Long-awaited Superfly reissue of legendary Nigerian Funk UFO LP, this record is so rare in its original format that only a handfull of copies are known to be in existence, co-produced with Voodoo Funk, this LP is filled with Afro Funk nuggets, check ‘Mota ginya’ or 'we’re gonna make it’ - as usual, beautiful quality repress with paste on covers made in Japan and 180grs vinyl, limited to 1000 copies only!…..
Credits Alto Saxophone, Percussion – Denise Kenneth Bass, Vocals – Cel Anderson Congas, Timbales, Vocals – Emmanuel Ebot Drums – Paul Mony Organ, Lead Guitar, Vocals, Rhythm Guitar, Leader – Joe Brown Trumpet, Congas – Emmanuel Ovo
Tracklist A1 We Gonna Make It A2 No More Tears To Cry A3 Caution A4 I Was Loving You Lucy B1 Mota Ginya B2 Bonjour Cherie B3 We Are Origins Of Africa
This is the story of three young friends, who travel from Greece to France in search of a better creative environment. Back in 1968 a military regime has taken over the government in Greece and just as many other Greek artists, Vangelis Papathanassiou, Demis Roussos and Lucas Sideras decide to leave their country. A fourth friend, Argyris Koulouris has to stay behind to fulfil his army duty. Although aiming to travel to England, Vangelis, Demis and Lukas first get in trouble as they are not allowed to enter the UK due to their work-permits, and then get stuck in Paris due to a transportation strike. By that time they decide to stay in Paris, and sign up with the Mercury record label as the band “Aphrodite’s Child”, with the help of Pierre Sberro.
Their first single “Rain and tears”, released in May 1968, immediately strikes gold and becomes a huge hit worldwide. The song plays in France during the student riots, and is an instant success in France and other countries in Europe. Due to the success of the single it is time to record a full album “End of the world”. The title song of the album, released in October 1968, becomes the second single of Aphrodite’s Child. A third single “Valley of sadness” is also shortly issued in France, but later quickly withdrawn……
In the early 1960s, young Greek musicians began to move away from the traditional popular music of Buzuki in Greece and to get involved in Western musical currents, especially bit music and garage rock. In the mid-1960s, when mass tourism developed rapidly in Greece, many groups emerged in Athens, playing fresh hits from England and America for Western tourists. Young Demis Roussos participated in many such groups, and - what is most interesting - at first did not sing, but only played: on the bass guitar and on the trumpet (under the great impression of the play of the American trumpeter Harry James).
Once, when Russos played in the band We Five, her main vocalist decided to make a break during the performance. Then Demis was allowed to sing, and he debuted as a singer with the song The Animals - “House Of The Rising Sun” (House of the Rising Sun). The audience enthusiastically accepted his unusual voice, and since then Roussos began to appear as an additional vocalist with the song Animals, and then other hits of the era, such as “Black Is Black”, etc.
Speaking at major tourist centers in Athens, such as the Hilton hotel, etc., Demis met many of the best musicians in the Greek capital, including Vangelis Papatanassiou (full name Evangelos), leader of the group Forminx. Demis and Vangelis became friends and formed a group, which also included Agirilos Kuluris and drummer Lucas Sideras. Initially, the band was called The Papathanassiou Set.
The first entries were made by a new team at Phonogram in Greece. They were the “Plastics Nevermore” and “The Other People”, enthusiastically accepted in Paris and London. In early 1968, the musicians received an invitation to London, but then the group faced bureaucratic obstacles. This is now the European Union made on the principle of the Soviet Union without borders - live and work where you want. At that time it was not so easy to make a working visa in England.
At the same time, the group had difficulties inside the country. In Greece, military conservatives came to power, and they revived, among other things, universal military service, as a result of which Agirilos Kuluris went to serve in the army. The other three members of the group were also at the age of conscription, but they did not wait for the agenda, they packed up things and went to France. The ultimate goal was to get to the UK, but the problem with the work visa remained unresolved. In addition, they could not go to Albion for physical reasons: a general strike began in Paris, including transport workers.
This was the beginning of the carefully planned Federal Reserve and the US CIA “orange” revolution for the displacement of the freedom-free French President Charles de Gaulle, who dared to shake the power of the dollar. Interference in the internal affairs of the country has given the romantic character of the struggle of workers and students against capitalism. The Bohemian capital plunged into barricades, chaos and a mess around it all.
These days the group was very helped by the French producer from Philips Records Pierre Sberro who arranged a contract with the record company Mercury Records. They signed a contract already called Aphrodite’s Child (Aphrodite’s Child), which was offered by the famous producer and AP-manager of Mercury Records, Lou Reisner. The name perfectly harmonized with the progressive style of the group and reflected its Greek origin. The first fruit of cooperation with Mercury was the single “Rain And Tears” (Rain and Tears), which was released in May 1968.
Aphrodite’s Child followed in the footsteps of the popular rock groups Procol Harum and Moody Blues, actively introducing elements of classical music into rock music. The main hit of Procol Harum was (and still remains) the song “A Whiter Shade of Pale”, written under the impression of the cantata of IS. Bach “Wake up, voices call us!” (BWV 140) and his suites for the orchestra No. 3 D major (“Aria”, BWV 1068). The song “Rain And Tears” became the processing of the famous Canon in D major by the German organist and composer of the Baroque period Johann Pachelbel.
The record suddenly became the most popular hit not only in France, but also throughout Europe and sold over a million copies. After this success it was necessary to release an album. To the public immediately guessed who is talking about, the album was subtitled Rain And Tears.
The name End of the World in this case makes sense not “End of the World”, as it is most often translated, but judging from the text of the title track - “Edge of the World”: “
You must go to the end of the world with me, But do not tell your parents and friends You know that you need only say a word To stop my game at the end of the world
But I know, What will I have to leave alone? I feel that you do not want to go
If you would go with me to the end of the world I would give you everything that lives on earth You know that you need only say a word, And we could live on the edge of the world
Aphrodite’s Child sounded very fresh and original. The repertoire consisted of psychedelic rooms in the spirit of the times and original love ballads, performed in a style that would later be called art rock or progressive rock, where Demis Roussos already showed……………..
I liked this album very much, though there are few duller songs on it. That does not seem surprising, as the styles of the songs alter very drastically, reflecting perfectly the mash-up album cover’s awesomeness. I believe there was much energy from new situations, as these musicians escaped their home country’s troubles to France, and met new exiting sounds and lifestyles radiating from London. to their own interpretation. From the tracks, mentionable would be "The End of The World” opens the LP brilliantly with grandiose drama, fitting to 1960’s Paris dance floors as slow piece and apocalyptic prayer for freaked out stoners. The sense of style and tone of Demis Roussos’ vocals meet the massive style-array of Vangelis Papathanasiou’s keyboard talents. “Don’t Try to Catch A River” runs after harpsichord driven soft-rocker, reminding some funny keyboard-driven trios soon blossoming at Great Britain’s scene. “Rain and Tears” is also a beautiful ballad, but shadowed by the album intro. “Valley of Sadness” is maybe another greates peak on this album from me, shimmering with spiritual belief and melancholic trust to turns of the fate. “The Grass is No Green” gives possibly hints of their forthcoming more adventurous “666” album, considering its form as aural landscape for Demis’ reciting. The band has also opened an official youtube channel, and it is fun to see and hear that Demis was also quite good bass player. I would recommend this record to all who like 60’s music, and also to those who are interested in the musical history of Vangelis and Demis Roussos, even though not liking the musical style of this album…..by Eetu Pellonpaa ………..
Soon after APHRODITE’S CHILD was formed, the guitar player Anargyros “Silver Koulouris is called to the military Service and has to leave the bands (only to rejoin them for the recording of 666), so they turn into a trio with Artemios (Demis Roussos) taking both the bass and guitar.
With this emergency lineup they release "End of the World” in 1968, an album that lead them to fame due to the self titled single “End of the World” which reached N° 1 in most continental Europe, but the album is much more than a hit single, even when their Prog leanings are not yet so obvious, the adventurous and delicate blend of Psychedelia with Greek ethnic roots is simply delightful. Probably a bit naive in comparison with their masterpiece, but this kids were releasing very elaborate and interesting music when the 60’s were dying.
The album starts with the title song in which the absolutely dramatic and clear voice of a young Demis Roussos creates a nostalgic moment only broken by his sentimental screams, but again, this is much more than just a ballad, the Greek Folk influence is more than evident while Vangelis adds outstanding organ sections with an evident Psyche/Prog orientation, I can’t understand why people catalogue this outstanding song as soft POPO when it’s one of the more advanced pieces of music you can listen in 1968, love the disheartening atmosphere and pure passion.
“Don’t try to Catch a River” is much faster and snappy than “End of the World”, but not less interesting, even when the funky entrance seems to announces a catchy POP track, the wonderful keyboards of Vangelis take us in a trip to an electronic Psychedelic universe, while that human metronome named “Lucas Sideras” adds dissonant backing vocals that prove how elaborate this track is.
People often criticize “Mister Thomas” and catalogues it as a childish song, but lets not forget this guys are Greek and want to include their ethnic roots into their music, yes, you can dance to it almost as you would do with a Tarantella, but they are shouting “We are Greeks and don’t want to sound like a British band”.
“Rain and Tears” is another track that obtained popularity for APHRODITE’S CHILD, and even when it’s basically a ballad, the contrasting and dissonant choirs plus the subtle organ and violin, makes of it interesting from start to end.
Now it’s time for “The Grass is no Green”, an experimental song with an extremely strong ethnic component that gives us hints of what 666 will be, absolutely dramatic and disturbing, demonstrates that this guys are going for more than just a place in the Billboards combining their national essence with trippy Psyche.
“Valley of Sadness” sounds like a track taken from the 60’s British Invasion, but again their Greek atmosphere make it unique and creates a contrasting mood with the heavy “You Stand in my Way” where Demis gives one of his best vocal performances.
As “Mister Thomas” before, “The Shepherd and the Moon” is a folksy song, but the distorted vocals and radical changes make it worth to be listened, the band tries to embrace Rock but never forgetting their essence, simply delightful and mysterious.
The album ends with “Day of the Fool”, one of the proggiest and more challenging songs in the album, they go from Rock to some sort of melodic Prog, Avant Garde to an outstanding and extremely long organ solo by Vangelis, the perfect closer for an excellent album.
Before rating “End of the World” I must say that before last week I only heard this album once back in the 80’s and didn’t impressed me, so I udsed to believe tha APHRODITE’S CHILD was a mainstream band that released one Prog album (666) by luck.
But before placing it in a box with the albums I never listen decided to give “End of the World” a new chance, and my opinion has changed in 180° degrees, it’s fantastic release in which the seeds of 666 are starting to blossom, so I can’t rate it with less than 4 solid stars…….by Ivan_Melgar_M ………..
Famously known for bringing together keyboards maestro Vangelis and easy listening singer Demis Roussos, Aphrodite’s Child were formed in Greece in 1968. The band was completed by Loukas Sideras on drums and Anargyros “Silver” Koulouris on guitar, with Roussos also playing bass. Intending to relocate to London, UK, the band got as far as Paris, France, where various factors combined to impede their progress. Rather than sit on their hands waiting, they signed a record contract in Paris, and released the single “Rain and tears” a few months later. The single found chart success in a number of European countries, so an album was quickly put together to capitalise on the success.
All the songs on “End of the world” were written by Vangelis (Papathanassiou) with non- band member Boris Bergman. Classical composer Johann Pachelbel also receives a credit for the use of his “Canon” melody on “Rain and tears”. The album has in recent years become a sought after rarity, although it has now finally been released on CD and download.
This is very much a proto-prog album, full of sounds which are now of their time but which in 1968 were novel and exciting. It may seem hard to believe, but Demous Rousos singing is actually invigorated and inventive. The fact that he was and is a fine singer must have been a major factor in the success of the the band. Vangelis keyboard work is confined to more traditional instruments such as piano and organ, his dalliances with synthesiser still being a few years off.
At times, such as on “The grass is not green”, we venture into more spacy, psychedelic territories, but generally the songs are well arranged pop based affairs. “You always Stand in My Way” features some unusually aggressive mellotron sounds, that instrument being more associated with pastoral orchestral effects.
One thing which noticeable is the lack of any significant lead guitar work, perhaps reflecting Anargyros Koulouris partial absence from the recordings (he was called up for military service around that time).
In all, an album which, to those hearing in the 2000’s for the first time, will sound rather naïve and dated. We must however recognise the vast amount of music which this album pre-dates. Seen for what it is and when it was recorded, this is a highly inventive and satisfying début.
Recent releases include both sides of the band’s first single"Plastics Nevermore/The other people" as bonus tracks. Both are interesting is an historical context, but not really worth seeking out….. by Easy Livin …………
With: - Claude Chauvet / vocals (1,4) - Boris Bergman / arrangements (4)
Tracklist End Of The World Don’t Try To Catch A River Mister Thomas Rain And Tears The Grass Is No Green Valley Of Sadness You Always Stand In My Way The Shepherd And The Moon Day Of The Fool
LP 1968 Mercury 138 350 France/Greece/Holland/Spain 1968 Mercury 20140 SMCL UK 1969 Mercury SLP 66.001 Brazil 1969 Mercury 131.103 Chile
CD 1996 Mercury 532 866-2 Greece 2004 Mercury UICY-9371 Japan
Single 1968 Rain and tears / Don’t try to catch a river Mercury 132 501 MCF France/Belgium/Holland/Greece/West-Germany/Italy/Spain/Norway/Turkey 1968 Rain and tears / Don’t try to catch a river Mercury 4124 Greece 1968 Rain and tears / Don’t try to catch a river RTB S53531 Yugoslavia 1968 Rain and tears / Don’t try to catch a river Mercury Australia/Brazil/UK/Peru/South Africa/Rhodesia 1968 Rain and tears / Don’t try to catch a river Philips 40549 Canada/USA 1968 Rain and tears / Don’t try to catch a river Philips SFL-1178 Japan 1968 Rain and tears / Don’t try to catch a river Lacsea Disques 68124 Cambodia
1969 End of the world / You always stand in my way Mercury 132 502 MCF France/Belgium/Holland/West-Germany/Italy/Spain/Turkey/Denmark/Singapore/Chile 1968 End of the world / You always stand in my way Mercury Greece/UK/Peru 1968 End of the world / You always stand in my way Philips 40587 Canada/USA 1968 End of the world / You always stand in my way Philips SFL-1202 Japan
1969 Valley of sadness / Mister Thomas Mercury 132 503 MCF (withdrawn) 1970 Valley of sadness / Funky Mary Mercury 6033010 Portugal
EP 1968 Rain and tears / Don’t try to catch a river / The other people / Plastics nevermore Mercury 74250 CXE France (Cassette) 1968 Rain and tears / The other people / Plastics nevermore / Don’t try to catch a river Mercury P 26 003 Portugal 1968 Rain and tears / Don’t try to catch a river / End of the world / You always stand in my way Litratone 74208 Israel 1970 Rain and tears / Don’t try to catch a river / Marie Jolie Mercury 6234002 Portugal 1968 End of the world / The shepherd and the moon / You always stand in my way / Mister Thomas Mercury P 26 008 Portugal
At their best, Crack The Sky reached the heights of artrock expression. A myriad of styles intersect effortlessly, lyrics are clever and delivered with equal measures of humor and gravity, and the performances are confident but not overwrought. The best Crack The Sky albums equal the best material by peers like 10cc, Queen and Max Webster. ‘Animal Notes’ is their second album, and along with successor 'Safety In Numbers’, it’s a high point in their discography. Both are recommended to all prog fans. Coming off the quirky but relatively conservative self-titled debut, John Palumbo led Crack The Sky through eight engaging numbers on 'Animal Notes’. The brooding atmosphere of “Animal Skins” and ambitious melancholy of “Maybe I Can Fool Everybody (Tonight)” highlight Side 1. The musical themes in “Maybe…” are extremely affective, pulling distinct emotions from the listener: sadness, loneliness, longing. Aided by Palumbo’s near-genius lyric writing, “Maybe…” remains a highlight of their catalog. Side 1 is rounded off with the harder rocking “We Want Mine” and “Wet Teenager”, setting themselves apart thanks to dextrous playing and Palumbo’s brilliant wordplay.
Side 2 gets proggier. “Rangers At Midnight” has everything you could want: a well- written storyline, an impressive dynamic range, excellent playing, unique arrangement ideas. Next track “Virgin…No” brings things to an entirely different plane, a hard rocking tune with curious shifts in tempo and time signature. “Invaders From Mars” finds Palumbo sounding like Genesis-era Peter Gabriel, and the music isn’t far from the more linear material on 'The Lamb Lies Down On Broadway’. Its final crashing flourishes lead to the sober “Play On”, a smart, introspective ending.
There aren’t a ton of keyboards here, a trait that sets artrock apart from the symphonic end of the genre. The guitar work on “Rangers At Midnight” takes the place of keyboards with commanding leads and themes, much in the way Brian May worked inside Queen’s most ambitious songs. The players impress subtly, allowing Palumbo’s songwriting gift to be the main focus. Though poor Crack The Sky albums outnumber good ones, the good ones should be investigated by even the most demanding prog fan….by slipperman ………….. Without a question CTS were one of the most under appreciated prog art rock bands of the 70’s (right up there with City Boy) and this their second album is nothing short of genius. In contrast to their debut album, Animal Notes explored a slightly softer and more acoustic side of sound while not straying too far from their signature sound. Highlights for me are the standout vocal harmonies and the guitar work of Rick Witkowski. For those who are not familiar with CTS you will find a high energy band with art rock written all over them……exceptional song writing, top notch musicianship, multi - genre challenging music….a mix of pop, rock and progressive rock at their core. Their sound is not that polished sound you hate but rather true raw sound and high energy playing. genuine graet music and a band I heartly endorse………. by loserboy ………….. This is the second offering from the Crack the Sky and the one least sited by people likely due to it’s lack of much radio airplay. It does feature a band on the rise in one sense (considering it was their second album and there were still high hopes for them) and decline in the other (creative differences really came to a head during this time and could have seriously affected the very existance of the band let alone the album). Despite all this, it is a very evenly balanced collection of highly progressive yet ultimately 'user friendly’ songs that - at least for most fans of the group - represent part of the high water mark for this very underrated band.
I started with Animal notes maybe because it is my personal favorite but also because it is a somewhat fitting analogy of the band at this time with so much potential and subsequent output yet so little commercial or historic success. Most bands like Crack the Sky endure a few years or possibly decade or two of obscurity before ultimately being revealed for the genius they were. Sadly Crack the Sky still remains largely unknown to all but a very loyal group of fans mostly in the Baltimore area………….. Progressive rock group Crack the Sky was formed in the Ohio River Valley region in 1975 by frontman John Palumbo, guitarists Jim Griffiths and Rick Witkowski, bassist Joe Macre, and drummer Joey D'Amico. According to the website the band was originally dubbed ArcAngel, building a loyal following on the Cleveland and Baltimore club circuits before signing to the Lifesong label to issue their self-titled debut LP, which earned critical acclaim for Palumbo’s acerbic lyrics and the songs’ complex structures and time changes. Commercial reward was minimal, however, and after completing Crack the Sky’s second LP, 1976’s Animal Notes, Palumbo exited to pursue a solo career. D'Amico assumed lead vocal duties on 1978’s Safety in Numbers, with singer Gary Lee Chappell featured on the Live Sky release. Crack the Sky then disbanded, but in 1980 Palumbo, Witkowski, and keyboardist Vince DePaul briefly reformed the group to record the White Music album before again dissolving. Palumbo then formed another new lineup for a series of albums including Photoflamingo, World in Motion I, and Raw before reuniting with Witkowski, D'Amico, and DePaul for a series of 1986 live dates at the Baltimore club Hammerjacks and eventually a new 1989 studio LP, From the Greenhouse. Dog City followed in 1990, and Crack the Sky infrequently reunited throughout the decade to come. ~ Jason Ankeny, Rovi………………
Line-up / Musicians - John Palumbo / vocals, keyboards, acoustic guitar - Jim Griffiths / guitars - Rick Witkowski / guitars - Joe Macre / bass - Joey D'Amico / drums
Songs / Tracks Listing 1. We Want Mine (4:54) 2. Animal Skins (3:33) 3. Wet Teenager (3:32) 4. Maybe I Can Fool Everybody(Tonight) (5:57) 5. Rangers at Midnight (7:34) 6. Virgin….No (4:55) 7. Invaders from Mars (3:31) 8. Play On (4:10)
Haïti 2000 was a one stand band formed by Gérarld Merceron a famous haitian pianist/musician, who released 4 beautiful jazz albums under his own name and entirely composed this Tèt San Kò, his best work in merging compas, caribbean rythms, vocal & spiritual jazz and brazilian music. Features confirmed haitian muscians like Joel & Herbie Widmaier, Claude Marcelin, Lionel Benjamin, Robert Denis Junior. No need big talk as the whole album is brilliant and still underrated Probably one of best caribbean jazz fusion albums……..diggers & digest………
Tracklist A1 Je’m Tonbé Nan Jé-ou A2 Pinyin Lagé A3 Dé Tan Toua Mouvman A4 Dayiva-o A5 Commentaires Sur L'Arbonite A6 Madan Jef (Compas Moderne) B1 Kiyoujkajou B2 Chan Péché B3 Pou Lanmo Pa Gin Priz Sou Lavi B4 Tet San Ko B5 Métamorphoses Et Psychodrames Sur Le Theme De Complainte Paysanne
One of the more recent discoveries in the psych/prog collector scene. The album has multiple songs on each side, but really they play like suites and end up creating side long pieces. The first side is (well, at least to me) the better of the two sides. That’s the side that people use the Floyd and King Crimson comparisons for. The majority of the side involves guitars and an electric violin. Around 2/3’s of the way into the side A it turns into more of a hard rock feel for a few minutes before ending. The second side isn’t that great. It’s not as focused, and offers more of a rural feel at times which isn’t my cup of tea…..by…6 Star Rarities ………
Pan Symphony in E Minor is the kind of album that hardcore vinyl collectors – especially those whose specialty is esoteric psych-prog relics of the ‘60s and ‘70s – talk about using terms like “holy grail.” Such has been the rarity of the barely released 1974 recording that the few available copies floating around years later, after its legend had begun to grow, commanded high prices among serious record geeks. Fortunately, 36 years after its release, the music that upstate New Yorker William Nowik made during a brief recording session under spartan circumstances was made widely available on CD. Originally conceived as the possible soundtrack to a film whose projected theme was the Greek god Pan, the album was recorded mostly by multi-instrumentalist Nowik, who plays everything from guitar and violin to pump organ and kalimba, with some help from a cast of characters that includes Greg Walker (of AOR band Duke Jupiter) on guitar, Warren Cooper on sax, and Pete Genovese on percussion. An all-instrumental affair – except for some chanting – the album basically consists of two long suites, each of which is broken down into several smaller pieces that move through a dizzying array of sounds and styles. The first “movement,” if you will, goes from meditative drones and spare, hypnotic guitar patterns to a driving, heavy psych-prog jam before ending on a blissed-out, spacy mood amid ambient tones and guitar harmonics. The second, considerably longer, is an even wilder ride that encompasses Eastern-sounding violin and acoustic guitar duets, Americana-sounding slide guitar, sax-led jazz-rock à la early King Crimson, gentle percussive moments with vibes and kalimba, some John Fahey-esque guitar excursions, and more. What the whole thing has to do with Greek mythology is tough to say, considering that the film part of the project seems to have never materialized, but this monument to one man’s musical vision is a fascinating document regardless……by James Allen…………..
There’s a buzz about this 1974 album among collectors of vintage psychedelia and prog-rock; quite a rarity, the original LPs — only 200 pressed — were supposedly going for as much as $1000 in online auctions (the highest I saw was $800).
Pan Symphony in E Minor is actually a 14-movement suite (not a symphony), a wonderful bit of low-key eccentricity from a very multi-talented guy. WILLIAM NOWIK is heard on guitars (acoustic, electric, and electric 12-string, Hawaiian), electric bass, acoustic and electric violin, flutes, piano, percussion, kalimba, pump organ, and even a ceramic blowfish. A few other folks helped out on this mostly instrumental album, including a pretty good saxophonist, WARREN COOPER.
While it’s easy to hear why prog/psych fans are into it, frequently cited comparisons to Pink Floyd and King Crimson are a bit misleading, as it style-hops all over the place and sounds more like spacey West Coast psychedelia than dense British prog or psych. Free improvisation, a snippet of Gregorian chant, howling wolves, and the above-listed panoply of instruments make this a constantly surprising sonic grab bag of sounds and styles.
The booklet notes read like the stoned ramblings of somebody who doesn’t actually know much about music, or about how to write, but still contain enough interesting information gleaned from conversation with Nowik to be worth reading………………
Somewhat nervously, I expect my entire life to be on YouTube any day now. Well, virtually everything else is available. For music lovers, this is problematic. We have limited time and money, yet press releases and reviews claim that artists, cults, gems, and legends of musical history are being unearthed at a rate roughly equivalent to the discovery of an enormous tomb of pristine terracotta warriors.
Yet the release of William Nowik’s Pan Symphony in E Major on CD is most welcome, not least as it lets us hear why the original vinyl was reportedly fetching $1000 at online auctions. Some of that price was because very few copies of original vinyl existed, but I have to say that Pan is a worthy bit of odd treasure. The music consists of a short opening segment which acts as a summons, and two pieces each long enough to fill a side of a vinyl LP. The “symphony” is actually divided into 14 titles with fairly obvious separations or changes, so if you think it important to deduce which piece is “Tales of Joujouka” or “Rolling to Venus Interlude”, then you can do so.
Nowik explores electric and acoustic contrast, rhythm and percussion, with a variety of guitars, bass, violins, flute, piano, organ, clocks, bells, thumb-piano, and drums. He used to play very long gigs and parties, and consequently gravitated toward longer songs considered unsuitable for radio airplay. Pan Symphony in E Minor is a mostly solo musical trip across assorted terrain. About five minutes in and the abrasive violin/guitar dynamic (from 1974, remember) will sound very familiar to fans of Dirty Three. Elsewhere, there are West Coast math-psych-blues-rock passages, brief but lovely guitar slashes reminiscent of Laurie Wisefield’s rare avant-garde moments, a smidgeon of Gregorian chant, cosmic shuffles, circular folk sections, fluid Canterbury style progressions, choppy Havens-meets-flamenco guitar, electric doubling, a crashing wave, rain, rumbles, chimes and a tinkling semi-crescendo.
In need of a nap, I listened to this remastered disc while lying on the floor and enjoyed every second. It shifts around but without sacrificing clarity to flow. Yet when played in my car, other passengers demanded it be stopped. Apparently, William Nowik continues to play, record, and sing, and may have more releases in the works. And when YouTube reveals my life and personal cultural map, it will connect Nowik’s Pan Symphony in E Minor to Algarnas Tradgard’s The Future Is a Hovering Ship, Anchored in the Past, The Faust Tapes, the forest gods in Hayao Miyazaki’s Princess Mononoke, Jakob Olausson’s brilliant psych-folk LP Moonlight Farm, the Cottingley fairies photographs, and magic mushrooms. Before you ignore this album, ask yourself, where else can you hear someone play a ceramic blowfish?……….BY D.M. EDWARDS……………
One of the most interesting finds of recent years is this mushroom-influenced psych/prog instro suite, which goes from mysterious nocturnal moods into acid fuzz guitar leads and back. Impressive and organic, with a wide appeal. The album had no distribution and was reportedly pressed in a few hundred copies, but it’s still surprising that it remained buried for so long……………………..
Pete Genovese Percussion, Vocals, Choir, Chorus, Drums, Bells, Humming, Bamboo Flute, Vibraphone
Brad Wheat Bass
Randy Wheat Drums
Gary Quinn Piano (Electric)
Warren Cooper Saxophone
Greg Walker Guitar (Electric)
A1 Conjuration To Pan
A2 Flight From Morocco
A4 Tales Of Joujouka
A5 Conjuration To Pan/Dirigatur
B1 Rolling To Venus Interlude
B2 Time To Cry
B3 Heaven Help Us All
B5 Burnt Offering
B6 Pan’s Sleep
B7 Sky Fire
B8 Pan’s Return To The Mountains
B9 Finale — Conjuration To Pan
Takeshi Terauchi and The Blue Jeans (AKA Terry and The Blue Jeans) Early Members 1962 Rockabilly Band era are Takeshi Terauchi, Hachiro Suzuki, Naoaki Hori, Kunimitsu Fuyuume, Osamu Arima, Masayuki Hori
1964 Surf Beat GS era are Takeshi Terauchi, Kunihiko Kase, Masami Ichikawa, Shiro Ishibashi, Fumio Kudo, Hachiro Suzuki.
In 1966 they served as the opening act for The Beatles Japanese live, but Kunihiko Kase has left just before. Beatles live is under high alert, Opening act has been confined in their dressing room. Kunihiko Kase was to leave their blue jeans and He said, “So I want to seen the Beatles." He chose to leave the group to see performance of the Beatles from the audience seat.
Furthermore Takeshi Terauchi also has hard schedule and fallen in the overwork. Takeshi Terauchi was supposed to leave the group for medical treatment before the Beatles came to Japan.
The Blue Jeans Members For Record Debut on 1967 GS era : George Tagawa, Kazuo Okamoto, Hiroshi Nishimura, Isao Asakura, Izumi Wada, Ryuji Hoshi.
Takeshi Terauchi and The Blue Jeans Members on 70s Rock Era : Takeshi Terauchi, Mikio Aida, Shiro Ishibashi, Joe Mizuki, Loui Takahashi, Takao Shimura, Yu Yamane
Takeshi Terauchi and The Blue Jeans New Members on 70s Rock Era : Takeshi Terauchi, Iwao Ishii, Kaoru Ishii, Hajime Shinjo, Kazushi Kiryu, Shinichi Yamamoto, Joe Fukazawa、Shugo Miyagawa, Kazuo Ohmori, Tadashi Inoue, Shuji Susa
They are also replace the back members that except Takeshi Terauchi. Yukio Teranaka, Kazuo Nobuta, Masayoshi Kusumoto, Hisashi Takeda…………
Tracklist A1 青い渚をぶっとばせ / Kickstand 2:16 A2 サーフィンU.S.A. / Surfin’ U.S.A. 2:59 A3 サーフ・パーティ ー / Surf Party 2:10 A4 太陽の彼方に / Movin’ 1:45 A5 ポィント・パニック / Point Panic 2:22 A6 恋のサーフボード / Surf Board Walk 2:41 A7 ジャンゴ / Django 2:14 B1 ブルー・ジーン NO.1 / Blue Jean No.1 2:26 B2 霧のカレリヤ / Karelia 2:07 B3 エマの面影 / Emma 2:13 B4 ウエスト・オブ・ココス / West Of Cocos 3:07 B5 空の終列車 / Last Space Train 2:38 B6 心のときめき / Hearts Are Heart 1:58 B7 夕陽と渚の七人 / The Enchanted Sea 2:28
Albums 1964 : Korezo Surfing 1966 : Blue Jeans Golden Album 1966 : Let’s Go Eleki-Bushi 1966 : Let’s Go Terry! 1967 : Let’s Go Classics 1967 : Seicho Terauchi Bushi 1967 : The World Is Waiting For Terry 1969 : Let’s Go Blue Jeans 1970 : Eleki Ippon Gunka de Shobu Totsugeki 1970 : Eleki Ippon Enka de Shobu 1972 : Manatsu no Umi wo Buttobase 1973 : Rashomon 1974 : Tsugaru Jongara 1978 : Ucheiyu Perry Rhodan Yori 1992 : Notteke Wave 1996 : Catch A Wave 2003 : Ereki Tengoku: Early Times 1964-1965 2008 : Mr Legend