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1 Apr 2017

Voices Of Darkness “Voices Of Darkness 1974 Nigeria Afro Beat Afro Funk Psych





Voices Of Darkness ‎ “Voices Of Darkness 1974 Nigeria Afro Beat Afro Funk Psych
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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 

Aphrodite’s Child "End of the World" 1968 Greece Prog Symphonic Art Rock









Aphrodite’s Child  "End of the World" 1968 Greece Prog Symphonic Art Rock
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https://ok.ru/group/53639782137965/topic/66572533746541

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 …………

The most famous Greek band of the late sixties was undoubtedly Aphrodite's 
Child. Two of their members are well-known even today: Egypt-born singer 
Demis Roussos (who also played the bass guitar, trumpet, bouzouki and 
organ, by the way) and keyboard wizard and multi-instrumentalist Vangelis 
Papathanassiou, who hailed from the town of Volos (situated in Thessalia, 
roughly mid-way between Thessaloniki and Athens); drummer Lucas Sideras 
(born in Athens) completed the 1968 line-up. They moved to France very 
early in their career and issued a string of singles that climbed the 
hit-parades virtually all over the world (their staying in France was due 
to the great strikes accompanying the upheavals of May 1968; the band were 
actually on their way to London). Most of their music was pop-oriented but 
the psychedelic seeds were there manifesting themselves in songs like "The 
Grass Is No Green", "Don't Try to Catch a River" and "You Always Stand in 
my Way". Their oeuvre culminated in the release of "666", on the famous 
Vertigo label. This double album was inspired upon the Apocalypse of St. 
John and is one of the great psychedelic masterpieces of the period. The 
influences that can be found on it range from Byzantine church music via 
oriental-style improvisations to progressive/psychedelic continental rock. 

After the release of the album (apparently, everyone thinks this was in 
1972; I'm convinced it was recorded in 1970, L.) the band members went 
their separate ways: Lucas Sideras released two rather good albums (and is 
still active, apparently, playing with a band called Diesel), Demis 
Roussos dived head first into cocktail-lounge music with "We Shall Dance" 
(1971) (although I must say there are one or two b-sides of his singles 
that still bear the mark of his previous career, "Lord of the Flies" for 
instance, and according to Teodore and Mike there are some great songs in 
the traditional style on his first album, "On The Greek Side Of My Mind", 
L.) and Vangelis went on to become one of the great popular keyboard 
wizards of the seventies. But his first solo outings were of a different 
nature, with "Hypothesis" (recorded in May 1971,at the Marquee Studios in 
London), "The Dragon" (recorded one month later, same place) and the 
all-but-forgotten "Fais Que Ton R...ve Soit Plus Long Que La Nuit". The 
former two feature Michel Ripoche (the violinist from a French band called 
Zoo who was also present at the recording of "666") ex- Aphrodite's Child 
guitarist Arghiris "Silver" Koulouris and some British session men (to wit 
Brian Odger, Mick Waller and Tony Oxley) playing some very fine 
jazz-influenced ("Hypothesis") and progressive ("The Dragon") music, while 
the latter is a rather militant political statement, produced and composed 
by Vangelis, making use of inscriptions culled from Paris walls in May 
1968. All three albums came out in 1971, a year that also saw the release 
of a single by Alpha Beta, with two songs on it: one was called "Astral 
Abuse" and the other "Who Killed". Like "Dragon" and "Hypothesis" it came 
out on the Byg label. In case you're wondering what this suicidal ugly 
duckling is doing in the midst of these glorious Greek swans, let it be 
known to all of ye that Alpha Beta was none other than Evangelis O. 
Papathanassiou in person! 
Two years later "Earth" recaptured some of the splendour and mood of 
"666", while on 1974's "Entends-Tu Les Chiens Aboyer" (released on the 
very small Vampir record label, distinguishing itself by a very bad 
quality of vinyl - even by French standards, L.) the first inklings of the 
keyboard extravaganza that was to come reared their head. The next one, 
"Heaven And Hell" was the one that brought Vangelis (he'd dropped the 
Papathanassiou with an eye towards commercial feasibility) in the picture 
as far as the public at large was concerned. 
And while we're at it: Aphrodite's Child weren't the only Greek band 
trying to make it abroad; there was Axis, for example, a band that was 
actually formed in Paris (in 1970). Like their more illustrious 
compatriots they succeeded in breaking into the hit lists, with a Greek 
traditional called "Ela Ela" (I recall seeing them on t.v. in the early 
seventies, with drummer George Hatziathanassiou joining the rest of the 
band front-stage bashing a huge drum strapped to his belly, L.). They 
recorded three albums, the first of which contained some fine heavy organ, 
while the second saw them moving into the twilight zone between 
progressive music and hard rock. Axis disbanded in 1974, after the release 
of their third album that failed to make it commercially, in Greece as in 
the rest of Europe. Organ player Demis Visvikis and bassist Dimitris 
Katakouzinos joined Demis Roussos' backing band. 
Another Greek expatriate was George Romanos, who had come on the scene in 
the mid-sixties, adopting the image of the lonesome troubadour. His first 
two albums, released in 1967 and '68, are nice collections of folk 
ballads. In the early seventies he changed his style into a 
Byrds-influenced fuzzed-out melodic psychedelic sound and issued the 
excellent album "Duo Mikra Galazia Aloga" ("Two Small Blue Horses") in 
1970 (I've got another from around the same period (judging by the cover 
photos) called "George Romanos In Concert & In The Studio", the studio 
being Columbia, same as on "Two Small Blue Horses". As far as I can tell 
by the (Greek) liner notes, George was helped out by Vangelis 
Papathanassiou!, L.). In 1971, George Romanos moved to France where he 
seems to have been seen playing with members of Axis; in 1974 he issued a 
fourth (fifth?) album there, called "Dans Le Grenier", on which the 
emphasis lies on the bitter-sweet edge of his melodies and the surrealist 
lyrics. For quite a long time (almost a decade) Romanos was nowhere to be 
seen but then he came up with two more albums in the eighties, having 
partially reverted to his ballad-oriented style, but mixing it with 
progressive and psychedelic stuff. 
To close off this slightly oo-la-la chapter there's Stamatis, a Greek 
singer who recorded "Beautiful Lies" for the Philips label in 1972. The 
album is a mixture of acoustic and electric rock, once again consisting 
mostly of perfectly sung and orchestrated quiet songs and ballads, in a 
similar vein to Strawbs or very early Genesis. Some French musicians 
participated on the album, as well as Arghiris Koulouris and Lucas Sideras 
of Aphrodite's Child. 
Meanwhile, back in Greece the seventies heralded an explosion in the Greek 
underground scene; not only in music but also in all other forms of art as 
well as in political activism a stream of radical innovation was 
omnipresent. The principal expressions of this phenomenon were the gradual 
change of several quarters in Athens toward becoming freak hang-outs 
(Plaka and Exarchia Square) the turning into rock clubs of many 
traditional folk music taverns and in general the adopting of alternative 
attitudes by the most advanced of the younger people. Thus a small radical 
core began to show its presence nearly everywhere in the big cities, 
spurred on primarily by the fall of the military regime but also by an 
obvious desire for change. Having to face a new, uncontrolled phenomenon, 
the conservative Greek society showed a hostile disposition, with the mass 
media printing slurs against the new movement and approving of the 
autocracy of the suppressive forces. As was to be foreseen this behaviour 
did nothing if not strengthen the cohesion of the alternative scene. A 
space for free and virtually limitless forms of expression was opened and 
many bands quit their previous mainstream direction and jumped on the 
alternative bandwagon. Unfortunately the record companies were loath the 
issue rock music, not necessarily from a political but rather from a 
commercial point of view: they assumed that there wasn't enough of a 
potential audience for the genre to make it worth their while. The 
majority of the groups disappeared without leaving any recorded traces. 
Some of the more serious underground bands were captured on vinyl, 
however, like on the "Live At Kyttaro" album that gives a very nice 
cross-section of what was happening in Athens in the early seventies. The 
recordings on the album date back to 1971 (I think) but it was only 
released in 1980 (on the Lyra label) and it features some convincingly 
shouted pop material from Despina Glezou, a folk-influenced protest-type 
song by Damon & Fidias, a free-form piece by the infamous Hexadactylus, 
Dionysis Savopoulos with Stella Gadeda and his band Bourboulia, and last 
but by no means least a ten-minute track called "Elektrikos Socrates" by 
Socrates Drank The Conium. 
We'll go over the latter three bands in some detail, starting with 
Socrates. 
Socrates was formed (as Socrates Drank The Conium) from the ashes of 
garage band The Persons in 1969, around bass player and singer Anthony 
Tourkogiorgis and John Spathas, an excellent guitarist, with George 
Trandalides on drums. Over the years, they turned into Greece's most 
expressive rock band. Their first two albums were issued in 1972 and 1973 
respectively and contained some very fine blues and early hard rock, with 
the band shortening their name to Socrates in the process. On their third, 
"On The Wings" (1974), they incorporated some elements of Southern rock 
into their sound, while for their fourth effort - recorded in London - 
they drafted in Vangelis Papathanassiou (who had turned down an offer from 
Yes to replace Rick Wakeman!) whose keyboards helped turn "Phos" (1976) 
into a progressive underground masterpiece. For their last two albums they 
went back to the straight and narrow path of just plain old rock, with a 
few funk elements thrown in, although the quality of their music remained 
at a high level. Socrates disbanded in 1984 and its musicians now pursue 
successful solo careers. 
Dionysis Savopoulos was probably the most influential individual in the 
history of Greek alternative music. His ethnic approach to rock is unique 
and ranks him among the sacred monsters of the genre. He began way back in 
1966 with "Fortigo" a record that was markedly influenced by the songs of 
Bob Dylan, Woody Guthrie and Jacques Brel. In 1970, Savopoulos turned to a 
completely personal sound, blending protest ballads, rhythm'n'blues, 
psychedelia, straight rock, jazz, Greek traditional music and ethnic tunes 
from all over the Balkan into an awesome progressive idiom. His long song 
on "Live At Kyttaro" is most impressive and one of the best cuts on the 
album. Members of other important Greek bands (Iraklis, for instance) 
popped in to give him a hand occasionally and his cooperation with Stella 
Gadedi was prolonged well into the seventies. Practically all of his 
albums up to 1979 are works of an untiring genius, but sadly his musical 
offerings of the eighties show an almighty drop in quality accompanied - 
alas - by a change of attitude in his political views as well. 
Hexadactylus arose from the ashes of MGC. With the charismatic singer 
Dimitris Poulikakos as main man they proved to be one of the principal 
bands of the period. They developed a personal musical style leaning 
towards Frank Zappa's Mothers Of Invention (with some wild vibraphone 
playing by Dimitris Polytimos) and soon acquired a devoted following. 
Apart from this live track, only two singles were left behind by this 
freaky, jazz-influenced band: "The Kids Are Alright" and "Aneprokopos", 
both released in 1971. In 1976 EMI Greece released "Metaforai Ekdromai - O 
Mitsos", credited as a Dimitris Poulikakos solo album; it's considered to 
be one of the three best albums to come out of Greece's underground scene 
in the seventies, having successfully captured the spirit of the age. 
Apart from all the members of Hexadactylus (who were Dimitros Poulikakos 
himself, Lakis Diakogiannis on sax, Nikos Politis on guitar, Antonis 
Triantafyllou on bass, Leonidas Alachadamis on drums and Dimitris 
Polytimos of vibes and organ) just about the whole Greek music scene was 
present on the album, with lots of members of other bands participating in 
the project. A few random examples: Vlassis Bonatsos of Peloma Bokiou was 
there, Nikos Tsilogiannis of Bourboulia, Costas Doukakis and John Spathas 
who had played guitar on the Socrates albums as well as Socrates drummer 
George Trandalides, Pavlos Sidiropoulos of Damon & Fidias and Spyridoula, 
and quite a number of persons who had worked on the Iraklis albums. And to 
join both ends of the circle Dimitris Poulikakos in his turn sang on 
Iraklis' double album "Se Allous Kosmous" that was released in the same 
year as "Metaforai Ekdromai". 
Iraklis Triandafyllides began his career in the sixties, playing in a beat 
band called The Saints (who had one single out) before going on to join 
D.N.A. in the early seventies. In 1973 he formed a band of his own 
(Lernaia Hydra - named after a monster out of Greek mythology) with which 
he recorded two singles as well as the double album mentioned earlier. 
It's not only one of the best but also one of the rarest Greek releases. 
The two records he released in the eighties are rarities as well. His work 
is mainly characterised by ethnic and psychedelic elements and dreamy 
atmospheres in a folk/psych style using many traditional Greek 
instruments. Nowadays, Iraklis owns several clubs and recording studios; 
he released two albums in the early eighties as well as a single-record 
reprint of "Se Allous Kosmous" in 1988. 
This seems as good a place as any to mention that Giannis Giokarinis, who 
say and played the bass on some of the Iraklis albums, played the 
keyboards for Ilias Asvestopolous, whose "2002 Pola" album was released on 
Pan-Vox in 1974. Bass player Giorgos Fillipidis and violinist Giorgos 
Mangklaras were two other musicians who were both featured on the Iraklis 
albums. Their names were also to be found on an album by one of the 
figureheads of the Greek scene: Stavros Logarides. In the early seventies, 
Logarides founded Poll, a soft-rock, folky-psychedelic, hippie-ballad 
band, clearly influenced by the likes of The Byrds and Crosby Stills Nash 
& Young. The other two members were Kostas Tournas (who used to be with a 
garage band called The Teenagers that released one single in 1966) and 
Robert Williams (I think he's the same guy who recorded "Nosferatu" with 
The Stranglers' Hugh Cornwall in 1979, and who went on to play for Captain 
Beefheart and The Tremblers, L.). Poll only existed for two years but they 
managed to release two albums (in 1971 and '72). Their easy-listening 
ballad style made them very popular with Greek audiences, although the 
songs they wrote were rather light-weight. After the split, Kostas Tournas 
went on to record a progressive psychedelic concept solo album (whew, L.) 
in 1972 while Stavros Logarides started up another band, called Akritas. 
Incidentally, Poll would briefly reform in the early eighties, and come up 
with a live reunion album (they really were taking the CSN&Y thing to the 
limit, weren't they, L.). 
Now Akritas must surely rank among the best groups ever to have hit the 
Greek scene, if one is to judge by their - admittedly very rare - 
eponymous debut album. The LP is chock-full of underground progressive 
rock akin to the sounds that can be found on albums by Aardvark, Arcadium 
and even Emerson Lake & Palmer. Apart from Logarides, other people in the 
band were keyboards player Aris Tasoulis (ex-Despina Glezou), guitarist 
Dimis Papachristou, drummer Giorgos Tsoupakis (who in the eighties went on 
to play with Panos Dracos) and organist John Papadopoulos). Sadly, apart 
from a single, this 1974 release was to be their only re-corded output, 
for soon after this excellent band split up due to general indifference. A 
part of that era's rock press is on record as describing Akritas' music as 
"music for Chinese people", because of the intrinsically difficult and 
complex rhythmic patterns they wove. Interestingly, the lyrics to 
"Akritas" were written by Costas Ferris, the very same one who had also 
worked for Aphrodite's Child on their "666" masterpiece. 
After the demise of Akritas Stavros Logarides seemed to fade from view, 
but he did come up with a solo album in 1978 (recorded in the Studio Era, 
in August of the same year). The LP featured the nucleus of Akritas (Dimis 
Papachristou and Giorgos Tsoupakis) as well as a some guest musicians 
among whom members (or former members) of Iraklis, Socrates and 
Hexadactylus could be spotted. 
Teodore and Mike's favourite band from the early seventies was Peloma 
Bokiou, who released one album (in 1972) and four singles. They were made 
up of ex-Bourboulia guitarist Nikos Daperis, drummer Takis Marinakis (who 
also played with Dimitris Poulikakos), keyboard person George Stefanakis 
and "they had the best Greek male rock singer in our opinion, named 
Vlassis Bonatsos" (T+M). If the group is known to record collectors at 
all, it's not so much because of their organ-based psychedelic hard rock 
sound mixed with traditional Greek folk influences, but rather because 
they were mentioned in the credits on German band Agitation Free's 
"Malesch" album. 
As it happens, the latter's sound greatly influenced one of Greece's most 
extreme psychedelic bands, and another favourite of Teodore and Mike. Like 
them, they came from Piraeus; they were called Gazuama Sinchartas and 
featured fuzzed-out guitars and a completely stoned-sounding 
instrumentation that blended traditional music with a heavy psychedelic 
sound, leaning towards Pink Floyd, Amon Düül II and Egg as well. They 
issued one great single ("Anypsosi" - 1971) but sadly there's nothing else 
left of this monster band. 
There were connections betwixt Peloma Bokiou and some other fairly 
well-known Greek bands and musicians as well: singer Vlassis Bonatsos 
helped out on Stelios Fotiadis's mellotron-drenched "Kainourgia Mera" 
album (released on Lyra in 1975) where he was in the good company of 
Despina Glezou, the female vocalist who was featured on the "Live At 
Kyttaro" lp. She'd been in another band with Stelios Fotiadis before that, 
called Nostradamos; their sole album appeared on the Zodiac label in 1972. 

Peloma Bokiou's keyboard player, Giorgos Stefanakis, played on one of 
Mariza Koch's albums (in 1973; Iraklis guitarist Giorgos Filippidis was 
present as well, and so was Socrates drummer Giorgos Trandalides; this is 
starting to look like a Greek super-group, L.). She was a legendary female 
vocalist with a tremendous voice who came out of the folk movement. During 
the seventies she started to take an interest in a more electrified sound 
and integrated progressive rock, medieval and free jazz elements in her 
music, making for a style close to Area, Fairport Convention and Gryphon. 
Albums like "Dio Zygies Paignidia" (1974) - a true monster release - 
"Mariza Koch" (1977) and "O Kathreftis" (1980) are perfect examples of how 
progressive folk music should sound. She continues making music to this 
day, issuing albums and appearing live, and still has a huge status in the 
underground. 
Incidentally, keen amateurs of eastern-tinged folk and folk rock can also 
get out their wallets and go look for a private label release called 
"Times Of Spring", by Eleni Mandelou. The album was made around 1980/82 
but it appears to be quite hard to find as only 500 copies were pressed. 
The Vavoura Band, formed by John Drolapas (guitars) and John Vavouras 
(bass, vocals) in 1976, was a hard rock formation that was very famous for 
its destructive live shows. Their musical style tended towards Jimi 
Hendrix, Cream and Golden Earring. Apart from the 1981-released single 
"The Junkie" they have a few tracks on compilations. Delta (from Saloniki) 
and Mauve were two other hard rock bands of the same period, who shared an 
album on the Pan-Vox label, with the latter tending more towards straight 
hard rock, while the former incorporated some progressive moves into their 
music........................... 

Line-up / Musicians
- Demis Roussos / vocals, bass, guitar, bouzouki
- Vangelis Papathanassiou / keyboards, flute, vibes, percussion, vocals, arrangements (4)
- Lucas Sideras / drums, percussion, guitar, vocals

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

Discography

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 

johnkatsmc5, welcome music..

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