It’s a compilation from previously unreleased songs. Some of the songs from this album until recently were just sketches. Hard work in the studio brought them to the state of full-fledged self-sufficient tracks. The title track “Mind Breakthrough” is an interpretation of one of the most famous hits, Break On Through (To The Other Side). Let me remind you that the official release will take place in the middle of April……..
1. Night Train (2:47) 2. Sudden Rain in Kyo (3:01) 3. Page of Reminiscence (2:51) 4. Trip Inn (3:06) 5. Don’t Cry on Mondays (2:32) 6. Just the Burning of My Heart (2:00) 7. Never Stop (2:53) 8. Cross the Rainbow (2:47) 9. Baby (2:49) 10. Locoweed (3:10) 11. Awakening (2:25) 12. Summer Date (3:05) 13. When Morning Comes (2:50)
Masters of Deceit were an Indianapolis band that had its only release, “Hensley’s Electric Jazz Band & Synthetic Symphonette” on the highbrow east coast major label Vanguard Records.Led by keyboardist Tom Hensley, who also handled most of the vocals, the band also included Steve Blum on guitar, Gary Campbell, bass and vocals, and Stan Gage on drums. I believe the record was recorded in NYC.Soon afterwards, Hensley relocated to Los Angeles and became a successful session keyboardist, playing with many big names, including Neil Diamond, Helen Reddy, Cher, David Cassidy, The Carpenters–to name but a few.The Masters of Deceit LP is relatively obscure today. It was re-released on vinyl and CD by Comet Records in Italy a few years ago. Original LP copies can be found for less than $50 but are not common.Musically, Masters of Deceit occupy an end of 60’s/beginning of 70’s transitional niche, drawing from psychedelia, jazz-rock and progressive rock. .................... And now, a little surprise from the archives, the band who inspired ABBA to write their world-conquering disco hit, "Voulez-Vous". Only joking.
It was with a certain trepidation that my eyes alighted on the sleeve of this disc. The faintly absurd long-winded title, and the somewhat out-of-it expressions on the faces of the protagonists, particularly the sideways glance of the obliquely-coiffed gentleman at the front who looks uncannily like Paul Giamatti impersonating a member of Soft Machine, suggested that this could either be an elaborate hoax (kind of a prog take on the Rutles) or a lost classic in the making.
But lo! It turns out that the record does sound a lot like Wyatt-era Soft Machine, actually. Which is remarkable enough coming from an American band, even more so considering that this was actually made in 1969, when the Canterbury Sound was still in its birth pangs. There are clavinets galore (always a good sign) and plenty of slightly askew harmonies and tricky time signatures to set the pulse of the committed Brit-prog fan racing. Particularly appealing is the whimsical jazz-rock of "Boxes", making like a prototype for Hatfield & The North's jolly japes. Even the portentously titled 14-minute closer "Pieces: Together: Pieces", almost hinting at Magma in its middle section before straying into Caravan territory, doesn't outstay its welcome.
This record is really cool, long and deceptively strong. I think I'll be returning to it often....by...Patricksmash .......................
It's psych in the sound and prog in the song structure. The jazz influence is also quite strong. Rather nice, with crisp drums and some urgency in the songs. Nothing outstanding though, and the singing is a bit flat, without being annoying like a lot of singing of that era could be........by...gotofritz .........
Fata Morgana from 1981 is their third album and to me is better then previous one in any aspect. Little more jazzier and with more intresting moments, Fata morgana in places have some experimental art rock parts almost gone towards avant prog to my ears. Not bad , specially the 4 pieces of the A side are pretty intresing. Not very much to add, just that Ragnarok didn’t manage to capture the auditorium as they wanted, releasing some more albums later but gone almost unnoticed. Fata morgana stands a as good album for sure, but aswell like previous album, no groundbreaking moments here. 3 stars maybe 3.5 for some arrangements…..by b olariu ……….
The tastes of the leader of the ensemble of Peter Brungelsson can only be guessed. But he thinks, judging by everything, very widely and very non-standard. Otherwise, Ragnarök would not have become the music and ideological ground that they were from the late 1970s. “Fata Morgana” is an extremely strange instrumental hybrid, the fruit of an ornate experiment of Scandinavian rock-Michurinians. Reminiscences with the debut record slip in a short fragment of the two-part composition “Leningrad”. Acoustic guitar, flute, weightless keyboards … A gentle pastoral, not having time to turn around, disappears behind a screen of anxious-restless psychedelia. In general, the material recorded on the album is characterized by a strong roll toward fusion. Buzuki, ethnic percussion, the brass section on the background of almost metallic hard rock … Is it really the same Swedes that once fed the hearts of music lovers with a well-tempered art folk? Everything has changed. Instead of cozy sad tales, noise and fury, which are next to the major numbers in the jazz-rock arrangement, then with etudes cloudy-windy, like the damp autumn twilight. Undoubtedly, it is progressive. Born in the era of universal dances. By the way, disco-rhythms are present here (“Jatora Em bak”) multiplied by abundant brass accompaniment, booming pulsating bass and fancifully riffing guitar. The final lyrical digression of “Eskapage”, after a series of militantly dark exercises, is perceived as a kind of ode to joy. The release is curious in many respects. But still I’m sorry. It is a pity that the mood of 1976 has evaporated irrevocably, and subtle magic has dissolved in non-existence. Okay, that is, that is. Ladies and gentlemen, welcome to the performance called Ragnarök………..
Credits Bass, Xylophone, Glockenspiel, Kalimba [Trumpiano] – Per F. Andersson Drums, Xylophone, Cabasa – Thomas Wiegert Guest, Congas, Flute [Rörflöjter], Maracas, Cabasa, Photography By, Layout, Cover – Peder Nabo Guitar, Keyboards, Xylophone, Bouzouki, Drums [Afrotrumma], Glockenspiel – Peter Bryngelsson Mastered By – PD* Saxophone, Flute, Keyboards, Tambourine, Cover – Kjell Karlgren Technician – Anders Lind Trumpet, Flugelhorn, Keyboards – Magnus Jarlbo
Songs / Tracks Listing 1. Midvinterblot I 2. Fata Morgana 3. Jatora em Bak 4. Vild av Friden 5. Leningrad I & II 6. Midvinterblot II 7. Elefanten pa Taget 8. Eskapage
Dear Prof. Leary is not only a super-rare and highly touted collectors item but also one of the earliest and strangest examples of the upcoming Jazz/Rock Fusion recordings that would soon transform the Jazz world. Originally released in 1968 on MPS, Barney Wilen And His Amazing Free Rock Band s Dear Prof. Leary l.p. was a sextet of two trios, one playing the more Rock style and the other in the Jazz idiom, complete with two drummers, producing what can only be described as psychedelic Free-Jazz. Highlights include covers of The Beatles The Fool On The Hill , Ornette Coleman s Lonely Woman and Bobbie Gentry s Ode To Billie Joe , scattered amongst the originals……..
End of June 1968. From Paris to Prague, the youth shook Europe but the breath fell. Barney Wilen, born in 1937, is looking for himself. He has already exhausted the charms of Hard Bop and Free Jazz. During the events, he met his Muse, Caroline of Bendern. He starts listening to the Beat Music and, like Miles Davis, hangs on Jimi Hendrix. He then created a Free Rock Band with pure jazzmen (Joachim Kühn and Aldo Romano) and musicians from pop and rock (Mimi Lorenzini was then the guitarist of Claude François whom Barney had known at the beginning as drummer ). He created this mix a year before Miles Davis, his former leader (in 1957, Barney accompanied Miles on stage and for the music of the film “Lift for the Scaffold” by Louis Malle). So what do they play in this German studio? Classics of the time: superb covers of The Beatles’ “The Fool on the Hill” and two Soul Music standards “Why do you keep me hanging on?” And “Respect” by Otis Redding. There is also an astonishing version of a modern Jazz standard “Lonely woman” by Ornette Coleman. As fashion is psychedelia, Joachim Kühn drops the moorings in his tribute to “Dear Prof Leary” apostle of non-violence and the consumption of illegal and deadly substances. Barney Wilen and Mimi Lorenzini, in real French, they play “Dur Dur Dur”, well-known composition as the saxophone and the guitar bite you. In short, from Free Jazz, to Soul Music, through Pop and psychedelia, Barney Wilen seeks in several directions without knowing which one to choose. He will find his way in leaving Europe to the old parapets for Africa, motherland of the Blues, his real music. With “Moshi”, Barney Wilen, a White, will create Great Black Music, as converse, Herbie Hancock, a Black, began his career at 11 years playing Mozart on stage with the Chicago Symphony Orchestra. “Sometimes I want to live in a thousand years, when all these stories of races, whites, blacks will no longer make sense” (Stan Getz)……………
Personnel: Barney Wilen - soprano and tenor saxophone Mimi Lorenzini - guitar Joachim Kühn - piano, organ Günter Lenz - bass, electric bass Aldo Romano - drums Wolfgang Paap - drums
01. The Fool On The Hill (4:19) 02. Dear Prof. Leary (4:55) 03. Ode To Billie Joe (7:58) 04. Dur Dur Dur (3:36) 05. Why Do You Keep Me Hanging On (4:54) 06. Loneley Woman (3:47) 07. Respect (5:46)
One of the most mysterious groups from the French experimental underground of the early ‘70s, Fille Qui Mousse was as radical as the German band Faust, and utilized similar studio trickery. Their one album never got properly released, and they might have been forgotten if not for being included on the influential Nurse With Wound list of influences in the early '80s. Fille Qui Mousse was a leftist political collective led by journalist/musician Henri-Jean Enu in the very early '70s in Paris. In 1971 they obtained a record deal with the legendary Futura label, which had mostly released avant-jazz at that time but were expanding into more experimental rock. The record was recorded in the summer of 1971, most likely in one day, and then mixed in December of that same year. Over a year passed before about a dozen test pressings of the record were made in early 1973. Unfortunately, Futura was having financial problems at the time and these 10 or 12 copies were all that existed, becoming one of the most rare, sought, and yet virtually unobtainable LPs of French avant-rock. Finally, in the mid- to late '90s, several CD versions of the record were released, under the titles Trixie Stapelton and Se Taire Pour une Femme Trop Belle, often without song titles or the names of performers or composers (which weren’t listed on the test pressing), until the Fractal release of Se Taire in 2002….. by Rolf Semprebon…….
Often referred to as the French Faust, Fille Qui Mousse’s album mixed collage, psychedelic rock, surreal poetry, and organically tapped noise purity with the absolute best of experimental '70s rock-and-beyond. For 1971 Fille Qui Mousse was far out, even more extreme than the Mothers Of Invention. Today, fans of Neu!, Faust, the No-Neck Blues Band or Jackie-O Motherfucker will find this entertaining. Limited to 500 copies!…………..
2013 release. Monster Melodies Records presents a reissue of Trixie Stapleton 291 - Se Taire Pour Une Femme Trop Bell by Fille Qui Mousse, originally recorded in 1971. The group was created from the culmination of a movement born after the Second World War, counter culture and the apparition of Lettrism, founded by Isidore Isou who wrote the book The Uprising Youth accompanied by Gabriel Pomerand, Maurice Lemaitre, Jean-Louis Brau, Guy Debord, Gil Wolman. The band consisting of Barbara Lowengreen (vocals), Bernard Gilson (guitar), Sylvie Péristéris (sound effects), Henri-Jean Enu (guitar, vocals), Denis Gheerbrandt (vocals), Daniel Hoffmann (guitar), Benjamin Legrand (piano, vocals), Dominique Lentin (percussion), Jean-Pierre Lentin (guitar, bass), Léo Sab (violin), François Guildon (guitar) recorded its only album in one day on July 8th, 1971. Fille Qui Mousse is on the list established by Steven Stapleton, John Fothergill and Heman Pathak of the 291 musicians who influenced the band Nurse With Wound. Comes as a red translucent vinyl comes in a sleeve which opens up, presenting unpublished photos of the group and containing two postcards reproducing the vintage concert posters and an insert with an unpublished text by Henri-Jean Enu. Edition of 500…………..
At the beginning of the 70’s, Futura Records from France released some of the most intriguing, strange and unsung LP’s of all times. The artists who recorded them were alternately serious jazzanatics and social outcasts - most of the times, they satisfied both categories.
People like Red Noise, Mahogany Brain and Jacques Berrocal (most recently involved in some Nurse With Wound project) chose to make wildly experimental music, spiked with psychedelia and free jazz, following an approach not so distant from their German counterparts.
Even if Futura releases are more stressed on the jazzy side, it is not impossible to consider them as cousins of the most adventorous Krautrock heroes.
Among the others, Fille Qui Mousse, led by the erratic talents of Henry Jean Enu, were maybe the best - or, at least, their only record was more focused in its relentless phantasmagoria of different inspirations.
Trixie Stapleton 291 is packed with ideas and little follies: you cannot find much actual music in it, but many of its solutions remind Faust and anticipate some of the Residents’ best work.
Sound collages, cut ups, short crazed piano pieces (sounding like Chopin on speed), white noises cranking up the stereo, all of these studio trickeries manage to create a mysterious, shadowy, ever shifting soundscape.
The final effect is paradoxically much more in a proto wave vein than in a progressive one.
Fille Qui Mousse arrange their sonic chemistry paying absolutely no attention to the well-practised musicianship: they edit the sound in an almost cinematic way, and their “songs” have a vivid cinematic feel - albeit they do not perfectly fit the Hollywoodian norm.
For example, in the fourth track we can hear a girl told us a story in her beautiful French,while dogs are furiously barking in the distance, evoking confused images of urban wilderness.
Massive layers of noise begin to grow in the background, until everything is submerged by this white, thick sheet of demented sound - the track is over, and it was like watching one of those ugly, pretentious short movies of the 70’s (but with much more effect and no nude scenes).
The first and the last pieces of the album are, on the other hand, “real” music: the same theme is developed in two different ways, with an incredible acid punch for the opener, with a more jazz inclination for the closer (here, we can also listen to what seems an electric violin, but played with such an eversive attitude to make it hardly recognizable).
Trixie Stapleton 291 has been recently re released and is worthy of a listening, especially if you want to taste something really different even in terms of 70’s standards (by Ur from headheritage.co.uk)…………….
Personnel: Henri-Jean Enu — guitar, voice Barbara Lowengreen — voice Benjamin Legrand — piano, voice & effects Denis Gheerbrandt — voice & effects Sylvie Péristéris — effects Daniel Hoffmann — guitars Jean-Pierre Lentin — bass Dominique Lentin — percussion + Léo Sab — violin François Guildon — guitar
From Namsos, Norway, hailed this interesting Folk Rock band, named after The Beatles song “Dear Prudence”, formed in 1969 (actually they were renamed from Whoopee Choop) and featuring two future stars of Norwegian music, guitarist Åge Aleksandersen and multi- instrumentalist Terje Tysland.They were supported by bassist Kjell Ove Riseth, drummer Kaare Skavik Jr., mandolin/guitar player Johan Tangen and singer/multi-instrumentalist Per Erik Wallum.They recorded their debut “Tomorrow May Be Vanished” at Rosenborg Studios in August 1972 and the album was released the same year on Polydor. With the choice of singing in English Prudence actually brought to surface all of their influences, which had been BOB DYLAN, THE BEATLES, JETHRO TULL with also some touches of STRAWBS.The album is filled with short and fiery Folk rockers with strong guitar moves by Aleksandersen, a powerful rhythm section but also a fair amount of traditional instruments in heavy use.Lots of driving flutes in the style of IAN ANDERSON performed by singer Per Erik Wallum, rural soundscapes produced by the harmonica of the same man and also some great mandolin passages by Johan Tangen, who even battles with the flutes and electric guitars in a frenetic mood.There are also a couple of tracks closer to Psychedelic Folk with a more smooth but not less intense sound.The approach is overall nice and rich with a very JETHRO TULL-like atmosphere and the mix of the hard rockin’ guitars with the solos provided by the traditional instrumentation sounds very attractive.
Decent and well-executed Folk Rock with a great balance between the folk elements and the rockin’ riffs.Warmly recommended…. by apps79 …………..
The start of Prudence can be traced back to 1967 and the band Whoopee Choop, where Kaare Skevik jr. was drummer and Per Erik Wallum vocalist. Later came bassist Kjell Ove Riseth with. In October 1968 underwent the band rearranging the lineup, and Åge Aleksandersen (vocals, guitar) was incorporated. Late autumn 1969 changed Whoopee Choop name to Prudence, after the Beatles song “Dear Prudence,” and shortly after the band got an offer from Stein Ingebrigtsen to join his touring band. Prudence backing Ingebrigtsen on occasional tours the next two years. Fifth man in the lineup at this time was Per Formo (guitar), who in March 1970 was followed by Jan Erik Moe (guitar).
A newly established record label based in Mosjoen should prove to be very important for Prudence. The man behind the Experience Records, Nils Øybakken, made a series of recordings with the band, and the first of three singles were released in 1970. The A-side was a version of Deep Purple song “Into The Fire”, while the B-side was the self-composed “Come, come along to Copenhagen.” The song was banned played NRK because of the text, which was about to go to the Danish town to have fun with marijuana and LSD.
William Hakkvåg (guitar) from Zoo replaced Moe in October 1970, but stopped again in March the following year. In April 1971 came two important new members: Terje Tysland (guitar, vocals, accordion) and Johan Tangen (mandolin, congas). Now the band started to stake out their own style, a cross between progressive rock and the sounds of the countryside. Two more singles were released on Experience - “Small Things In Life” / “Happy Fairies” and “My New Day” / “The Sky Gets Blue” - and worked with an LP was begun.
In their eagerness to release an LP with Prudence, contacted Nils Øybakken company PolyGram to ask if they could assist with the distribution. Bosses at PolyGram blocked ears up when they learned trial footage, and went sporenstreks Namsos to offer Prudence record deal on the label Polydor. Øybakken ended up on the sidelines, while Prudence went to Oslo in August 1972 to record their first LP with Johnny Sareussen as producer. The result was a milestone in Norwegian rock. Tomorrow May Be Vanished, with the cryptic subtitle Victoria “Then became good pass dæ!”, Got the reviewers to take comparisons with the likes of Jethro Tull and The Band. And even so many years later, the album as one of the most style secure and innovative which is made of Norwegian rock. The plate came on the market a week after Prudence made a clean sweep on Kalvøya festival. Sareussen was producer also the sequel Drunk And Happy (1973), where Prudence as the first in the world connected noisy rock with traditional yoik. The title of the song underscored the group’s humor: “I Hope We Never Get Too Serious About The Music So This Is Just A Joke”. The album was also the operator in Denmark, where the group had great success at the Roskilde Festival in 1973. It was talked a lot about the overseas launch at this time, but instead of becoming rich and famous was Prudence disappointed and broke: Summer 1974 drove the band from Alta to Oslo’s errand to attend Ragnarock festival, only to find that they did not play. The reason was that a set of congas to the group Titanic did not make it in time, and it led to time lags in the program. In return, did Prudence furore at Roskilde same summer, where the climax during the group’s performance was reached when Tysland and Aleksandersen ran to the opposite side of the stage with an accordion between himself and struggled there in two.
Prudence and Johnny Sareussen shared the producer role on album number three, clear and concise called No 3. The disc was well received in Denmark, where all the reviewers seemed to agree that Prudence was Norway’s answer to The Band. In the wake of the release in the autumn of 1974 the downturn started. Deepening debt did that Prudence had to tour Norway crisscross in one set, and in addition to the members take up jobs on the side to survive. For bassist Kjell Ove Riseth got this tragic follows: During an accident at the sawmill in Brasov in January 1975 he lost three fingers and damaged a fourth of his left hand. Without Riseth the team, lost Prudence little of its identity - and a lot of sparkle.
Blodslitet on the road, the accident to Riseth and the fact that Polydor would launch them abroad anyway, was crucial reasons why Prudence decided to dissolve. First, however, they would make a last LP, with Norwegian texts, and conduct a farewell tour. Frode Viken (later D.D.E.) was a short time back on bass, before Jan Devik took over permanently. The album Thank tea dock (1975) contained the manifestation “Æ e trønder æ” which was Aleks Andersen sharp charged reaction to trønder hetsen as Rolv Wesenlund parodic Should Børson jr. had brought with it.
The last tour was a triumph journey across the country. Farewell concert in the Student Union in Trondheim on 11 December 1975, recorded with Jahn Teigen as producer. The group then went to PolyGram and offered recording for 30,000 kroner. PolyGram demanded recording free, and threatened to send out a compilation instead. Finally, the recording released as double LP on the newly established Arctic Records in Trondheim, while PolyGram released a compilation on cheap label Karussell.
Prudence received Grammy Award for Thank tea dock, and therefore had to set up one last time on television in February 1976 to play “Æ e trønder æ”. The whole country was suddenly aware of this phenomenal band, but then it was too late. Aleksandersen and Tysland continued with each his new band, Devik made solo album Spark !, Wallum and Tangen let music be a hobby, while Skevik eventually became a journalist and writer, and wrote a book about the band in 2002. The six musicians - plus an injured but happy Riseth - were reunited for a single concert in Trondheim in 1980.
In the summer of 1996 it was clear for a new reunion, this time in the TV series Tore slot on BBC1. It became an emotional appearance, where the crew Aleksandersen, Tysland, Skevik, Tangen and Riseth played together for the first time after Per Erik Wallum died of cancer in 1990.
Prudence was pioneered in Norwegian rock, both in terms of music and instrumentation. The group created a distinctive style through their own material performed with mandolin and accordion alongside electric guitars and drums, and also laid the foundation for the concept of “Trønderlag.”…………….
Credits Bass – Kjell Ove Riseth Drums – Kaare Skevik Jr. Engineer – Inge Holst Jacobsen Mandolin, Congas – Johan Tangen Organ [Draw Organ], Guitar – Terje Tysland Producer – Johnny Sareussen Vocals, Flute – Per Erik Wallum Vocals, Guitar – Åge Aleksandersen
Tracklist North In The Country 4:15 Mild Grey Fog 3:27 Tomorrow May Be Vanished 4:27 What Man Has Made Of Man 2:03 14 Pages 4:27 Going Through This Life 4:02 Oh, Grandpa 3:39 Lost In The Forest 2:15 Kerre Volin 4:06 Daida 4:06
Albums: Tomorrow May Be Vanished - 1972 Polydor Drunk And Happy - 1973 Polydor (CD: Tomorrow May Be Vanished/Drunk And Happy, Progressive Line, PL586, 2003) No. 3 - 1974 Polydor (CD: Polydor 843 331-2, 1990) Takk Te Dokk - 1975 Polydor (CD: Polydor 843 333-2, 1990) 11/12 ‘75 (2LP) - 1976 Arctic (CD: Pan Records, PACD 08, 1992) The Legendary Tapes Vol.1, 1992 Colours COSLP 008 (contained previously unreleased archive material from 1970-1971) (CD: Colours, COSCD 008, 1992)