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Saturday, 25 March 2017

Fujara “Fujara” 1973 Danish Prog Jazz Rock

Fujara “Fujara” 1973 Danish Prog Jazz Rock

There are a lot of mysterious groups, which most of us would like to hear, that’s one of them and I invite your attention to our website. 
Ever since I heard this album, some songs from it listen again and again, here is some information that I found on the album: 
“A group of Køge founded in 1970 playing mostly rock with hippie lyrics. The group consisted of 6 people and had a good horn section, and like Dr. Dopo Jam, but it is not used as efficiently and rapidly. Most of the songs to be influenced West Coast rock, but especially two of them are under the obvious influence of Dr. Dopo Jam and are the best on the entire album, it Styvtoget and Majara .. ”…………….
Danish jazz-prog, with pop-rock (or songraterskaya will be more precise) melody. I will not say that it’s a masterpiece, but it’s more than interesting to listen to. The band from Køge founded in 1970 played mostly rock with hippy lyrics. The group consisted of 6 people and had a good wind section, for example, and Dr. Dopo Jam, but used it not so effectively and dynamically. Most of the tracks are influenced by West Coast rock, but especially two of them are under obvious influence. Dopo Jam and are the best on the whole album, this Styvtoget and Majara Wind Command can not be called political, since music dominates the lyrics. Rarity!……………………….

01. Impo Versen 4.23 
02. Gor Dig Fri 4.16 
03. Syvtoget 4.41 
04. Pop Industrien 3.58 
05. Ventetid 4.40 
06. Jesper 3.32 
07. Fabrikanten 3.47 
08. Fyraften 3.52 
09. Majara 8.21


Ole Knudsen (vocals, guitar), 
Poul Chr. Nielsen (sax, trumpet, flute), 
Jorn Norredal (trumpet, harmonica, trombone), 
John Olsen (drums), 
Jesper Christiansen (bass, vocals), 
Jan Andersen (guitar, vocals) 

Daarom Presents “Perspectives” Helvetia , Kedama, Dandelion, Popcorn 1975 rare Swiss Prog Psych sampler

Daarom Presents “Perspectives” Helvetia , Kedama, Dandelion, Popcorn 1975 rare Swiss Prog Psych sampler

These are all unknown bands from Switzerland, and none of the bands save progmasters Kedama ever released LPs………..

Baritone Saxophone, Tenor Saxophone, Flute [Dandelion] – Buddy Walthert
Bass [Dandelion] – Werner Christen
Bass [Helvetia] – Juerg Schmidt
Bass [Kedama] – Beny Flury
Bass, Vocals [Popcorn] – Harry Huber
Drums [Dandelion] – George Hartmann
Drums [Helvetia] – Conny Aebi
Drums [Kedama] – Peter Suter
Drums, Vocals [Popcorn] – Bennie Lehmann
Guitar [Helvetia] – Kurt Broder
Guitar [Kedama] – Christian Lindner
Guitar, Vocals [Dandelion] – Bruno Jordi
Guitar, Vocals [Popcorn] – Heinz Furrer
Keyboards [Dandelion] – Alexander Nobs
Keyboards, Vocals [Popcorn] – Hans Keller
Organ, Synthesizer [Moog], Mellotron [Kedama] – Richard Rothenberger
Percussion, Vocals [Popcorn] – Jürg Hotz
Producer – H. Mont, Mueller
Producer, Recorded By – M. Ryffel*
Vocals [Dandelion] – Annemarie Hirsig
Vocals [Popcorn] – Freddie Kuhn, Gloria Niemann


A1 –Helvetia - Treble
A2 –Popcorn - Late Again
A3 –Kedama - Two Souls In The Endless Space
A4 –Dandelion - Flying To The Sky
B1 –Popcorn - The Word
B2 –Helvetia - It’s Me
B3 –Dandelion - Friends
B4 –Popcorn - Nobody Knows When You’re Down And Out
B5 –Kedama - Feelings Without Name 

Tink Tank “Tink Tank” 1972 Dutch Prog Pop Rock

Tink Tank “Tink Tank” 1972 Dutch Prog Pop Rock

Group Think Tank was organized in 1972 by Jacques Zwart, until 1967 lead vocalist Het, and later bass guitarist Penny Wise and Bled. Zwart attracted to work together pretty good musicians - guitarist Van de Krift collaborated with Blue Planet, Jansen was a member JayJays, de Graaf and drumming in Bled. In the same 72-year Think Tank released on the label Pink Elephant album containing compositions in which the palpable influence Todd Rundgrenda and Steely Dan. However, both the album and the accompanying single Together / Hold my hand, and indeed the next two singles were not a commercial success. In early 1973, Zwart dismissed the Think Tank group and moved to Amsterdam as a producer, bassist and vocalist………………

Hans Jansen (keyboards)
Jacques Zwart (bass, vocals)
Rob de Graaf (drums)
Aad van de Kreeft (guitar)

Together 3:17
A Man Is A Fool 2:44
Rolling On The Railroad 2:52
My Love 3:40
Keep On Changing 3:20
Hold My Hand 3:10
Pictures Of Youth 4:11
She´s My Friend 3:50
Don´t Say Goodbye 3:15
The Door That Stand For Life 3:40
What´s Life 4:11
For Our Friends 1:21 

Klaus Lenz Band "Wiegenlied" 1977 Germany Jazz Fusion Contemporary Jazz

Klaus Lenz Band  "Wiegenlied" 1977 Germany Jazz Fusion Contemporary Jazz

Rare german first pressing released on the unknown “Vinyl Records” label. His most complex seventies Prog Jazz Fusion record with a superb line up - very talented musicians throughout! ……………

Klaus Lenz (March 22, 1940 in Berlin) is a German jazzmusician, bandleader and composer, mainly in the style of modern jazz. He lived in the GDR until 1977 and is considered the Nestor of the GDR jazz scene. Many famous artists such as Manfred Krug, Günther Fischer, Reinhard Lakomy, Henning Protzmann (Karat), Günter Baby Sommer and Ulrich Gumpert learned the musical handicrafts and played with him successful albums. Klaus Lenz played with constantly changing occupations, a testimony of his permanent search for new musical expressions. With each formation he reached a high standard. In addition to his involvement as a jazz musician, he composed in the pop area, he arranged for renowned orchestras and wrote film and theater music, including the DEFA films Hochzeitsnacht im Regen (1967), Käuzchenkuhle (1968), Mit mir nicht, Madam! (1969), Sleeping Beauty (1970), He, Du! (1970) and the Stülpner legend (1972/1973)……………

Klaus Lenz - trumpet
Axel-Glenn Muller - alto & soprano sax, flute, bass clarinet
Reiner Gabler - alto & tenor sax (A1, B1, B4)
Axel Gothe - baritone sax, alto flute, percussion
Mathias Pflugbeil - trumpet
Signor Rothbart - flugelhorn
Bernd Swoboda - trombone
Hannes Bauer - trombone
Wolfgang Fiedler - Fender piano, piano, ARP-synthesizer, melotrone
Christian Pittius - Hohner piano, ELKA keyboard, mini moog
Jurgen Kratzenberg - Fender bass
Jurgen Resnizcek - Fender bass (A1, B1, B4)
Dieter Erhardt - drums
Detlev Kebler - drums (A1, B4)
Wolfgang Schneider - drums (B1)

A1. Tarantel
A2. Octopus
A3. Wiegenlied
B1. La Fiesta
B2. Bubblestone
B3. The Old New Way
B4. Say It To You Tomorrow 

Neda, Miljenko i Dario “Balada o Hipijima” 1972 single 7" Yugoslavia Psych Acoustic Folk Rock

Neda, Miljenko i Dario “Balada o Hipijima” 1972 single 7" Yugoslavia Psych Acoustic Folk Rock

NEDA, MILJENKO I DARIO were an folk-rock trio from Rijeka, Croatia (ex-Yugoslavia) active in early 70s. This is their maxi single record from 1972…….

Neda, Miljenko and Dario name is remembered from the early ‘70s, but the foundations and vocal collaboration set in 60s. Doubting Thomases can easily reassure visitors series of events is sown 18 in the spring of 1969. When, for example. took to the stage Tita in April this year - then still a duo, simply named Ned and Miljenko - Ned Melissa and Miljenko Karabaić already behind had the title of winner of the previous two rounds and entertainment events.

Fortuna will once again smiling young couple when Rijeka composition Hurricanes receive an invitation to the Festival Zagreb '70, the band finds himself without a keyboardist. Design themes 'blonde hair’ at the festival rock evening is predicted and the sound of keyboards, and Dario at this place called Karabaić. Neda did not remain idle: got the opportunity to sing background vocals. Neither the fact that the topic called her name a long-haired blonde is not hindered … New impulse upswing duo once again had Ottavianijev signature. Darius, who was in the break between the two activities composition refreshments knew to look for it more attractive American folk three Peter, Paul & Mary, singing duo from Rijeka, he appeared as a phenomenon which ideally lies on his new musical interests.

Summer 1970 Neda and Miljenko enjoy the benefits of dual status. On MIK perform as a duo, while the formal part of the collective hurricane. Then still considered “a shortened version of” Hurricanes, Neda, Miljenko and Dario will debut as made acoustic trio to Postirski Frajla August 1970 Sung harmonious polyphony, song Tired steeples received the most votes of the audience, which brought the prize bronze satyr, also award jury the best performers. After being on the island launched a name that will be remembered, a trio by autumn strengthens the intensification of activities. A little more regular performing, also television and recordings.

Opatija Festival will host triplet October 1970 in execution threads guitar in my heart, and recording Brac performances will appear in a short time on two occasions on domestic television screens. November brings them to enter the studio of Radio Zagreb, where he recorded the song “Tired bell towers’, 'Twilight’ and 'Lopoc - flower women’.

Continued activity confirmed the detachment phenomena Ned, Miljenko and Darius on the domestic scene, profile almost unrivaled - made acoustic folk trio, tends polyphonic ballads and trapeze dress liberally covered in floral motifs, and audio and visual openly conjured an atmosphere of hippie culture - which will they bring to the table performing offers and calls on roaming charges on all sides.

With what the repertoire of Neda, Miljenko and Dario out front of the audience? It contained on twenty topics. In addition to its own copyright / co-author on the list have been found themes that were originally performed by Peter, Paul & Mary, Esther & Abi Ofarim, Donovan, Simon & Garfunkel, Middle of the Road, Mary Hopkins, Carpenters, Roberta Flack, Johnny Mitchell, Joan Baez.

Sound files trio received the received the additional tones appearing premiere of his discography releases, EPs with titles Ballad of hippies, Lopoc - flower women, small story about the world and Trio. EP in 1972 revealed a record company Suzy. Interestingly, the largest success Riječke folk-set, track 'Small from III. b ’, premiered at the Days of Yugoslav pop music in Opatija in 1973, organized as a place of electing representatives of the then state of the Eurovision Song Contest, has never experienced discography birth. This song did not stop at becoming a national hit, thanks to radio editors who are allowed into the Ether festival footage.

The intertwining of emotional and professional relationships under the label of NMD lasted until late summer 1973. This is the time of greatest popularity trio attained performance theme 'Small from III. b 'in Opatija Days of Yugoslav pop music, the three last festival performance. After the summer series of shows at ICICI, the name of the trio unexpectedly shortened the last name in the series, but the formation is once again received initially looking. Duo Neda and Miljenko will continue the musical journey throughout 1974 and 1975, performing with musicians associated. The Company has both summer dash against the notes Crikvenica, while Ned is not 1975 hit a button that said stop, and the guys continue to sail without it.

Before you will irrevocably come down from the scene, the duo Ned and Miljenko will once again pleasantly surprised by the local fans. The Opatija Jugovizija 1974 will perform his own compositions 'Love Dream’. The song will be released in the same year as the A side of the Jugoton singles, while the B side also found their own issue 'could have been better. …Walid Đekić
Posted on 24.03.2011…….

Line Up
Dario Ottaviani,
Miljenko Karabaić,
Neda Karabaić

Balada O Hipijima 4:30
Trio 2:55
Lopoč - Cvijet Žena 2:47 

Kenny Barron "Lucifer"1975 US Jazz Soul Funk Fusion,Hard Bop

Kenny Barron  "Lucifer"1975  US  Jazz Soul Funk Fusion,Hard Bop
full vk

Totally excellent Kenny Barron album on Muse, and one of his hardest to find! There’s a killer cut on here called “Hellbound” that’s got Kenny playing this fantastic electric piano and moog stuff on top of overdubbed acoustic piano, which provides a rhythmic underpinning. The track is long and spacey, with an excellent modal groove that would make an excellent sample, but which also grooves beautifully on its own! Lots of other cool cuts too, all with more instrumentation, and a nice soulful funky sound. Titles include “Luciver”, “Spirits”, “Firefly”, and “Ethereally Yours” – and players include James Spaulding, Bill Barron, and Billy Hart. Beautiful!……………………

This is a fabulous recording that really needs to be issued on CD. Kenny Barron is truly in a league of his own and always plays in his own signature style. His trademark is his unique manner of playing and soloing in a rhythmic groove-like fashion. This particular album is unlike anything else he has ever recorded as a whole. The styles range from mellow and drifting (Ethereally Yours and Oleo), to latin tinged fusion (Firefly), acid rock/post bop/fusion (Lucifer), seething jazz-funk (Spirits), to the 13 minute “Hellbound” which I can best describe as a mesmerizing, protracted, and continuous ambient-funk groove. All the other participants truly shine on this 1975 offering, especially guitarist Carlos Alomar who simply tears it up on “Spirits” and “Lucifer” and drummer Billy Hart who carries everything flawlessly. This is a very difficult album to come by so if you run across it, snag it and LIVE IT……by…ralphcat ………….

1975’s “Lucifer” sees Barron branching out both musically and instrumentally, adding clavinet and string synthesiser to his keyboard arsenal across a range of tracks that expand his palette into fusion, acoustic spiritual, jazz-funk and other forms. Later in the year, he also recorded the live acoustic duet album “In Tandem” with guitarist Ted Dunbar (who’d been on “Peruvian Blue”) while both were teaching at Rutgers University. ……………

Acoustic Guitar – Carlos Alomar
Acoustic Piano – Kenny Barron
Alto Saxophone – James Spaulding
Bass Flute – James Spaulding (tracks: A3)
Clavinet – Kenny Barron
Cover – Ron Warwell
Cowbell – Kenny Barron
Drums – Billy Hart
Electric Bass – Chris White (3)
Electric Guitar – Carlos Alomar
Electric Piano – Kenny Barron
Engineer – Malcolm Addey
Mixed By – Tony May
Producer – Michael Cuscuna
Soprano Saxophone – Bill Barron
String Synthesizer – Kenny Barron
Synthesizer – Kenny Barron (tracks: B1)
Trumpet – Charles Sullivan

A1 Spirits 9:00
A2 Firefly 8:52
A3 Ethereally Yours 5:53
B1 Hellbound 13:00
B2 Lucifer 5:36
B3 Oleo 5:03 

Alfonso Noel Lovo“Terremoto Richter 6:25 Managua” 1973 Nicaragua Psych Rock Prog Latin Jazz

Alfonso Noel Lovo  "“Terremoto Richter 6:25 Managua” 1973 Nicaragua Psych Rock Prog Latin Jazz

Alfonso Noel Lovo is a musician, that appeared at Nicaraguan scene in early 70s, other than that we got this nice album. No info, no coverart around. This album is a variety and good mix of several genres funk to jazz; magic mushrooms to nicaraguan blues. A hidden treasure for eclectic tastes. ……

The first reissue of this obscure gem from 1973. Moved by the terrible earthquake that devastated Managua on 23 December 1972, Nicaraguan musician (and son of a politician) Alfonso Noel Lovo recorded his first album in New Orleans the following year. Accompanied by local players and musicians from Nicaragua, Colombia and Panama, Lovo laid down an astounding mix of psychedelic rock, mazurka, jazz, Louisiana blues and African folk. Released in a sleeve that features facsimile artwork, the LP is pressed on 180-gram vinyl…..

Pearl coming from Nicaragua! The musician, songwriter and producer Alfonso Noel Lovo is an important rock name in the country, releasing two albums in the 70’s, the second in partnership with Chepito Areas. It is also known for organizing a benefit concert of Santana in the country in 1973. From 80s Alfonso released some CDs and worked as a producer in the USA.
The debut from 1973, “Terremoto Richter 6:25 Managua”. It consists of 10 short tracks, mostly with 1 or 2 minutes and totaling less than half an hour. The sound is quite eclectic, with different influences, each expressed in a song; psychedelia, Latin rhythms, blues, jazz and even bossa nova meet in traveler atmosphere at various times, especially in “Apocalipsis”, “The Magic Mushroom World” and “In the Woods of Moon”. The instrumental brings electric guitar, guitars, percussion and flute, with Spanish lyrics. Another recommended gem for fans of Latin jazz and psychedelic rock……………

As a child, only 5 years old, Alfonso Noel Lovo, saw an 48 bass red HONNER accordion in the window of Libreria Lehman, in San Jose, Costa Rica, while on Christmas shopping, and he asked his father, to buy it. They went inside, and the salesman showed him the notes of Silent Night. Another salesman suggested to sell a smaller size accordion for children, but Lovo, wanted the one in the window. A couple of days later, on Christmas day,it mysteriously appeared under the Christmas tree. And he surprised his parents, by playing the notes of Silent Night, that the salesman had showed him, only two days before.

Professor Julio Max Blanco, started trying to teach him music theory, back in his native Nicaragua, in January, 1957. Lovo learned to play songs before he could read the notes. And Professor Blanco, said ‘He can play by ear alone, I give up’ , and Lovo started playing accordion at the Colegio Calazanz, grammar school, at church functions. He learned to play harmonica, with Father Caudelli, with the Cub Scouts, an instrument he still plays, in blues style.

At school he also sang at the Calasanz Choir, later at the Colegio Centroamerica, boarding school in Granada, Nicaragua, with the Jesuits, he self taught Hammond B2 organ, and Piano, during long punishment hours in solitary confinement at the music room, since Lovo had become rebellious, and hard to manage. There he created his first Piano composition: 'In the Woods of the Moon’, that is recorded in his first 'Terremoto’ album later in New Orleans, at Knight Recording Studios.

The accordion was left alone when he picked up the guitar, that he learned from his home gardener, and guitar player, Adan 'Bienvenido’ Jaime, then called the Nicaraguan Elvis, who showed him how to play Elvis Presley songs, Nicaraguan and Mexican rock ballads, popular in the early 60’s. He got his first guitar from his uncle 'Chalito’, in his native town of Leon,and he learned songs from Enrique Guzman, and The Teen Tops, and from Polidecto Correa, and Los Polimusic, one of the first Nicaraguan Rock Bands. This band featured as drummer, Jose 'Chepito’ Areas, future founding member of the Santana Band, famous for opening the Woodstock Rock Festival.

Lovo met Chepito Areas playing in the Half Time of a high school basket ball game, and it was to be a life-long musical friendship.

He started playing in a rock band, with Ricardo Palma, and Adan Torres, as co-founders of Los Rockets in 1963 and then co-founded Los Juniors, with Emilio Ortega, in 1965. Both Palma and Ortega, were the top lead guitar players of the Nicaragua rock movement in the 60’s. He also played with Edmundo Guerrero, a local guitar master of the Bossa Nova Brazilian jazz style.

Lovo was hijacked on a LANICA airline flight out of Miami, where he almost lost his left hand due to bullet wounds. Lovo survived and later regained the use of his hand.

In Managua, he produced the first Rock Concert, Concierto Idolo, at the Teatro Nacional Ruben Dario, in 1972, with an all star band, the members of the best known rock and jazz groups, in Nicaragua. The photo taken at the opening act, playing Mazurka in guitar, appears, as front cover of his album La Gigantona, widely acclaimed, in the tropical jazz category, in Billboard, on November 2012.

He is one of the original exponents of Nicaraguan Latin Rock. He recorded an album, Terremoto Richter 6.3 in 1973, in New Orleans, while going to school at L.S.U., Baton Rouge, LA. It is a fusion of Nicaraguan-style classic Spanish guitar with New Orleans Jazz and Gospel. His main instrument is guitar, but also plays bass, and keyboards, as well as harmonica.

He collaborated in his home town with Chepito Areas, the original percussionist with Santana Band. This connected him with that band. Together they produced the Managua Earthquake Relief concert featuring Mario Moreno AKA 'Cantinflas’ in October 1972.

After the Nicaraguan Revolution, Lovo moved to the USA. In New Orleans, he got deeper into the blues guitar, influenced by New Orleans musicians and Louisiana blues-men.

In Miami, in the late 80’s he recorded the song Freedom Fighters with his band “Wolf and The Pack”. This song, is a mixture of rock and politics, earned him an invitation to perform at the White House.

The Miami Herald front-paged the band, then known as Alfonso Lobo and Wolf and The Pack, which led to TV interviews with CBS, NBC, ABC and Univision. The Miami PBS Channel 17, WDNA, dedicated a documentary program directed by Don Webb, to a Lovo interview and featured clips from the network coverage. In Patrick Carr’s book Sunshine States, the author titled chapter 7 'The King of Contra Rock’ and dedicated it to Lovo.

Lovo released La Gigantona, privately, in 2010, featuring acid Latin jazz music, with an all-star Nicaraguan band, including percussion by Areas.

The Chicago-based record label The Numero Group released Lovo’s La Gigantona album to the public, in the fall of 2012. The reissue was sourced from a rare acetate and includes extensive liner notes on Alfonso Lovo, including historical photos of his musical background.

Since its re-release, La Gigantona has been a success and Lovo has been the subject of many reviews and interviews worldwide, including praises from BBC music critic Gilles Peterson radio personality in London, Relix Magazine, Dusted Magazine, Radio Nacional de Colombia, and many more international stations, and several TV shows. La Gigantona has become a well known name, and in November 14 , it reached # 4 in Billboard, Tropical music category. A new version of Wolf and The Pack has been formed in Miami, with Latin jazz players, and new performances have been seen up to the end of 2012, of La Gigantona, considered a dormant hit record, that has been awakened by Numero Group, the reissue label from Chicago.

On June 14, 2014, Lovo was invited to perform at the Rio Loco Festival, in Toulouse, and drew 28,000 fans, performing a updated version of his La Gigantona, his well known album, with Jose 'Chepito’ Areas of Santana Band fame, and a group of Cuban and Venezuelan musicians, and appeared in the French press, as his style, considered a fusion of psychedelic rock and Latin Jazz, is gaining popularity in Europe, Asia, and also in the USA…………….

Presented in facsimile artwork and pressed on 180g vinyl. First reissue of this obscure gem from 1973. Moved by the terrible earthquake that devastated Managua on 23 December 1972, Nicaraguan Alfonso Noel Lovo recorded his first album in New Orleans the following year. Accompanied by local players and musicians from Nicaragua, Colombia and Panama, Lovo laid down an astounding mix of psychedelic rock, mazurka, jazz, Louisiana blues and African folk……………

A1 Obertura
A2 Back To Africa
A3 Hijack
A4 The Magic Mushroom World
A5 Mora Limpia
A6 Terremoto
B1 In The Woods Of The Moon
B2 Leonor
B3 Apocalipsis
B4 Managua Nicaragua Blues
B5 Mazurca 

Rob Thomsett “Yaraandoo” 1975 Australia Jazz Rock,Prog

Rob Thomsett “Yaraandoo” 1975 Australia Jazz Rock,Prog

It’s a bit hard to sum up the genius of Australian Rob Thomsett in words – but you can bet that we’re going to try! Rob was kind of a character unto himself in the 70s – neither a psychedelic rocker, nor a new agey outcast – but instead, somehow this musician who could borrow from both worlds, and maybe a bit of the sound library and jazz scenes too – particularly that new wave of Australian “landscape” musicianship that was coming of age in the decade – when artists like John Sangster or Don Burrows were putting aside a slavish adherence to North Hemisphere inspirations, and trying to craft new sounds that were uniquely Australian! Thomsett may well blow away all other efforts of the time, though – with the kind of work here on the album Yaraandoo – which features long, open guitar lines mixed with shifting patterns of sound on a variety of different instruments – from congas to moog, tenor sax to bamboo flute – always balanced between acoustic and electric modes in a perfect way. Rob avoids any easy gimmicks, lyrics, or structures – apart from a slight inspiration from Aboriginal folklore – and instead just lets his mind and music wander beautifully, sometimes augmented by a bit of effects and studio wizardry. Titles include “Baiame”, “Moulding Of Red Earth”, “Nameless Children”, “New Life – Refusal”, “Shadow Of Yaraan”, “Flight Of Yaraan”, and “Tears Of Blood – Endless Weeping”. This package also includes the follow-up album Hara – a set that has a slightly more conventional fusion approach, but a sound that’s no less freewheeling – really great guitars from Thomsett, set up alongside loads of keyboards, heavy drums, bass, and a bit of soprano sax. The tunes move between spacious, lyrical moments and more full-on tracks – a bit like some of the best experimental European fusion of the period – and titles include “Sumari”, “Breathing Space”, “Hara”, “Sunday 23 May”, and “Michael’s Song”. Double-length set features great notes and packaging too!………………

Australian guitarist/visionary Rob Thomsett’s collected works, Yaraandoo (1975) & Hara (1976), the two LPs combined into one package. Originally privately pressed in tiny numbers in Canberra in the mid-‘70s, Yaraandoo & Hara have become sought-after, yet rarely heard examples of the best in progressive jazz/rock.

Congas – John Hovell 
Drums – Alan Hodkinson 
Electric Bass – Marto Thomsett 
Electric Tenorsax – Mike Russell 
Guitar – Rob Thomsett 
Mellotron – Jerry Machutta 
Moog – Steven Durie 
Percussion – Jenny Fielding 
Tape Recorder – John Gyffyn

1 Baiame
2 Moulding Of Red Earth
3 Nameless Children
4 Drought - Killing
5 New Life - Refusal
6 Shadow Of Yaraan
7 Yowi - The Spirit Of Death
8 Flight Of Yaraan
9 Endless Search
10 Entrance To Warrambool (Parts I And II)
11 Tears Of Blood - Endless Weeping 

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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958