unheard until Virgin Records thought it commercially viable to release three albums collecting the work of hopelessly obscure Cologne-based third-division German experimental bands.

The music here has aged surprisingly well for mainly 40 year old German experimental jams with many of the sounds being familiar to modern day PsychHeads. Including lost-in-time bands and studio projects like Astral Army, Fuerrote, Spirulina and Baal among others, the sounds range from killer proto-New Wave Kraut Psych to wild Space Rock, proto-Ambient electronica, dark psychedelia and raw sounds with lot of analog synths. It’s a white knuckle ride through the Cologne underground taking in the Punk Rock/Kraut glamstomp of The Astral Army’s ‘Interstellar Shortwave’, twisted Beefheart blues (Baal), warped Amon Düül II influenced Acid Rock from Chronos and Neil Anderson’s experimental ambient guitar soundscapes. There are two very long experimental pieces which close the record…….. ‘Innerst’ by Ten To Zen is a Popol Vuh-esque Synth improvisation and the dark droning ‘Ganz Wie Du Willst’ by Fuerrote would not be out of place on an album of left field guitar explorations today. The most accessible track is the Prog/Psych ‘The Message’ by Spirulina which is straight outta the Pink Floyd book of atmospheric instrumentals with subtle organ/synth wash and weeping guitars and not a typical Krautrock cut. The most fascinating aspect of Cologne Curiosities is that it explores the fringes of Krautrock way away from the obvious “big” bands such as Neu!, CAN, etc, etc, etc………if you like Julian Cope’s more “out there” recordings then there is a great deal here you are going to dig. As for being the “Nuggets” of Krautrock……..maybe not as it is far too Cologne-centric and does not take in the vibrant underground scenes in Hamburg, Berlin, Munich, Dusseldorf and so on. However you can consider it as a snapshot of a city that had a depth of talent bubbling under the surface……..very much like the Nuggets L.A. compilation Where The Action Is (“Where The Achtung Is” perhaps).............

The “Nuggets”of Krautrock?

“Cologne Curiosities” collects, for the first time on vinyl, all the otherwise unpublished/un-reissued material that firstly appeared on the three "Unknown Deutschland - The Krautrock Archive" CDs released on Virgin during 1996. These CD only releases were originally compiled by Trevor Manwaring (Paratactile, Impetus, Virgin, Harmonia Mundi) from tapes supplied to him by Toby Robinson. Toby - aka The Mad Twiddler, aka Genius P. Orridge - is well-known to Krautrock collectors as one of a number of engineers working at Stockhausen’s WDR and Dierks Studio in Cologne in the mid-1970's, where he assisted on recordings by many famous Kraut bands such as Can, Birth Control, Mythos or Dzyan.

The recordings included here were made between 1972 and 1976 using studios in and around Cologne, produced by Toby Robinson for his own amusement, just having fun on the studio. Inevitably, bands would come in for practice sessions, to record demo's, and during slack periods impromptu jams would happen. Most of these sessions were recorded by Toby, and they feature Toby himself plus a revolving cast of friends and musicians (some of them apparently big Kraut names under pseudonym).

Including lost-in-time bands / studio projects like Astral Army, Fuerrote, Spirulina and Baal among others, the music here ranges from killer proto-New Wave Kraut psych to wild space rock, proto-ambient electronic, dark psychedelia and raw Kosmische sounds with lot of analog synths / Moog.

It was during that time in Cologne, that Toby, along with Fluxus artist Robin Page, gave birth to the mysterious and controversial Pyramid label, for which these tracks were originally made for.................. 

Tracklist
A1 –The Astral Army Interstellar Shortwave 4:32
A2 –Spirulina The Message 10:24
B1 –Chronos (6) Schaudernacht 6:52
B2 –Neil Andersen Feuerwerk 7:17
C1 –Baal (10) No God / Astaroth 6:40
C2 –Ten To Zen Innerst 10:16
D –Fuerrote Ganz Wie Du Willst 14:01 

Walter Christian Rothe “Solitude” 1982 Belgium Electronic,Kraut Rock Synth Pop






kraut


Walter Christian Rothe “Solitude” 1982 Belgium Electronic,Kraut Rock Synth Pop
full
https://vk.com/wall-134835653_323

Tracklist 
A1 Take Off
A2 Solitude
A3 Robot
A4 The Return
A5 Sunrise
B1 On The Beach
B2 Marleen’s Solitude
B3 Promenade
B4 The Old Castle
B5 Gentle Waves 

Moondog “Moondog In Europe” 1977 US Classical Avant-garde,Minimal










Moondog “Moondog In Europe” 1977 US Classical  Avant-garde,Minimal
full
Originally released by Kopf in 1977, and reissued in 1999, Moondog In Europe was visionary composer Louis Thomas Hardin's aka Moondog first release after moving to Germany. Perhaps reflecting the historicity of his new environment, this album is more structured and formal than most of his previous releases; however, his layered song-cycles are just as circular and experimental, and still backed by a fair amount of tribal percussion. There are moments of whimsy, as on "In Vienna," with its bouncing, music-box like celesta, or on "Viking I," also reflected with a snappy celesta melody, but there are also moments of parlor-room somberness, as on the string arrangements for "Romance In G" or the last 20+ minutes of the album, which is comprised exclusively of extremely heavy pipe-organ suites. Moondog In Europe, though less playful than other of his albums, displays Moondog's virtuosity as a classical composer, with elegantly stylized pieces that see Moondog embracing a grandiosity he hadn't approached previously. 

Highly Recommended!.................

In 1974, Louis Hardin "MOONDOG" is invited to give a performance in Germany ... His first steps in Germanic land are a revelation, to walk in the footsteps of the great old classics makes him feel "at home". So our comrade Viking stays for a few months in the streets of Hamburg. During his wanderings, he meets Ilona sommer, who will become his muse and assistant, she will take him to live in the Rühr within his family. It is also at this time that he will meet Stefan Lakatos, to whom he will transmit his art of percussion as well as the ability to build them. In short, a whole new life, more pleasant and easy. It is not an evil because MOONDOG, Despite its robust constitution, also ages.

The evolution is constant in the music of MOONDOG, it is thus a strange atmosphere that emerges from the introductory "Viking 1", a quasi lullaby that seen its title foreshadowed something more epic. Now, finally, is not this melody in keeping with our viking of the sixth street? Calm, balanced, balanced and ultimately facetious? Even if one recognizes the paw, the percussions are however reduced to their simplest expression. Besides, "In vienna" continues on the same operative mode, and makes one think of a music of romantic merry-go-round - Viennois indeed. The sound of celestia reinforces this almost childish and positive idea. On the "Chaconne in C", MOONDOG remains in this atmosphere full of innocence, but misty and ethereal. It is already the great organs that are at work.

The "Romance in G" plunges us delightfully into the meanderings of the thought of the baroque composer Louis Hardin. She shows an exquisite sensitivity, and aligns without difficulty with the great works of her elders of the 18th century. The surprising "Heimdall fanfare" is a title of great originality, a canon of 9 horns, you will not hear much of this kind. I remind you that Heimdall was the guardian of the Rainbow Bridge, the gateway to Asgard, a city of the Nordic Gods, and sounded the alarm with a horn that sounded like a hundred. The set is certainly a bit repetitive, but does not lack power.

Then attack the set of "Logrundr", played on a large cathedral organ. The themes are often slow and majestic. So it is with the magnus opus of this album, I named "Logrundr XII", which imposes in spite of its disarming simplicity a formidable power of evocation. All the magic of MOONDOG is here still at work on this short piece with a resolutely Dantesque atmosphere. Personally, it should not happen a day without I hum this melody. Just phenomenal. The "Logrundr XIX", almost sepulchral, ​​works minimalist, but is marked by a pretty melody rather modern and I will call pop, is it so far from the BEATLES at the level harmony? More than 8 minutes of dream awake! "Logrundr IV" brings us closer to BACH - all proportions kept - and projects a troubling beauty. "Logrundr III" is almost perky and proposes the addition of percussion made in MOONDOG. "Logrundr VII", almost dissonant, and very remarkable blow. The incomprehensible approach to such an instrument can only surprise the listener. It becomes hypnotic and occupies a status apart. Highly recommendable.

We continue in surprise the discovery of the work of MOONDOG. Each opus is very distinct in discography. This one is one of the most "shut-up", due to the high number of pieces for organ. This is not for everyone, but the quality remains, especially since the artist's European rebound is not a whim. As usual with our viking, the approach is in the long term. Moreover, the days of the Viking habit are now counted, Ilona manages to gradually change its dress habits, especially since the traumatic revelation that the Vikings did not wear helmets carried ...

A mostly self-taught composer, Louis Hardin was born in Marysville, KS on May 26, 1916. The family eventually moved to Wyoming, where his father, who had been an Episcopalian minister, opened a trading post at Fort Bridger, and had two different ranches. Young Hardin went to school in a log cabin in Burnt Fork, WY, and fished, hunted, and trapped. Later, he rode a horse to school in Long Tree, a cattle community. He wrote that his first drum set " ...at the age of five, was a cardboard box". He also went with his father to an Arapho Sun Dance, where he sat on Chief Yellow Calf's lap and played the buffalo skin tom-tom. Later, in 1949, he played tom-tom and flute at a Sun Dance held by the Blackfoot in Idaho. The constant "tom-tom" beat became incorporated in many of his later pieces, such as the complex canon for marimbas "Wind River Powwow: Arapa-Host, Arapa-Home, Arapa-Hope." He played drums in Hurley High School in 1929, and he lost his sight in his early teens when a dynamite cap exploded. He studied music and finished high school at the Iowa School for the Blind, and in 1933, studied braille at the Missouri School for the Blind in St. Louis. "I write all my music in braille. When I write for orchestra, I do not write scores any more, but just write out parts, for the score is in my head and just writing out the parts cuts the time and cost in half ... anyhow, if my pieces were ever in demand, a score to each could be made from the parts. I call this process 'intracting', as opposed to the opposite, having a score and 'extracting' parts from it. From the braille I dictate every slur, tie, expression mark." It is then written in pencil by another person, read back and corrected, then inked in by another person - " .. double trouble". Hardin lived in Batesville, AR until 1942 when he got a scholarship to study in Memphis. However, he mostly taught himself ear training and other musical skills, and theory from books in braille. In the fall of 1943, he came to New York and met Artur Rodzinski, Leonard Bernstein, and then Toscanini. In a legendary story, Hardin made to kiss Toscanini's hand " ... whereupon he pulled it away, saying, 'I am not a beautiful woman'". Hardin began using the name Moondog as a pen name in 1947 in honor of a dog "who used to howl at the moon more than any dog I knew of." His music, constructed of direct musical gestures and built mostly from pure modal themes expanded by sophisticated contrapuntal techniques, would now receive the avant-garde label of "minimal" or pattern music, but this sound has characterized his music since the late '40s, and is thus a precursor of that postmodern compositional style. In New York, Moondog began to meet legendary jazz performer-composers, such as Charlie Parker and Benny Goodman, and to incorporate jazz inflections, as well as humorous philosophical couplets and environmental sounds into his recorded compositions -- the early recordings on the Prestige label in 1956 - 1957 contain brief pieces such as "Up Broadway/The impressions of Moondog as He Passes Birdland and the Palladium up the Great White Way ... (a) Broadway and 52nd St., the Jazz Corner of the World. A dog Trot in 1/4 Time ... (b) Broadway and 53rd St, the Afro-Cuban Corner of the World -- A Bumbo in 4/4 time ...," and a duet for the whistle of the ocean liner the Queen Elizabeth and a bamboo flute. Moondog also sold his printed music and records, and performed on the streets of Manhattan. His music truly expressed a universal vision with the best of American musical sensibilities. Moondog passed away on September 8, 1999 in Germany at the age of 83. ("Blue" Gene Tyranny).................

Moondog’s first release after moving to Germany, “Moondog in Europe” is a very heavy listen. While there are some aspects of his quirky style, most of this album is drenched in seriousness. Despite this being his first slightly somber album though, Moondog cleverly inserts various rounds from “Moondog 2.” Like Roger Waters taking portions of melody and hooks from “The Wall” and incorporating them into his “The Pros and Cons of Hitchhiking,” Moondog similarly borrows his own melodies, changing them just enough to make something vaguely recognizable… almost forcing you to listen again, wondering where you have heard the song before. But while “Moondog 2” possessed a whimsical, wandering bard feel, much of “Moondog in Europe” has an off-putting aura, bringing images of a mad organist with spiky gray hair, playing to give the voices in his head some background music.

The album’s A side opens with the curious “Viking I” sounding like a music box and apparently commemorating the 1976 Viking mission to Mars. The melody is similar in the theme to “The Nutcracker,” but slightly less effective. Moondog’s celesta playing is charming in its way though, too delicate to completely dismiss. Heavy pounding percussion opens the nearly five-minute “Chaconne In G,” plowing the way for bouncy violins and cellos to take us down a familiar road. The melody is lifted from “Sparrow” off of his previous album, but here the song is given more room to breathe and develop. I still prefer the earlier, condescend version, but the mood remains whimsical, even in this more classical rendering.

Moondog uses a much more authoritative approach on “Heimdall Fanfare.” The marching beat and forceful horns push this atmospheric piece forward, sounding every bit like an ancient army on their way to battle: heroic, determined, and ultimately impressive. Far less indomitable, “Romance in G” is a hollowing lover’s cry. It is too long, but the track is overflowing with opera-like emotion my uncultured mind will probably never be able to fully appreciate. “In Vienna” changes pace again. This piece is short and has a distinct circus feel…all childlike and innocent. Imagining Moondog in his Viking outfit conducting this track for some reason disturbs me, the same way that clowns always do. It is just so dissonantly freak-show-happy that it is creepy. The first side closes with “Chaconne C,” a far slower version of “Chaconne in G,” adding a carnival organ backdrop and distancing itself so far from “Sparrow” it is difficult to even hear any parallels. This version is the most daunting and least accessible, but is still worth a few listens just to hear the makeover.

Side A could probably have been anticipated. Yes, it is an alteration in sound, but it isn’t so far removed from Moondog’s other work that it catches you off guard. Side B however, has nothing like it in Moondog’s catalog. Made up of six, mostly ominous pipe organ tracks lasting over twenty minutes, this is darker and far more eerie than anything Moondog had yet released. You can’t exactly call the song suite great, but most of it is spooky enough to play at Halloween. In fact, I can’t really think of another suitable time to play it: it is too Frankensteinish to play during dinner, and just too murky to play for relaxing.

“Logrundr III” is easily the happiest of the six, but also the least notable. “Logrundr XII,” “XIII,” and “IV” are far more church sounding, adding with their grave tone, more sophistication. “Logrundr VII” is the creepiest. Its haunting, tiptoeing melody really freaks me out in a bearded lady, Quasimodo, Elephant Man, side show way. The most impressive portion is probably the closing “Logrundr XIX.” It is an eight and a half minute remake of the regal “Pastoral” from Moondog’s previous album. This version almost sucks the elegance out of the tune, but it is still able to maintain the gorgeous melody, even if it is wrapped in a sinister atmosphere.

“Moondog in Europe” is definitely not the place to start. On the surface, it is too boring and lacks the true playfulness and catchiness of his previous two albums. You should not dismiss the album completely though. The mood is mysterious and psycho and after repeated listens, the tone begins to grow on you. For me, it is Moondog's least accessible album from the second stage of his career, but still a worthy purchase if you enjoy Moondog's more classical style. ...............

Moondog was the pseudonym of Louis Thomas Hardin (May 26, 1916 – September 8, 1999), a blind American composer, musician, cosmologist, poet, and inventor of several musical instruments. Although these achievements would have been considered extraordinary for any blind person, Moondog further removed himself from society through his decision to make his home on the streets of New York for approximately twenty of the thirty years he spent in the city. Only in the final decades of Moondog's life did the public begin to appreciate the extent of this man's talents, primarily because of his stubborn refusal to wear anything other that his own home-made clothes, all based on his own (sometimes too singular) interpretation of the Norse god Thor. Indeed, he was known for much of his life as 'The Viking of 6th Avenue'. WHICH WAS ONE OF MY MAIN HANGOUTS

Early life
Born in Marysville, Kansas, he started playing a set of drums that he made himself from a cardboard box at the age of five. Hardin was blinded in a farm accident at the age of 16. After learning the principles of music in several schools for blind young men across middle America, he taught himself the skills of ear training and composition. Principally self-taught, he studied with Burnet Tuthill and at the Iowa School for the Blind. He had a particular interest in Native American music.

Street musician
From the late 1940s until 1974, Moondog lived as a street musician and poet in New York City, busking mostly on 53rd Street and 6th Avenue in Manhattan. In addition to his music and poetry, he was also known for the distinctive Viking garb that he wore, which included a horned helmet. He partially supported himself by selling copies of his poetry and his musical philosophy. Because of his street post's proximity to the famed 52nd Street nightclub strip, he was well-known to many jazz musicians and fans.

In the 1960s Moondog was a regular fixture of downtown Manhattan with his outstanding flamboyant costume and presentation. My grandmother and I passed Moondog while we went to and from Manhattan to pick up my grandfather at the end of his work day. As Moondog worked numerous corners busking. for the unsuspecting. traveler or tourist, he was one of the characters that made Old New York the un-homogenized creative artistic place it once was.

Where often that Old New York City was characterized as crime ridden, pockmarked by peepshows and gin joints that did not conform to new improved corporate version of Times Square and a downtown gentrified of its working class communities. Where New York City has become new and improved like Los Vegas and all too many other American towns and cities it has lost its soul to give way to profits and exploitation that has made America the fraud it has become for the rich, by the rich, one nation under the rich.

Moondog's work was early championed by Artur Rodzinski, the conductor of New York Philharmonic in the '40s. He released a number of 78s, 45s and EPs of his music in the 1950s, as well as several LPs on a number of notable jazz labels, including an unusual record of stories for children with actress Julie Andrews in 1957. For ten years no new recordings were heard from Moondog until producer James William Guercio took him into the studio to record an album for Columbia Records in 1969. The track "Stamping Ground", with its odd preamble of Moondog saying one of his epigrams[1], was featured on the sampler double album Fill Your Head with Rock (CBS, 1970). The melody from the track "Bird's Lament (In memory of Charlie Parker)" was later sampled by Mr. Scruff as the basis for his song "Get a Move On", which was then used in commercials for the Lincoln Navigator SUV.

A second album produced with Guercio featured Moondog's daughter as a vocalist and contained song compositions in canons and rounds. The album did not make as large an impression in popular music as the first had. The two CBS albums were re-released as a single CD in 1989.
The English pop group Prefab Sprout included the song 'Moondog' on their seminal album Jordan: The Comeback released in 1990 as a tribute to Hardin.

Inventions
In a search for new sounds, Moondog also invented several musical instruments, including a small triangular-shaped harp known as the "Oo", another which he named the "Ooo-ya-tsu", and (perhaps his most well-known) the "Trimba", a triangular percussion instrument that the composer invented in the late 40s. The original Trimba is still played today by Moondog's friend Stefan Lakatos, a Swedish percussionist, to whom Moondog also explained the methods for building such an instrument.

Germany
Moondog had an idealised view of Germany ("The Holy Land with the Holy River" — the Rhine), where he settled in 1974. A young German student named Ilona Goebel hosted him, first in Oer-Erkenschwick, and later on in Münster in Westphalia, Germany, where he spent the remainder of his life.
Moondog visited America briefly in 1989, for a tribute in which Phillip Glass himself asked him to conduct the Brooklyn Philharmonic Chamber Orchestra, at the New Music America Festival in Brooklyn, stimulating a renewed interest in his music.
He recorded many albums, and toured both in the US and in Europe — France, Germany and Sweden. 

Side A:
01. Viking I (3:00)
02. Chaconne in G (4:50)
03. Heimdall Fanfare (3:10)
04. Romance In G (5:20)
05. In Vienna (2:10)
Side B:
06. C Chaconne (2:57)
07. Lögründr III (1:15)
08. Lögründr XII (2:23)
09. Lögründr XIII (2:12)
10. Lögründr IV (5:00)
11. Lögründr VII (2:05)
12. Lögründr XIX (8:22)

Early recordings
Singles
"Snaketimes Rhythm" 1949-1950 SMC
"Moondog's Symphony" 1949-1950 SMC
"Organ Rounds" 1949-1950 SMC
"Oboe Rounds" 1949-1950 SMC
"Surf Session" c. 1953 SMC
"Caribea Sextet"/"Oo Debut" 1956 Moondog Records

EPs
Moondog On The Streets Of New York 1953 Decca/Mars
Moondog And His Honking Geese 1955 Moondog Records

LPs
Improvisations At A Jazz Concert 1953 Brunswick
Moondog And His Friends 1953 Epic (reissued as Jazztime USA vol. 2 in 1955 on the Brunswick label, reissued 2006 on Moondog's Corner label)
Moondog 1956 Prestige
More Moondog 1956 Prestige
The Story Of Moondog 1957 Prestige
Tell It Again (with Julie Andrews) 1957 Angel/Capital

Tracks on compilations
New York 19 (edited by Tony Schwarz) 1954 Folkways
Music in the Streets (edited by Tony Schwarz) 1954 Folkways

Later recordings

Singles
'"Stamping Ground Theme" (from the Holland Pop Festival) 1970 CBS

LPs
Moondog (not the same as the 1956 LP) 1969 Columbia
Moondog II 1971 Columbia
Moondog In Europe 1977 Kopf
Moondog - Selected Works 1978 Musical Heritage Society
H'Art Songs 1978 Kopf
A New Sound Of An Old Instrument 1979 Kopf
Bracelli 1986 Kakaphone
 

Cassettes
Facets 1981 Managarm
 

CDs
Elpmas 1992 Kopf
Moondog + Moondog II 1992 Columbia
Big Band 1995 Trimba
Alphorn Of Plenty 1995 Hat Art
To A Grain Of Rice 1996 Paradise Records
Sax Pax For A Sax with the London Saxophonic (1997) Kopf / Atlantic
Moondog Vol. 1 & 2 2000 Beat Goes On
The German Years 1977-1999 2004 ROOF Music
Un hommage a moondog 2005 trAce label
Bracelli und Moondog 2005 Laska Records
Rare Material 2006 ROOF Music
Tracks on compilations
Fill Your Head With Rock 1970 CBS
The Big Lebowski motion picture soundtrack 1998 Mercury
Fsuk Vol. 3: The Future Sound of the United Kingdom 1998 Fsuk
Miniatures 2 2000 Cherry Red
DJ Kicks 2006 Henrik Schwarz K7 Records
Moondog's music performed by other musicians
Moondog and Suncat Suite (1957) by British Jazz musician Kenny Graham, featuring one side of interpretations of the work of Moondog.
"All Is Loneliness" by Big Brother and the Holding Company, featuring Janis Joplin (1967)
Canons on the Keys by Paul Jordan, 1978 (unreleased)
"Theme and Variations" performed by John Fahey on the album Rain Forests, Oceans, and Other Themes (1985) [1]
"Crescent Moon March" covered as "For You Blue" by Laibach on Let It Be, 1988
Lovechild Plays Moondog 7" on Forced Exposure (1990)
"Synchrony Nr. 2" by Kronos Quartet (1997)
Trees Against The Sky compilation album 1998 SHI-RA-Nui 360°
"All Is Loneliness" by Antony and the Johnsons, live (2005)
"Sidewalk Dances" - Joanna MacGregor (2005) Sound Circus SC010
"Moondog Sharp Harp" - Xenia Narati (2006) Ars Musici 1404-2
"Bird's Lament (In Memory of Charlie Parker)" was sampled and used extensively on the song "Get a Move On" by the DJ Mr Scruff. 

Daemon “The Entrance to Hell” 1971 UK Heavy Psych Hard Rock








Daemon “The Entrance to Hell” 1971 UK Heavy Psych Hard Rock
full
members…..watch……….
John Gustafson… before and after Quatermass …………
Recorded between 1970 and 1971 

Only album from London. After leaving the “Atomic Rooster” and to create a’’ Hard Stuff’’ Paul Hammond and John Du Cann created another project’’ Daemon’’, releasing one album, consisting of singles and demos. Unfortunately, this LP, released on a small record company, was not widely known and musicians, after some deliberation, decided to rename the “Bullet”, and simultaneously change produced by the company…………. 


Very rare post “Atomic Rooster” and pre “Hard Stuff” 
unreleased Demo LP-1970-1971 from the Masters. 
Heavy progressive with lengthy jams du Cann. Post Atomic Rooster, pre Hard Stuff. 

Daemom crawled from the burning pits in 1970, 
dragging blackenedguitars across smouldering rock, 
smiling eerily as they ascended. On the seventh circle, in a flash of white, 
Daemon emerged. Guitars wailed. Angels wept. 
After much studio work Saemon attempting social acceptance, 
adopted the name “Bullet”, later “Hard Stuff”, 
releasing some singles & two LP’s, 
the tracks on this releasewetre the first recorded by Daemon 1970/1971, 
all havebeen digitally remastered by John du Cann from original ¼ master tapes. 
Only the orchestrator uses an acetate as a source. 

Daemon vanished mid-song on stage 1972. 
A sulpburous residue settled upon the bats of a gaping audience. 
Fire fell from the sky…………. 
The Entrance To Hell is one fabulous guitar driven hard acid rock long play by …… who the hell cares! Be it Daemon, Bullet, Hard Stuff, or whomever, who gives a shit? The guitar sizzles from the first track to the last. Ya know what is really cool, this great album was recorded in 1971, the best year for music ever. 

Sadly, they are all dead. 

RIP Paul Hammond 
RIP John Gustafson 
RIP John Du Cann……by………rod45 ………. 
Oh what a tangled web record companies weave, sucking every last drop out of record buyers. The history of this band isn’t that convoluted but bears some clarification, not least to prevent the consumer buying the same product a number of times. This band evolved out of the ashes of the recently broken up Atomic Rooster, with Paul Hammond and John Cann (later DuCann) joining forces with ex Quatermass bassist, John Gustafson. Daemon never released an album but quickly morphed (for reasons unknown to me) into Bullet. They added a singer, Al Shore, and toured as support for Deep Purple in 1970 or 1971, when I saw them live. Bullet released one or two singles but then discovered there was another band of the same name, I believe from USA, who possibly (?) threatened legal action. They then became Hard Stuff, who released two albums. 

This Daemon collection, amounting to more than a vinyl LP, is what became the Hard Stuff album “Bulletproof”. Some of these tracks, for obvious reasons of time limitations, didn’t make it onto either of the Hard Stuff albums. Some of the ones that did are identical and a couple have slight changes, possibly where they were re-worked without Al Shore. Some also have different track names but contain the same music. A word of warning, although it adds to the merits of buying this album if you already have the “Bulletproof” issue, is that some of the “identical” tracks to the ones that appear on “Bulletproof” are not exactly the same, however, as we have some subtly different mixes. Now, to top it all, the record companies pull out their final trick. They have released this entire album, I believe on a track for track basis, under the name Bullet and, surprise surprise, they neglect to mention this fact on the cover! Funny that! I have not heard this later issue and, therefore, cannot comment on the relative differences of audio quality. 

That’s the background but what about the music? Having seen them live, as stated above when they were still Bullet, I was a fan from the off. The final released version of the “Bulletproof” album has long since been a favourite album of mine and this is all that and more so it has to be a winner…doesn’t it? Well yes and no (although it’s not much of a “no”). Some of the tracks left off “Bulletproof” are not quite of the same high standard and do sound like out-takes. Where it does get interesting is the much longer version of “Jam: The Provider”, here stretched out from two and a half minutes to over seven. It was a great track on “Bulletproof” and I always wanted it to go on longer. This is one of those times, rarer than hen’s teeth, where I got my wish granted! 

Whichever version a person decided to go with, it’s a great ride. I have bought this CD, the “Bulletproof” on vinyl as well as two CD versions and will probably even get the Bullet issue. That should explain more succinctly than any convoluted explanation as to what I think of the album. In the words of Scott Tracy, it’s FAB!……Crazyworldof …………. 

Recorded in 1970~1, this British prog album went unreleased for 35 years. It’s basically a hard rock LP, with material ranging from somewhat, to quite commercial sounding, and with a few heavy metal and funky moves, that all sound ahead of their time. Overall, it’s extremely consistent. Out of 17 tracks listed, I grade 7 at B+, 5 at B, and 2 more get B-’s. Since two tracks run together with the cuts that immediately follow them, and are graded together as one cut, that only leaves one better than average song. That’s pretty darn consistent. Through out the years, the Kissing Spell label has taken much criticism for failing to provide any background info on many of their releases. On one album (I forget which one right now), they even took the time to print up a blurb, which stated that they had been more or less “shamed” into providing some background information, and that this was the background info they were providing for this particular album… and then never providing anything! But on this here LP, they actually do give a few brief paragraphs, on the outside of the fold-out insert card. This was so that they could reserve the entire inside (where background info would normally go) for the short, but heartfelt message - FUCK YOU! Ahh, nothing like appreciation for buying your product, eh Kissing Spell? Well, same to you, but with thanks for releasing a decent LP that otherwise would have been lost to the ages. Recommended ……..by……tymeshifter ……… 

This is basically the same album as Hard Stuff’s ‘Bulletproof’, with the addition of a number of extra tracks and jams which were probably never meant for any album proper. The Daemon recording was made sometime in 1971 (probably) but ultimately the band had to change their name twice due to clashes with already existing groups. By the time the album came out on the Purple label in 72, most of the chaff had been removed and the production cleaned up slightly, to produce in the debut Hard Stuff album, one of the truly great long lost hard rock albums of the early 1970’s. These guys, for a short time, had the tunes and the super heavy heavy sound of 71, eclipsing even the mighty LZ4 for my money, and leaving Leafhound and Sabbath for dead….Do yourself a favour and give this one a try. Shame by the second album they had lost it but hey-ho - one stone cold classic is still a great achievement……By N. Green………. 

Ο John Du Cann Τραγουδιστης Και Κιθαριστας Ξεκινοντας Απο Την Μπαντα Anromeda Για 1 Χρονο Στην Συνεχεια Μαζι Με Τον Paul Hammond 
Που Επαιζε Ντραμς Αφησαν Τους Θρυλικους Atomic Rooster Το 1970 
Και Δημιουργησαν Τους Daemon Αλλα Και Αλλαξαν Ονομα Και Mετανομαστηκαν Σε Bullet Ενω Το 1972 Πηραν Τελικη 
Μορφη Κατω Απο Την Ονομασια Hard Stuff. Ο Δισκος Που Ερχετε 
Παρακατω Ηχογραφηθηκε Το 1970 Και 1 Τραγουδι Το 1972 Αλλα 
Κυκλοφορησε Το 1971……….. 

Daemom crawled from the burning pits in 1970, 
dragging blackenedguitars across smouldering rock, 
smiling eerily as they ascended. On the seventh circle, in a flash of white, 
Daemon emerged. Guitars wailed. Angels wept. 
After much studio work Saemon attempting social acceptance, 
adopted the name “Bullet”, later “Hard Stuff”, 
releasing some singles & two LP’s, 
the tracks on this releasewetre the first recorded by Daemon 1970/1971, 
all havebeen digitally remastered by John du Cann from original ¼ master tapes. 
Only the orchestrator uses an acetate as a source. 

Daemon vanished mid-song on stage 1972. 
A sulpburous residue settled upon the bats of a gaping audience. 
Fire fell from the sky…. (info by: CGR)……………. 

01 Doors Open 
02 Millionaire 
03 No Witch At All 
04 Taken Alive-Amyl Nitrate 
05 Evil Maker 
06 Entrance To Hell 
07 The Orchestrator 
08 Hell - Demonic Possession 
09 Fortune’s Told 
10 Sinister Minister 
11 Jam 
12 Time Gambler 
13 Monster In Paradise 
14 Jay Time 
15 Mr Longevity 
16 Door Closes 
17 Jam - The Provider

johnkatsmc5, welcome music..