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22 Apr 2017

The Aynsley Dunbar Retaliation "To Mum, From Aynsley And The Boys" 1969 UK Prog Jazz Blues Rock

The Aynsley Dunbar Retaliation  "To Mum, From Aynsley And The Boys" 1969 UK Prog Jazz Blues Rock
“On the band’s John Mayall-produced third album the playing continues to be exceptional and Brox’s singing, as before, is powerful.” 
R2 Rock'n'Reel……….. 

This is the third of four Aynsley Dunbar Retaliation albums from the late Sixties to be reissued – so if you haven’t caught ‘The Aynsley Dunbar Retaliation’ (BADCD001) and ‘Doctor Dunbar’s Prescription’ (BADCD002), this is a good time to catch up. 

For the benefit of latecomers, the band led by Liverpool-born drummer Dunbar and comprising Victor Brox (vocals), John Morshead (guitar) and Alex Dmochowski (bass) had been augmented for live performance by keyboardist Tommy Eyre, famous for contributing the organ part to Joe Cocker’s smash hit version of ‘With A Little Help From My Friends’. 

Brox had been attempting to combine his frontman role with keyboards, which had been a major instrument on ‘…Prescription’, so this version of the line-up was soon to become permanent. Aynsley had already gone on record in Melody Maker as stating that ‘The next album will be more advanced,’ and Eyre’s recruitment was clearly with this in mind. 

The Retaliation had played a six-week tour of the States, where they’d supported top acts like Creedence Clearwater Revival, Country Joe & the Fish and Spirit, and blown Rhinoceros off stage at the legendary Boston Tea Party venue. They were even recorded live at the Fillmore East, but the tapes were wiped when the record label declined to meet the cost. 

But the experience of returning to club dates in Britain proved difficult for some band members, according to Aynsley, who told journalist Harry Shapiro that ‘Some of the guys thought we were at the top of the ladder; I looked at it as being the first rung of a huge amount of steps you have to take to get anywhere.’ Dunbar was also looking to depart from straight blues and take advantage of the musical freedoms that were letting progressive rock bands like Led Zeppelin and Black Sabbath make their mark. 

This musical move was apparent from the very first track of third Retaliation album ‘To Mum From Aynsley And The Boys’, which you hold in your hands. ‘Don’t Take The Power Away’, like ‘Let It Ride’, has all the vibrancy of the period, and newcomer Eyre, ‘jazzy and funky – just up my street’, according to Dunbar, was prominent. The Bach-influenced instrumental ‘Journey’s End’ was singled out in reviews as setting the band aside from their British blues contemporaries. 

Eyre’s elevation to centre stage inevitably relegated John Morshead’s guitar in importance, however, and tensions began to grow within the ranks. Fortunately a taskmaster was in the studio to ensure smooth relations were maintained – and he was none other than Aynsley’s former boss, John Mayall! Melody Maker’s review highlighted the album’s ‘better recording quality’, which may have been down to the blues godfather’s presence. (The two previous LPs had been produced by Ian Samwell.) 

While Aynsley professed himself ‘really surprised’ that Mayall agreed to participate, he explained that ‘we needed somebody to be hands-on…help the musicians get organised.’ Most of the songs were written and routined in the studio, unlike previous effort ‘Doctor Dunbar’s Prescription’ which had come together on the road. 

The tracks that relate most closely to the band’s first albums are, perhaps, ‘Run You Off The Hill’ and the two closing tracks, ‘Sugar On The Line’ and ‘Leaving Right Away’. Elsewhere, though, things were moving closer to jazz-rock territory; ‘Let It Ride’ has been compared to the up-and-coming Colosseum who, uncoincidentally perhaps, were also led by a drummer in Jon Hiseman. 

Mention must here be made of this album’s unusual (to put it mildly) cover which saw the band sporting teddyboy apparel. It was nominally devised by manager Bryan Morrison who had links with Hipgnosis, the Pink Floyd-associated design team. 

Reviews from New Musical Express and Music Business Weekly on the album’s September 1969 release were favourable, the latter reckoning it ‘should win Dunbar new customers,’ while Disc rated it their best work yet. But a mere two months after their third album had hit the record racks, the Aynsley Dunbar Retaliation were no more. 

It seems to have been a case of who could quit first, Dunbar and Eyre decamping to form the brass-reinforced jazz-rock outfit Blue Whale. ‘The band’s ego got too much for me and I had to dump them,’ he commented years later. Alex Dmochowski and John Morshead briefly stayed together as the nucleus of Heavy Jelly, with singer Jackie Lomax and ex-Animal Barry Jenkins. 

Dmochowski had clearly impressed producer John Mayall, as February 1970 found him a Bluesbreaker. Victor Brox fulfilled existing live dates with a band called Ring of Truth, but was also involved with a ‘posthumous’ Retaliation release that appeared later in 1970. This was ‘Remains To Be Heard’, which has now been made available again as BADCD004. Meet you there?…………. 

To Mum From Aynsley And The Boys marked the band s third release from 1969 and found the band shifting styles somewhat with the addition of keyboardist Tommy Eyre, who added a jazzy more R&B feel to the album and the production work of John Mayall. 1970s Remains To Be Heard is an assemblage of posthumous material following the break-up of the band and features a more wide arrayed variety of material other than the British Blue-Rock of it s predecessors. 

SPV s Blue Label present third and fourth legendary releases from Aynsley Dunbar digitally remastered and packaged in deluxe digipak format with informative sleevenotes by Harry Shapiro. 

From the British blues boom of the 1960s emerged some exceptional individual musicians; Cyril Davies, Eric Clapton and Peter Green being among the most notable. But there was no doubt that the Aynsley Dunbar Retaliation took the prize as the most talented blues band, one with no weak links. Although rarely mentioned in the same breath as Ginger Baker, Keith Moon or John Bonham, all the musicians knew that Aynsley Dunbar was a world-class drummer in any popular genre, easily a match for the better-known names. Together with bassist Alex Dmochowski, they formed a rhythm section unmatched on the blues scene for its drive, finesse and the ability to swing. In Victor Brox, the Retaliation had one of Britain s finest blues singers, a multi-instrumentalist and prolific composer. Uniquely among the blues bands, the majority of the Retaliation s recorded output was self-penned, most of it written by Brox. And guitarist John Morshead provided a master class in less is more ; a blues player of taste and fluency rivalled only by Peter Green……………. 

he Aynsley Dunbar Retaliation was a great British Blues band that never had the success it was due. This set is comprised of their last two albums(they released four albums during their existence). The first, “To Mum from Aynsley and the Boys” is excellent with great vocals from Victor Brox and great guitar from John Morshead. Aynsley, of course, is one of the great drummers, then and now. The second album, “Remains,etc.” is something of a throwaway album,although it is redeemed by some thoroughly smoking cuts at the beginning of the album. If you want to go back to the hazy blue days of 1969,get this CD. Enjoy……….ByJohn B. Ivey………. 

Bass Guitar – Alex Dmochowski 
Cover – Hipgnosis (2) 
Drums – Aynsley Dunbar 
Lead Guitar – John Moorshead 
Piano, Organ – Tommy Eyre 
Producer – John Mayall 
Vocals – Victor Brox 

A1 Don’t Take The Power Away
A2 Run You Off The HIll
A3 Let It Ride
A4 Journeys End
B1 Down, Down, Down
B2 Unheard
B3 Sugar On The Line
B4 Leaving Right Away

Madrigal "Sunshine And Baked Beans" 1970 Canada Psych Pop Rock

Madrigal  "Sunshine And Baked Beans" 1970 Canada Psych Pop Rock

The team gathered in 1968 in the town of Willowdale (Ontario) north of Toronto, when met with the students of junior high school. Owner «Tuesday Records» Greg Hambleton offered to children re-record the song «I Believe In Sunshine», which was previously recorded «A Passing Fancy». Later, the theme of the Canadian reached the Top 20 and spent six weeks in the Top 40 and became part of the band’s debut album. The band broke up in 1973 and reunited in the other part of 1975, but not for long. Peter Boynton later played in the «Red Rider» Tom Cochrane……….

Madrigal formed in 1968 during the members’ days at Willowdale Junior High School north of Toronto. They had been spotted by Greg Hambleton, owner of Tuesday Records, and he had them re-record his song “I Believe In Sunshine” in 1970 (which A Passing Fancy had also recorded). The track reached the Canadian Top20 and spent six weeks riding the Top40. The song was part of their debut album ‘Sunshine And Baked Beans’. 

The follow up single was 1971’s “Hallelujah” which didn’t appear on the album. 

The band broke up in 1973 but reunited with a different line-up in 1975 but that too was short lived. 

Peter Boynton went on to join Red Rider with Tom Cochrane…………..

Formed by a bunch of high school chums at Willowdale, Ontario, Madrigal consisted of Rick Henderson on guitars, guitarist/bassist John Swainson, Peter Bonyton on piano, and drummer Don Simpson in 1968. They’d been playing the Toronto circuit for close to a year, developing a style that mixed some psychadelic rock influences and the day’s modern pop, when they were noticed one night by Greg Hambleton, owner of Tuesday Records. 
He signed them to management and recording deals, and they were in the studios by the summer of '69. They released their version of his song “I Believe In Sunshine” (recorded by A Passing Fancy two years earlier), and took it to the top 20. Their debut album, SUNSHINE AND BAKED BEANS followed in the spring of 1970, and was then re-released later that year with a different jacket. Produced by Hambleton, he also wrote three of the other songs, including the b-side, “Lady.” Other noteable cuts included “Picture Frame” (one of five tracks written or co-written by Boynton), and “Television Nightmare,” the only song co-written by all four members. 

They toured the Ontario area, making some stops in the US along the way, before returning to the studios with Hambleton later that year. The new single, “Hallelujah,” backed with “Freedom” went nowhere in early '71. And amid personnel problems that were coupled with financial issues with the label, the band folded by early '73. 

They toiled around in different projects until regrouping a year and a half later, with Bill Dillon taking over on guitars from Henderson. But when that version of the group also failed to make any headway, they split up again a short time later. Everyone went on to other projects, including Boynton joining Red Rider, or got out of the business all together……………

John Swainson - guitar, bass, vocals 
Rick Henderson - guitar, vocals 
Peter Boynton - piano, organ, bass, vocals 
Don Simpson - drums, vocals

01. I Believe In Sunshine - 2:33 
02. Picture Frame - 2:19 
03. Boog - 2:40 
04. Television Nightmare - 2:52 
05. Lady - 3:15 
06. Lovely Lady - 4:01 
07. The Diddler Song - 2:26 
08. Weekend - 2:19 
09. Tell Her That - 2:48 
10. You Got It Wrong - 2:22

1970 I Believe In Sunshine/Lady (Tuesday) 102 
1971 Hallelujah/Freedom (Tuesday) 111 

1970 Sunshine And Baked Beans (Tuesday) 1002 

Satan “Satan”recorded in 1973- 2016 France Prog Symphonic

Satan “Satan”recorded  in 1973-  2016 France Prog Symphonic unreleased album

The previously unreleased album of Satan, recorded back in 1973, is an absolute must have for fans of French progressive music. The music is a unique mix of hardrock and progressive rock. Live the band delivered a very intense show, dark and mysterious, inspired by the world of sci-fi and literature, with an elaborate light show and the musicians wearing make-up and strange costumes…….

Monster Melodies present the legendary album Satan, an absolute must-have in terms of French progressive music, recorded in 1973 and never before released. In 1968, in Le Mans (a town in the west of France in Les pays de la Loire), some young students, planning to become teachers, started a band under the name The New Rainbow. Like many young musicians at the time, they enjoyed English blues and were fans of Pink Floyd, Soft Machine and Led Zeppelin. Quickly, they changed their name to Heaven Road and started to become famous west of France, playing live frequently. After playing covers, they wrote their own compositions and delivered a very good show at the same level of any professional band. In Paris, they won three contests in Le Golf Drouot (the mecca of the French rock at the time) and were declared the best non-professional French band of 1972. Playing at the festival, the band started to hang out with big names from the French rock scene, like Variations, Magma, Il Etait Une Fois, Catharsis, Ange and Dynastie Crisis. In 1973, they decided to be a professional band and change their name to Satan. They produced a unique music between hard rock and progressive and delivered intense shows, inspired by the world of sci-fi and literature, with musicians wearing make-up and strange costumes. But despite the fact that they played before the English band Caravan in 1974 and had an appearance in local TV show, the band always suffered from financial difficulties. For this reason, they created the more commercial band Ciel D'été with the intention of playing exclusively in the ballroom circuit. With the financial proceeds from Ciel D'été performances, they went to a studio in Angers twice - the first time to record two commercial tracks for Ciel D'été, and the second time to record tracks for the future album by Satan which had been performing for more than three years at that point. But at the time, they couldn’t find a record company to publish their record. Satan collapsed in the middle of 1976, joining the cohort of musical project killed by the French musical industry - an industry which was preoccupied with making easy money by already successful English and American music and producing very dispensable French music, marketed commercially. Comes as colored vinyl; Includes a poster and inserts; Edition of 1000 (numbered)……….

Recorded in 1975, this album should have been one of the finest artefacts of french progressive rock, yet it remained unreleased for more than forty years. Blame it on risk-averse record companies or on the band’s lack of pugnacity, still that fantastic tape has been gathering dust on a shelf for four decades, whereas it should have been considered as seminal and important as most works by famous french bands of that time (Ange, Mona Lisa, Pulsar, Atoll) which were lucky enough to gain recognition in their heydays and have now acquired an undisputed cult reputation since then.
This album contains five numbers that were composed between 1972 and 1975, ever since the band was initially named Heaven Road and trying to develop its own identity amongst the french musical scene, mostly under the influence of Pink Floyd, Soft Machine, King Crimson, Colosseum, Jethro Tull, etc. By the time they were joined by young, gifted, classically-trained keyboard player Jérôme Lavigne, this formerly rather blues-rock influenced band began to tackle more adventurous stuff, trying to challenge the bands they were listening to, Genesis, Yes, PFM, Gentle Giant or ELP.
Yet Satan had a double-sided sound signature : one one hand you had some fiery musings and atmospheric passages mainly due to a wide use of keyboards (Hammond organ, Eminent, Moog, Fender Rhodes), and on the other hand there was a solid texture of rather heavy guitar and rhythm section. All sung in french language, lyrics were inspired by literature (especially sci-fi) as well as dreamlike (if not nightmarish) realms. But the band was most of all keen on focusing on its will to figure soundscapes just as if they were film score composers.
Unearthed by the french label Monster Melodies Records, Satan’s album displays a quite exciting set of original compositions with intriguing moods, such as “OS” which depicts the nightmare of a factory worker, tormented by machines just as in a bad LSD trip version of Chaplin’s “Modern Times”, “La Nuit des Temps”, based on René Barjavel’s famous novel, and providing impressive pinkfloydish images of ice landscapes, or “Le Voyage”, featuring lavish, bombastic keyboards and tasty quiet / loud sections a la Nursery Cryme, and dealing with the story of a young time traveller in its struggle to escape from apocalypse.
The members of the band had then chosen to autoproduce its album in order to throw off the rules of the record industry, yet despite its obvious qualities, they were unsuccessful in having it released. Thus Satan became one of France’s unjustly forgotten bands from the unlucky days of the musical scene from the bad side of the Channel. Let’s hope this luxurious Monster Melodies Records release will do justice to their honest, faithful and sincere work……Jules Yentoma·……

A1 Le Voyage
A2 O.S.
A3 Le Robot
B1 La Nuit Des Temps
B2 L'aigle 

Mourning Dayze "The Lost Recordings" 2007 (rec.1967) US Garage Psych

Mourning Dayze "The Lost Recordings" 2007 (rec.1967)  US Garage Psych

This Wisconsin band appeared on ‘Psychedelic states Illinois’ with their swirling psychedelic track 'Fly My Paper Plane’. Now the band have discovered six other original tracks recorded in the fall of 1967. The music is powerful, loud and reflective of their sound. There’s also a previously unreleased alternate version of their single…….

Mourning Dayze was born on August 9,1965 in Whitewater, Wisconsin. The band’s original name was “The Coachmen,” but later when they discovered there was another band with the same name, the guys decided to change It, The band traveled to and from gigs in a hearse pulling a trailer. One morning while driving back to Whitewater, after another late-night gig, the sun was coming up and it was hazy; thus; Mourning Dayze.

Mourning Dayze was extremely popular in the Midwest especially in the teen bars that were popular in Wisconsin during the late 1960’s and early 1970.’$. The band was popular on many college campuses, not only for its music, but also for their light show. It’s believed that Mourning Dayze was the first rock and roll band in the state of Wisconsin to include a traveling strobe light. The band became known throughout the Midwest because of its props, including a large banner with the name. Mourning Dayze on it; an umbrella on a mike stand; a siren; an old fashioned pole lamp with a yellow light, and the familiar Taj Mahal on the kick drum, In addition to Midwestern states, Mourning Dayze played in states as far east as New York and New Jersey, as far south as Florida and as far west as Idaho, The band also played numerous gigs in Canada.

During the first five years prominent musicians passed through the band leaving a long lasting impression, Curly Cook, an early guitarist with the Steve Miller Band introduced Mourning Dayze to the power of the blues and the power and soul of the guitar Berry Oakley played bass guitar with Mourning Dayze shortly before the formation of the Allman Brothers Band. Mike Warner joined in the fall of 1969, after his summer drumming with Curtis Mayfield and the Impressions. During the firs! five years, Mourning Dayze opened for many well-known bands, including The Music Explosion, Ohio Express, The Lemon Pipers, The Trashmen, and The New Colony SIX.

From the summer of 1972 to the spring of 2000, Mourning Dayze played a portion of every year at Alpine Valley Resort in East Troy, Wisconsin. It began performing as a house band for the winter ski season and on weekends during the summer, in the mid-70’s Alpine Valley became a major stop on the national tour for rock, pop and contemporary styles of music. Mourning Dayze was in the perfect setting to meet jam, and listen backstage, to national touring acts every weekend, week after week, year in and year out. Some of the bands Mourning Dayze jammed with include Los Crusades, RE XX Billy Swan and Hank Williams Jr. in the fall and spring of each year, Mourning Oayze would hit the road with a special love for touring the western United States. After 41 years Mourning Dayze is still gigging………

Contains 45s and unreleased material. This Whitewater, Wisconsin band appeared on our Psychedelic States: Illinois In The 60s compilation with their swirling psychedelic track “Fly My Paper Airplane.” Now the band have discovered six other original tracks recorded in the fall of 1967. This music is powerful, loud, and reflective of their sound and also features an alternate version of their single. Track listing: 1. Fly My Paper Airplane 2. Sad Man’s Madness 3. Man With The Thin Mind 4. Moon That Gives No Sunlight 5. Rain Time 6. The Mourning Dayze 7. Are We Going To Say Goodbye 8. Fly My Paper Airplane……

The Mourning Dayze were a Wisconsin garage band in the mid-'60s heavily influenced by the Beatles and the Byrds and this extremely brief (22 minutes) collection of the group's recordings from 1967 shows just how derivative they actually were. "Man with the Thin Mind," which is probably the best track here, bubbles along on a speeded up "Taxman" (via the Beatles) progression while "The Mourning Dayze" is clearly the Byrds' "I'll Feel a Whole Lot Better" with a different set of lyrics. Likewise "Moon That Gives No Sunlight" takes its melody and even the tone and feel of its lyrics from Bob Dylan's "Chimes of Freedom," and the arrangement is exactly the same as the Byrds' version of the Dylan song. All of this is a bit bothersome, but the Mourning Dayze weren't doing anything that a thousand other local bands weren't also doing at the time, and copping from the Beatles, the Byrds, the Rolling Stones, the Kinks, the Animals and the Yardbirds is what gives the whole garage band phenomenon of the '60s its signature feel and sound. Still, nothing here generates more than historical interest, and even the much lauded "Fly My Paper Airplane" (included here in two versions), which has been cited as a lost psychedelic classic, hardly lives up to its billing. Bands like this one were extremely valuable in their local communities, places where megastars like the Beatles weren't likely to visit, but translated to a larger stage, well, the world already had the Beatles and the Byrds, and while imitation is flattery, it's still imitation, however nicely configured it might be.... by Steve Leggett....~ 

The Mourning Dayze
*John Valentine -
*Doug Henry -
*Steve Ellmann -
*Rick Pfeifer -

1. Fly My Paper Airplane - 2:40
2. Sad Man’s Madness - 2:37
3. Man with the Thin Mind (R. Pfeifer, John Valentine) - 3:32
4. Moon That Gives No Sunlight - 2:12
5. Rain Time - 2:01
6. The Mourning Dayze - 2:28
7. Are We Going to Say Goodbye? (R. Pfeifer, Doug Henry) - 2:24
8. Fly My Paper Airplane - 3:04 

Jacques Dudon ‎ “Erosion Distillée” 1969 (previously unreleased) 2016 French Psych,Experimental

Jacques Dudon ‎ “Erosion Distillée” 1969 (previously unreleased) 2016 French Psych,Experimental  Recorded in 1969 in Paris.
This set must have been one of the weirdest albums recorded in France in 1969 – and that's saying a lot, given some of the avant jazz, experimental, and psych sets that were coming out of that scene! Jacques Dudon may be best known for his Ghislain pseudonym on other records – where he was much more of a straight blues guitarist – but here, he's very tripped out – and leads a collective of musicians through music that feels much more like a "happening" than a standard recording session – sounds that come from Dudon's sitar-like guitar lines and harmonium – plus other sounds on drums, pipes, accordion, and other percussion. There's a few female singers in the mix at times, and clear songs rise out of the mix, only to be offset by looser musical moments – never in a style that's too outside, but very freewheeling. Titles include "Ancestor's Tour", "Le Clown", "Out Of The River", "Erosion Distellee", "Sitting Underground", and "L'Ether Brulant"..............

Monster Melodies Records present the first release of Jacques Dudon's Erosion Distillée, a work of French psychedelic music recorded in 1969. Colored vinyl. Includes two postcards and a fold-out family tree of Jacques Dudon's bands from 1967-2010. Hand-numbered edition of 1000. Jacques Dudon is a French multi-instrumentalist born in 1951 in Villecresnes (a small town in the southeast of the Paris suburbs). At 17, he taught himself how to play guitar before creating The Soul Bag, an electric blues band. Under his Ghislain pseudonym , Dudon was considered one of the best French guitarists, with his particular style of playing the guitar on his knees. The band changed its name to Ghislain Blues Band, then Blues Bag, and went through a few drummers. In 1968, the band discovered LSD and the music turned to a strong psychedelic style: the band would play solos for 45 minutes, performing a "liquid show." The band recorded the Le Chien single (1970) for EMI under the L'Assemblée name (yielding two legendary tracks presented on many psychedelic compilations) before going their separate ways. In 1969, Jacques Dudon recorded some tracks alone for an album but the project collapsed and the music was never edited -- until now. After 1969, Jacques Dudon appeared at the Festival d'Amougies with the French band We Free and at the Biot Festival, playing after Frank Zappa. Dudon made crazy music with special amplified guitars to produce feedback, playing chords with different objects in glissandi (a process he was the first to use according to Daevid Allen). At the end of 1969, he joined Pre-Crium Delirium and went on the road with the Hog Farm for a trip to Kathmandu via Bulgaria, Turkey, Iran, and Afghanistan. They organized the first Kabul rock festival in 1970 and stayed in India until 1974. He returned to France and invented the process of photo-phonic synthesis, becoming a master of microtonal music. He continued to participate in many projects in the south of France, building a new instrument, the Dulcevina, with 22 notes by octave in accordance with the 22 Indian shrutis. In 1979, he played this instrument for a project called Dedicace. Alejandro Jodorowsky used the instrument for his movie Tusk (1980). Dudon later created a school for harmonic exploration, psychoacoustic music, and initiation to polyrhythmic vocal and organized music festivals.............

Published on the label Monster melodies of an unpublished album by Jacques Dudon "Erosion distillée" whose recording dates from 1969.
A must for psychedelic music, in a deluxe edition with 1000 numbered copies, color vinyl, with inserts.
In the meantime,
Difficult to trace in a few lines the course of multi-instrumentalist Jacques Dudon born in 1951 in Villecresnes. An atypical musician who, having learned alone mastering his first instrument, a Spanish acoustic guitar belonging to his mother, whose head was stuck against the case to perceive all the resonances, began his career as early as 1967 in Dijon within From the formation of blues rock the Soul bag.
Surrounded by a bass player, a Hammond organ player and a drummer, leader of the band, barely 16 years old, he already feels with his guitar that he electrified himself and He plays flat on his knees.
In the meantime,
Managed by Jean-Claude Pognant (future manager of Ange and creator of the labels Caepe / Arcane / Crypto) which obliges Dudon to take the pseudonym of Ghislain, the group still composed of students leaves the university to settle in Meillonas, Small village in the department of Ain near Bourg-en-Bresse, city of bassist Bernard Guyonnet. After several drummer changes the soul bag becomes the Ghislain Blues bag, then the Blues bag.
Determined to become professional, the young musicians repeat intensively before shooting in the region. Winner at the applaudimeter of the contest organized by Rock and Folk in Montbéliard in 1968, the group will be invited to play his electric blues at the Golf Drouot. Henri Leproux, the master of the place, fascinated by their performance, presents Jacques at the end of the concert to Johnny Hallyday. The national idol, who seeks a blues guitarist to accompany him, then proposes to him, always through Henry Leproux to join him, what Jacques will decline.
In the meantime,In 1969, Jacques Dudon with a new bassist François Breton and his last drummer Roland Tuder won a contract to play again at the Golf Drouot. There, the musicians, bathing on stage in the lights of one of the first liquid show (gelatin projection), they have discovered the acid in the meantime, throw themselves in solos of forty-five completely psychedelic, Of Henri Leproux, who had just presented them as the best French blues group. The master of the place more accustomed to manage sets of fifteen minutes of Blues-Rock or Rythm and Blues well framed, will ask them very quickly to stop. 
In the meantime, 
The formation renamed the Assembly then signed with Odéon a sub label of EMI. This will be followed by the release of a single in 69 with a flagship title of the French psychedelia "Le chien" in many compilations. An incredible piece, a mixture of instruments played in polyrhythmic between the bass, the drums and the guitar, accompanied by an Arab reita. 
In the meantime, 
The title appeared in the general indifference at the time had to be followed by an album, but Breton and Tuder refusing to record for a multinational, the project 33 turns for EMI is abandoned. 
In the meantime, 
Roland Tuder left to the army in 1969, Jacques Dudon, left alone solo and brings together musicians including Marcel Bel and Claude Parle to record a model at EMI under his name. Titles played on the guitar in improvisation way happening that will be etched on acetates. Titles that apart Erosion distilled appeared on the compilation 30 years of musical agitation in France will remain unpublished until today. 
After these aborted attempts, Jacques Dudon pursuing his erratic career solo, occurs on various occasions. The folk club Le Bourdon located in Paris in the district of the marsh often opens its doors to him. He met the future folk stars in France: Alan Stivell, Gabriel Yacoub, Melusine, violinist John Wright, singer Catherine Perrier, researchers Tran Quang Haï and Philippe Fromont, and American musicians Steve Waring and Roger Mason Are making their debut there. 
In the meantime, 
The We Free band will invite him for a piece at the Amougies festival. At the festival of Biot where he plays after Frank Zappa, it makes sensation with the psychedelic effects produced by his guitar and a few calls for two hours. Benefit, unfortunately, interrupted by breakdowns of generators.Its sound system, artisanal but innovative, consists of a small amp built with printed circuit boards purchased in radio stores that it has head-to-tail with components to generate feedbacks (imitating the first analog synthesizers) installation Which he lays on his lap with a guitar on top of which he always plays flat. To which are added calls that it uses with an echo chamber and pedals distortions of its manufacture. Adding to this the rubbing of the strings of his guitar in "glissando" with different frosted glass objects, rings, etc. (A process he first practiced after Daevid Allen), also playing the back-string with a bottleneck to resonate the amplified part of the string, a technique he then developed in instruments of his invention Dedicated to this technique as the Chandravina, with cords of two meters long. 
Always in search of a new process, he designed a lute, an instrument that he made to be made by the Parisian luthier Christian Leroi-Gourhan, whose frets were twisted so that all the notes reproduced a scale of just intonation, according to The Indian shrutis (the 22 notes that the Indians use in their music instead of our twelve notes) - an instrument which, later on during his wanderings in the Himalayas, will allow him to meet his master of singing. 
In the meantime, 
At the end of 1969, Jacques Dudon joined the pre-Crium delirium (the group of the Magal brothers) with whom he performed in the Noah's Arches project with the Catalytic Horde and the actor Clémenti, then participated in the album Psychedelic of Graeme Allwright, A long distant present from the becoming. 
In 1970 in Paris, in the loft of Renard "Fox" Magal landed the Hog farm. Jacques was immediately accepted into their tribe. The American Hippies have just bought a second bus to embark the whole band in a psychedelic trip from Nuremberg to Kathmandu via Bulgaria, Turkey, Iran, Afghanistan, where passing through Kabul they organize the first Kabul Rock Festival In 1970. Arrived in India and Nepal accompanied by some other musicians under the name of one of the buses of the Hog Farm, Rainbow Repair Shop (the Rainbow Repairers), they perform in Kathmandu, Goa, Dehli. A road trip rich with all the experiences. But the climate is bad for the hippies. The local authorities, overwhelmed by these hanked hordes of Westerners, in search of drugs or spiritual enlightenment, constantly harass them trying to stop their invasion. 
In the meantime, 
 The Americans return home and Jacques after nine months without visa in Kathmandu is expelled in India. He then stayed in Benares, then Madras, Goa, playing music in the street, giving classes, repairing musical instruments, presenting a number with a puppet that he operated with a string attached to the bow of his violin, Instrument he learned alone. It is in Benares that he meets his singing master, the celebrated singer Sri M. R. Gautam, then director of the vocal art section of the University who will invite him to reside at his house to transmit his vocal culture. It is there, inspired by the blades of a ceiling fan, that he will discover in 1972, his process of Photosynthesis ... 
Returning to his American friends in Goa, he then traveled back to Nepal through the rice fields to cross the border on a moonless night. After spending 9 months in a farm in the Kathmandu countryside, he will know the local jails and will again be expelled to India where, without a visa, he will still be imprisoned, following a proclamation of Indira Gandhi claiming that there are Two plagues in India, endemic misery and hippies ... A good way for the authorities to recover currency by means of various police tricks in negotiating the freedom of young European and American freaks attracted by the Indian mirage. 
In the meantime, 
Jacques Dudon, caught in a trap and without resources, only succeeded by miracle, after multiple rebounds, and thanks to his friend Graeme Alwright, to return safe and sound to France. 
In the meantime, 
In 1974, staying at St-Pons near Nyons in the Drome with his friends traveling a few goats, he spent two years a life of gardener and baker.In Montélimar he will build a new instrument with 22 notes per octave accorded according to the Indian shrutis, the dulcevina. 
He will meet François Breton in the Aude before going back to Paris and then descend in the Var, Nice and finally Marseilles where after the creation of 150 water instruments he realizes the instrument of photosynthetic synthesis conceived 12 years ago in India: A graphical synthesis instrument allowing optical sound generation. The "photosonic" sound synthesis does not use any electronic synthesizer but the simple light, natural or artificial, crossing the shapes drawn on transparent discs in rotation to illuminate a photovoltaic cell directly connected to an audio amplifier: a siren, in fact, Using instead of compressed air, light rays, to pulsate them at audible frequencies: idea abandoned at the time for lack of parts that had never been delivered. 
In the meantime, 
Partially covering two or three moving discs, associated with the various shapes drawn, and being able to filter optically the light rays allows great variations in the waveforms produced and therefore the resulting harmonic music. Inventing more than 500 new instruments, with his research of intonation systems, his articles and his CD "Audible Lights" he is recognized as one of the pioneers of microtonal music. 
In the meantime, 
In 1979, he performed several pieces of chandravina and dulcevina, other instruments of his invention, he participated in the project of Richard Weiss entitled Dedicace (which will serve as soundtracks to the film Tusk directed by Alejandro Jodorowski) with Didier Malherbe, Martin Saint Pierre, Jean-Philippe Rykiel and many other international artists. 
In 1981, continuing his involvement in various musical projects, he published in the alternative editions the book "Water Music" after having elaborated a series of 150 aquaphones to realize oneself, instruments using water to produce Sounds. He then created the Atelier d'Exploration Harmonique in 1983 in Roquevaire near Marseille, then at the Thoronet in the Var where he animated psychoacoustic workshops, initiation to the right Intonation, the relations between sounds and colors, vocal polyrhythms , Etc. And creates the Microtonale Ensemble of Thoronet, and the Festival of the "Harmonic Nights". 
This association is now based at the Oasis de Lentiourel in Saint-Afrique where it organizes courses and organizes again this festival. 
- - - 
Jacques Dudon's album Erosion distilled that we publish today offers the recordings of his psychedelic period in 1969 before his departure for India, miraculously found on two acetates engraved at the time...............

Accordion – Claude Parle
Drums – Marcel Bel
Guitar, Vocals, Harmonium, Composed By, Arranged By – Jacques Dudon
Zither, Pipe – Patrick Chabane

A1 Ancestor's Tour 2:51
A2 La Clef Des Oubliettes (Version 1) 5:43
A3 Le Clown 3:28
A4 Out Of The River 8:39
A5 Assis La Tête En L'Air 1:13
B1 Erosion Distillée 3:02
B2 L'Ether Brûlant 7:42
B3 Sitting Underground 2:09
B4 La Clef Des Oubliettes (version 2) 1:55
B5 L'Ange, Le Diable Et Les Colimaçons 3:54
B6 L'Ether Brûlant (Version 2) 2:57
B7 Le Doux Vrombissement 0:16

Feta Heta Linjen "Med Kisa, Brass & Brudar" 1971 Sweden Prog Jazz Rock,Psych Funk

Feta Heta Linjen  "Med Kisa, Brass & Brudar" 1971 Sweden Prog Jazz Rock,Psych Funk 

An obscure Swedish Jazz/Prog/Horn Rock band found in 1970 and featuring drummer Janne “Loffe” Carlsson of Hansson & Karlsson fame, guitarist Bengan Karlsson, pianist Berndt Egerbladh, bassist Göran Lagerberg (member of Baltik, Egba, Kebnekaise, Bo Hansson and more recently on Fläsket Brinner), singers Hakan Sterner and Kisa Magnuson (she represented Sweden in the 1972 Eurovision contenst), trombone player Olle Holmqvist and later Egba’s founder Ulf Andersson on saxes.The band released the album “Feta Heta Linjens Supershow” in 1971 on Odeon. 

Despite recorded in studio,the band attempted to mimic the glamourous large live shows with a humurous edge, thus reminding a lot of FRANK ZAPPA’s works at first place, mixed with Jazz, Psychedelic and Horn Rock arrangements along with plenty of vocal introductions.It is rumoured the band even used a revivalist preacher on several of them!Musically the albums holds similarities with BLOOD,SWEAT & TEARS on the accesible arrangements, while there is a light amount of complex jazzy Progressive Rock thrown in with unusual breaks, improvised parts and frenetic, almost kraut-ish interplays.Great sax and trombone solos are met throughout the listening along with a great rhythm section, soft piano passages and hard guitar playing at moments.The shorter tracks function as a sarcastic parody to the concept chosen under spoken parts only supported by background music.The longer ones though contain a blend of easy-listening Horn Rock along with jamming instrumental Jazz-Rock of excellent quality. 

The album sounds remarkably fresh even today as a result of the innovative and personal work the band did back in 1971.Strongly recommended to a variety of music lovers: from simply Horn Rock and Jazz followers to fans of Psychedlic Rock, German Kraut and challenging Progressive Rock….by…apps79 …..

Bass – Göran Lagerberg 
Drums – Janne Carlsson* 
Guitar – Bengan Karlsson* 
Painting – Håkan Sterner 
Piano – Bernt Egerblad* 
Saxophone – Ulf Andersson 
Trombone – Olle Holmqvist 
Vocals – Bengan Karlsson*, Göran Lagerberg, Håkan Sterner, Kisa Magnusson, Olle Holmqvist, Ulf Andersson

A1 Förspel
A2 It´s Risi´n Up Real
A3 Papa Serindes
A4 Mercedes Benz
A5 Cry Me A River
B1 You Shall Find Your Way
B2 Grattis Lilla Mamma
B3 Bengans Handtrall
B4 Mama
B5 Efterspel 

johnkatsmc5, welcome music..







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Hi`s Master`s Voice

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music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958