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Saturday, 29 April 2017

Tennessee Farm Band “Communion” 1977 US Private Hippie Psych Jam










Tennessee Farm Band “Communion” 1977  US Private  Hippie Psych Jam..recommended..!
full
Credits 
Bass – Michael Sullens 
Drums – David Chalmers 
Engineer – Tim Turner 
Guitar, Vocals – Walter Rabideau 
Vocals – Linda Hershfield 
Vocals, Keyboards, Saxophone – Thomas Dotzler

Tracklist 
A1 Electric Glue 5:12 
A2 King Tut’s In Chicago 5:14 
A3 The First Time 6:15 
B1 Hot Tofu Medley 9:52 
B2 Makin’ Up For Lost Time 6:25 

Colores “Es Mejor Olvidar +3” 1975 EP Spain Private Heavy Psych Rock



Colores “ Es Mejor Olvidar +3” 1975 EP  Spain Private Heavy Psych Rock
https://www.youtube.com/watch?v=So14QDBWDW8

Tracklist
A1 Es Mejor Olvidar
A2 La Bruja
B1 Rompecabezas
B2 Años Luz 

Alquitran ‎ “Alquitran” 1977 Spain Prog Rock







Alquitran ‎ “Alquitran” 1977 Spain Prog Rock
full
https://www.youtube.com/watch?v=V4XaXWDyBP8

Very unique single-disc band. The original edition of this LP is quoted (or quoted) for bizarre amounts, although it has been recently reissued. It was published in the no less obscure stamp AUVI, also responsible for the second and last of Borne and also second and last of Barcelona Traction. Neither the LP of Tar nor these two have been reedited on CD………….

Tracklist 
A1 El Ascensor
A2 Ocaso De Un Play Boy
A3 Pais
A4 Nosotros
A5 La Escalera
B1 Ellos
B2 Entre Soles Densos
B3 Hacia Una Nueva Luz
B4 Ni Idea 

Objectivo ‎ Portugal Prog Psych Rock all singles 1969-72


Objectivo ‎ Portugal Prog Psych Rock all singles 1969-72
Objectivo ‎ “A Place In The Sky” 1969 Portugal EP

Objectivo ‎ “Glory - Keep Your Love Alive"1970 single

Objectivo ‎ "This Is How We Say (Goodbye)The Dance Of Death"1970 single 7″

Objectivo ‎"Out Of The Darkness-Music” 1972 single 7" 
full vk all singles

https://vk.com/wall312142499_9516







Group formed from the extinction of groups like the Ekos and the Showmen, in the years 60.Were a Portuguese group, but had the particularity to include in its bosom american and english musicians between they guitarist Jim Cregan, who was later a member of Cockney Rebel Steve Harley and musician of Rod Stewart’s band.

In 1970 was recorded the first disc stereo in Portugal and the authors were OBJECTIVO. The album, a single, contained the themes of “Dance of Death” and “This Is How We Say Goodbye.” 







Daniel Vega ‎ “La Noche Que Precede A La Batalla” 1976 Spain Prog Folk



Daniel Vega ‎ “La Noche Que Precede A La Batalla” 1976 Spain Prog Folk

This is one of the big surprises that the Spanish progressive scene has yet to give to all worldwide prog fans. Daniel Vega (not to be confused with the other Vega who released the well- known Andaluza album), was an excellent musician from Asturias, in the north of Spain. 
This is his sole album, and it’s an outstanding progressive folk record with Daniel writing and singing all tracks except two instrumentals. Fully remastered sound, original gatefold cover artwork, and 500 copies only. Strongly recommended!………….

Tracklist 
La Noche Que Precede A La Batalla 
A1 La Noche Que Precede A La Batalla 2:00 
A2 Jinete 1:52 
A3 Alma Gemela 3:54 
A4 Hacia La Eternidad 2:58 
A5 Compañeros 2:45 

Cantábrico 
B1 Tierra Minera 1:00 
B2 Esperando Al Sol 2:23 
B3 Cantábrico: El Vuelo Del Albatros / Acantilado 2:15 
B4 Madre Asturias 3:12 
B5 Ciudad Luminosa 1:30 
B6 El Sol Cruza Todas Las Fronteras 1:25 

Jaume Sisa "Orgia" 1971 Spain Prog Folk,Folk Rock










Jaume Sisa  "Orgia" 1971  Spain Prog Folk,Folk Rock
full
https://www.youtube.com/watch?v=Jqv4UNVUSL0&list=PLnNlup9QRYAKCUnOPDr06OO4ZSQhtB5mN&index=4

“Jaume Sisa was an important part of Musica Dispersa and is a folk-rock artist with a very idiosyncratic style. His first album Orgia was a prime example of psychedelic rock the Spanish way with Sisa followings his whim much like Robin Williamson (of Incredible String Band) in his heyday. The vocals and harmonica playing is a little indebted to Bob Dylan, but of course this is a lot stranger. Elsewhere there are kazoos, piano, tablas, recorders, snippets of tapes, and even occasional strings and brass. The same year, 1971, that Musica Dispersa was released, he also put out this great solo album. Crazy acid folk with lots of humour and weird vocals by Sisa himself.”……………

Tracklist 
A1 Risas
A2 Carrer
A3 Joc De Boles
A4 Comiendo Pollo
A4 Menjant Pollastre
A5 En El Castell
A6 Paisatge
A7 Cap A La Roda
B1 Els Reis Del Pais Deshabitat
B2 El Casament
B3 L'Amor A Les Rodes De L'Amor
B4 La Presó De Les Rodes
B5 Pasqua Florida

Discography: 
1968- L'Home Dibuixat 
1971- L'Orgia 
1975- Qualsevol Nit Pot Sortir el Sol 
1976- Galeta Galàctica 
1977- La Catedral 
1979- La Màgia de L'Estudiant 
1979- Antaviana 
1980- Sisa i Melodrama 
1981- Nit de Sant Joan 
1981- Noche de San Juan 
1982- Barcelona Postal 
1983- Roda la Música 
1984- Transcantautor 
1985- Sisa (Recopilatori) 
1994- Sisa: “El més galàctic” (Recopilatori) 
1996- “El Viajante”, amb Mestres, Llamado i Solfa (Disc-llibre) 
2002- Bola voladora (Drac/Virgin) 

Landberk “Indian Summer"1996 Sweden Prog Rock





Landberk “Indian Summer"1996 Sweden Prog Rock
full
By whatever stroke of grace or good fortune Scandinavia became a crucible of Progressive Rock in the 1990s, with Sweden in particular a nest of musical creativity to rival Italy in the ‘70s. The talent pool at the time was deep enough to hide even a first- rate outfit like LANDBERK, who in a perfect world could have rivaled the popularity of their compatriots in THE FLOWER KINGS (who, let’s face it, were never really very Nordic, probably a key to their international success).
I first heard LANDBERK on the Musea label "Progfest '95” CDs, sandwiched in between the Japanese gender-bent ELP clone ARS NOVA and the high octane Latin language fusion of DEUS EX MACHINA (the previous year’s compilation had introduced me to, among others, fellow Swede favorites ÄNGLAGÅRD and ANEKDOTEN). Landberk was the notable exception to the largely instrumental bias of the show: a song-based band with a spiky post-Punk guitar sound not far removed from JOY DIVISION or CRISPY AMBULANCE (or the pompous phonies of U2, if you want a really cheap comparison).

Likewise they also favored a mood of introspective gloom that the late Ian Curtis might have appreciated, although here it was expressed with a subtlety and nuance not often found in the typically grandiose ambitions of Progressive Rock. The music on this, their latest to date (and last ever?) studio album, is steeped in the same unique Midnight Sun melancholy, giving even the more up-tempo numbers (“Dustgod”, “Dreamdance”) an indelible air of wistful regret.

The production is sharp, the packaging is classy (again, unlike the histrionic visual overkill of too much Prog Rock cover art), and the performances are uniformly excellent. Listen to the relaxed yet confident drumming of Jonas Lindholm. Or Simon Nordberg’s keyboards, employed more for atmospheric color rather than the usual virtuoso wanking. And Reine Fiske proves himself a guitarist of rare delicacy and understated strength. His playing over the long fade out of “All Around Me”, or during the climactic chorus of “Why Do I Still Sleep” (I just now noticed the telling lack of a question mark in the song’s title), is almost cathartic in its beauty, wringing out every last drop of emotion from his strings.

But is it really Progressive Rock? Only in the same sense that a thoroughly modern rock band like RADIOHEAD can be considered Prog: i.e. in the best, genuinely creative (and not simply derivative) sense of the word. And, of course, they use a mellotron too, so that certainly qualifies them as closet Progheads.

If this was truly LANDBERK’s final album, and after an almost ten-year silence it’s beginning to look likely, they can at least boast of having quit at the top of their game.

.but hold on. Stop the presses: I just learned (honestly, at the very moment of mopping up this review and simultaneously surfing the backwaters of the Prog Archives site) that Reine Fiske and Landberk bassist Stefan Dimle are now members of a new (to me at least) Prog Folk quintet called PAATOS. So will they carry that bittersweet Landberk legacy forward into the new millennium? Stay tuned, a sample download is now in progress….by Neu!mann …….

This swan song album of Landberk shows us a band, which has matured in a way that may not please many prog fans. As pointed out in previous reviews, the influences of their original inspirers are not anymore present, but I see it only as a good thing. The music is soft, clam, melancholic and emotional, and I like it very much. This record is also accessible to listeners not fond of chaotic avant-garde music. The album opens with a great couple of “Humanize” and “All Around Me”, which are tied as a one musical packet. The other highlights for me here are “I Wish I Had A Boat” which is very mournful and beautiful, as is “Why Do I Still Sleep”. The closer “Indian Summer” is a silent post-rock influenced tune. Though the band faded after this, their spirit continues in the band Paatos, check that out if you liked this album (and also Anekdoten’s albums from “From Within”). There are some interesting small details in the arrangements, like the second final verse on “I Wish I Had A Boat”, where the lyrics are echoed as silenced screams, barely audible…….by Eetu Pellonpaa …………….

There are mixed reviews out there for this album. Landberk tried pretty hard to do the dark prog thing for a while, with not much success in my opinion. There was always something better about Anekdoten’s tunes, although Landberk always had the secret weapon of Reine Fiske’s wonderful, delay-drenched guitar leads, which now grace Dungen. This last album is the one where they finally got their own sound, which makes it a shame that it is their last. The band focussed less on traditional Crimson-derived dark prog styles and more on refining what was best about their sound. Indian Summer is extremely, determinedly sparse and wintery, mostly focussed on Fiske’s slowly unfolding melodic leads and subtle mellotron chords. Singer Patric Helje is sometimes compared unfavourably to Bono, but the resemblance is trifling- he’s a serviceable vocalist, although not the main attraction of the group’s sound. This album works best in the slow, ponderous pieces, not so much on slighty more upbeat pieces like “1st of May” or “Dustgod”. But check out the celestial beauty of the second half of “All Around Me”, the delicate melody of “Why Do I Still Sleep?” or the closing instrumental title track to hear melancholy prog at its best. This album may have been an effort to establish a more modern, accessible sound, but whatever Landberk was going for, it works. For fans of Anekdoten, Radiohead, Dungen, Paatos, Mogwai etc, this is a good one to track down……….by Heptade …………………

Incredible to think that this Swedish band released four studio albums over four and a half years. Even more incredible is the fact that this was achieved in the 90’s! Landberk are one of those progressive sounding bands from Scandinavia that endorses the very reason that they are in my opinion second or third after the British for true sounding progressive music output. Indian Summer is a bleak , desolate landscape of sound interspersed by some of the most beautiful guitar playing.Just listen to the second part of the song ’ All around Me’. Another great song is the closing title track ’ Indian Summer’, vocals are almost minimalist in nature. There is a similarity to Landberks sound found in Talk Talk’s Spirit Of Eden and Laughing Stock material. Not easy to get hold of in any media format this album is a must have though to any prog enthusiast. This gets a solid 3 and a half stars rounded up to four. It’s musical quality deserves a solid rating on their final studio release…… by Chris S ………..

Landberk was one of the trio of prog wunderkinds from Sweden that was at the forefront of the fabled prog Renaissance in the early 90s, together with the spectacular (and still active) Anekdoten and the legendary but troubled Anglagard. All three where purveyors of dark, brooding and mystical Norse tendencies , adding colossal doses of dense mellotron, a brutal rhythm section with up front bass and bashingly titanic drums. Sadly, Landberk would dissolve into the fjord mists, unleashing this final “Indian Summer” masterpiece, as well as the intense Morte Macabre cooperative effort with the Anekdoten boys.
This album is a prime example of misunderstood genius, not particularly liked by the fans because of its rather radical low-key atmosphere, quite distant from the previous “Heavy Prog” formula. In fact, it’s so moody it can verge on soporific, like a soundtrack for an opium den. But these guys are full of surprises and they succeed in paving the road for future prog acts such as PTree, NoSound, White Willow, Paatos and the brilliant Sunscape by deliberately expanding on the veil on the sonics, less rock and more roll if you will. Landberk is unquestionably led by the scintillating guitar work of Reine Fiske, a unique somber style that winks reverently at a reserved Fripp or U2’s The Edge on quaaludes combined with an abundant use of fluffy mellotron carpets at the hands of producer Simon Nordberg. Both bassist Stefan Dimle and drummer Jonas Lindholm excel at setting a mood and keeping it firmly anchored, just plain solid.

There are some insanity inducing tracks here that would make Syd blush with respectful envy. “Humanize” is a deep felt excursion into inner pain, a wallowing waft of melodic despair, as close to sonic depression as possible. Cavernous melancholia draped with stalactites of distant memories, the whispery vocals from Patrick Helje are stunningly a propos. “All Around Me” is the 9 minute epic that defines the recording, echoing voice effects within a metronome yet organic beat, eerily close to Steve Wilson’s early material , the jangling guitar slashing the butterfly clouds with soaring ferocity. Even on the more raucous “1st of May” and later on the robust “Dustgod” whether the pace quickens, the intensity remains, verging near a proggier Joy Division or perhaps Radiohead. The music remains focused, edgy and impalpably disturbing . Quite pleasant really! Hahahaha! I mean you need to be respectful of this record as it will not fit easily into a playlist; it’s an experience on its own. Yes, candles and very dim lights are an option when listening to this stuff. “I Wished I had a Boat” is another platonic annoyance of doomed gloom, a palette of pastelled dejection, Helje’s gorgeous voice passionate and yet repentant, a complete prog gem of the highest order. “Dustgod” has a more immediate presence, with a huge vocal melody still mired deeply in atmospherics The brilliantly vaporous “Why Do I Still Sleep” is a true classic, the perfect definition of a prog dirge with Viking overtones. One can imagine a burning funeral “drakkar”, blazing arrows of fire arching towards the aquatic tomb, a heady mixture of pain, regret, respect and sorrow. The repeated Sara Isaksson wailing is hypnotic and tortuous. The title track closes out this peculiar disc, a “not a prog for all seasons” testament to fabulous prog giant that left us way early, for whatever frail human reason. If you want to hunt down one bizarre disc that many will puzzle over, get this stunner…………by tszirmay …………….

Reine Fiske is a genius. He plays guitar unlike anyone I’ve ever heard–on a par with maestro Jeff Beck and the late and, sadly, much obscured blues axeman, Roy Buchanan. Fiske and Beck are similar in the way that the two create astoundingly beautiful and totally unexpected soundscapes with the same implement that all other musicians who claim to play guitar use. The answer to the riddle: What makes them so different? must be that Reine Fiske and Jeff Beck must be gods–or, at the very least, not of the same Earth/human substance as all other guitarists. Seriously: Check out this player. He is a player of a totally different ilk. Indian Summer is my favorite Landberk album, despite some odd familiarity–especially in the vocals (at times I hear striking similarities to ICEHOUSE, THE CHURCH, INXS, and DAVID SYLVIAN). This album shows maturity and, yes, autonimity; they’ve really come into their own sound. It started with the end of One Man Tells Another–the brilliant “Tell.” Indian Summer starts out by hooking you in with the catchy “Humanize” (8/10) but then lags a bit with the next two songs: slightly monotonous, Icehouse/Church-like. “I Wish I Had a Boat” (8/10) picks it back up again in a very David Sylvian-sounding 'avant- ambient’-like way. “Dustgod” (9/10) combines the earlier Icehouse/Church sound and feel with the Sylvian-ness in a brilliant way. “Dreamdance” (9/10) shows off some absolutely amazing guitar playing/styling (all songs on which genius Reine Fiske participates are worth a closer listen, but this one puts his uniquity right in your face). Then comes my favorite, the eight-minute gem called “Why Do I Still Sleep?” with its masterfully delicate guitar stoking and the surprise female vocalist pleading the song title to us at the end. Yeah, with all the crap going on in the world, why do I still sleep? Or, as Jonathan Wilson put it only this yeart, Can we really party today? The finale, the delicate Pat Metheny/New Chatauqua-like title song (6/10) is frankly a bit of a let down. While not a 5 star masterpiece of prog music, this is an excellent album that I highly recommend. And don’t forget Reine Fiske’s other projects: Morte Macabre, the first Päatos album (Timeloss), Dungen, and The Amazing. They’re all worth checking out……….by BrufordFreak ………….
There had already been a significant change in direction between Landberk’s Lonely Land and One Man Tells Another, but nothing that could have foretold the Swedish group’s third and final opus, Indian Summer. Shedding its progressive rock skin, Landberk reinvented itself as a mellow alternative-cum-intelligent rock outfit. Some people will be tempted to compare this album to Pink Floyd’s atmospheric rock, but it has more bite than that, it is less-polished to the bone, more elemental and emotional, hinting at Radiohead’s OK Computer a year before the latter came out. These are slow songs inhabited by understated melodies, atmospheric electric guitars, and slow, thoughtful solos. The album requires some getting used to, especially if you expect something in a more overtly prog rock vein. Tracks like “Humanize,” “I Wish I Had a Boat,” and “Why Do I Still Sleep” reveal their beauties after repeated listens, once you cannot get their melodies out of your head. “1st of May” and “Dustgod” balance the album by bringing harder-rocking moments, although the attention to detail and mood remain unchanged. The title track closes the album with a heartbreakingly simple guitar piece. This album was cruelly overlooked because, coming out of the '90s prog rock network, it was dismissed as being too uncharacteristic by the fans and yet it was unable to reach the wider audience it was targeting. It deserved to succeed – you deserved it………by François Couture ……………..

Landberk was one of the trio of prog wunderkinds from Sweden that was at the forefront of the fabled prog Renaissance in the early 90s, together with the spectacular (and still active) Anekdoten and the legendary but troubled Anglagard. All three where purveyors of dark, brooding and mystical Norse tendencies , adding colossal doses of dense mellotron, a brutal rhythm section with up front bass and bashingly titanic drums. Sadly, Landberk would dissolve into the fjord mists, unleashing this final “Indian Summer” masterpiece, as well as the intense Morte Macabre cooperative effort with the Anekdoten boys.
This album is a prime example of misunderstood genius, not particularly liked by the fans because of its rather radical low-key atmosphere, quite distant from the previous “Heavy Prog” formula. In fact, it’s so moody it can verge on soporific, like a soundtrack for an opium den. But these guys are full of surprises and they succeed in paving the road for future prog acts such as PTree, NoSound, White Willow, Paatos and the brilliant Sunscape by deliberately expanding on the veil on the sonics, less rock and more roll if you will. Landberk is unquestionably led by the scintillating guitar work of Reine Fiske, a unique somber style that winks reverently at a reserved Fripp or U2’s The Edge on quaaludes combined with an abundant use of fluffy mellotron carpets at the hands of producer Simon Nordberg. Both bassist Stefan Dimle and drummer Jonas Lindholm excel at setting a mood and keeping it firmly anchored, just plain solid.

There are some insanity inducing tracks here that would make Syd blush with respectful envy. “Humanize” is a deep felt excursion into inner pain, a wallowing waft of melodic despair, as close to sonic depression as possible. Cavernous melancholia draped with stalactites of distant memories, the whispery vocals from Patrick Helje are stunningly a propos. “All Around Me” is the 9 minute epic that defines the recording, echoing voice effects within a metronome yet organic beat, eerily close to Steve Wilson’s early material , the jangling guitar slashing the butterfly clouds with soaring ferocity. Even on the more raucous “1st of May” and later on the robust “Dustgod” whether the pace quickens, the intensity remains, verging near a proggier Joy Division or perhaps Radiohead. The music remains focused, edgy and impalpably disturbing . Quite pleasant really! Hahahaha! I mean you need to be respectful of this record as it will not fit easily into a playlist; it’s an experience on its own. Yes, candles and very dim lights are an option when listening to this stuff. “I Wished I had a Boat” is another platonic annoyance of doomed gloom, a palette of pastelled dejection, Helje’s gorgeous voice passionate and yet repentant, a complete prog gem of the highest order. “Dustgod” has a more immediate presence, with a huge vocal melody still mired deeply in atmospherics The brilliantly vaporous “Why Do I Still Sleep” is a true classic, the perfect definition of a prog dirge with Viking overtones. One can imagine a burning funeral “drakkar”, blazing arrows of fire arching towards the aquatic tomb, a heady mixture of pain, regret, respect and sorrow. The repeated Sara Isaksson wailing is hypnotic and tortuous. The title track closes out this peculiar disc, a “not a prog for all seasons” testament to fabulous prog giant that left us way early, for whatever frail human reason. If you want to hunt down one bizarre disc that many will puzzle over, get this stunner………………

Similar to the Nordic wave of progressive rock bands that followed the Änglagård in the early 1990s, Landberk undeniably possesses that dark, melancholy side that evokes so well the frozen fogs of the Scandinavian fjords. The last Indian Summer beach, for example, is not so remote in the spirit of some works by Terje Rypdal, Ketil Bjonrstad, or even the introspective Pat Metheny of the early ECM label. But unlike groups such as Änglagård, Kaipa, Sinkadus, Pär Lindh Project or the Flowers Kings, Landberk does not use the progressive music canons defined by the groups of the 70’s like Genesis, Pink Floyd, ELP or Yes. Difficultly classifiable, his music is simple, melodic, based on an immutable rhythm and reveals multiple influences that often have nothing to do with each other. All Around Me or Dustgod thus recall a U2 whose rock would have remained more alternative than commercial, comparison further reinforced by the deep and dragging voice of the singer who is in the same timbre as that of Bono. Other beaches are like Van De Graaf Generator, Anekdoten or even the Simple Minds of the beginnings. The keyboard, mellotron and Hammond organ, sometimes barely audible, are largely dominated by Reine Fiske’s guitar played in a clear register with effects of vibrato and echo. No solos or complex interplays of instruments, above all the economy of means, and it is more the rhythm, imposed by Jonas Lindholm’s throbbing drums and the very present bass of Stefan Dimle, which is the main thread of These minimalist melodies closer to Art Rock than Progressive (at least in its most common definition). 1st Of May, Dustgod and Dreamdance more removed bring a welcome diversity in the repertoire and contribute to the fact that this disc is listened to with pleasure. Unfortunately, Indian Summer was the most original and the best but also the last work of Landberk missing soon after south of the Arctic Circle. The guitarist and bassist have since resurfaced, first with Morte Macabre (Symphonic Holocaust, 1998) in the company of two musicians of Anekdoten and later in a new promising group of the name of Paatos…………………….

Line-up / Musicians
- Stefan Dimle / bass
- Reine Fiske / guitars
- Patric Helje / vocals
- Jonas Lindholm / drums
- Simon Nordberg / keyboards
- Sara Isaksson / vocals (7)
- Lotta Johansson / sax (1)
- Sebastian Öberg / cello (4)

Tracklist 1 Humanize 6:07
2 All Around Me 9:03
3 1st Of May 3:34
4 I Wish I Had A Boat 5:41
5 Dustgod 5:04
6 Dreamdance 4:49
7 Why Do I Still Sleep 7:55
8 Indian Summer 5:12 

Grand Funk Railroad “ Unreleased” (Bootleg)1999 (Recorded in 1968, 1971, 1974, 1982) Russian Bootleg




Grand Funk Railroad “ Unreleased” (Bootleg)1999 (Recorded in 1968, 1971, 1974, 1982)  Russian Bootleg 
full
https://vk.com/wall312142499_5668

Ultra rare Russian’s Bootleg, gave me a lot of work to get it
After all, the recordings are fantastic, nothing in owing to the original one
If you want to see the splendor of Grand Funk in his career, this album is right here
I will not even give me the work to comment on the music, download, discover and get totally crazy about this record….by…Adamus67…
This is a strongly shortened version of (even using the same cover, only after proper retouching) their…
Thirty Years Of Funk: 1969-1999 (also known as The Anthology) is 1999 box set 3 CD 45 tracks by Grand Funk Railroad, containing three new songs and several previously unreleased songs.

In summary is this a quick insight to what the team could best - play with verve and passion through the years!

“ The worst rock band of all time ”…………………….

Tracklist
1 Getting Into The Sun
2 Can`t Be Too Long
3 Got This Thing On The Move
4 Inside Looking Out
5 I Can`t Get Along With Society
6 Hooray
7 The End
8 Destitute And Losin`
9 We Gotta Get Out Of This Place
10 Pay Attention To Me
11 All I Do
12 In The Long Run
13 Rubberneck 

Dashiell Hedayat avec (Gong) “Obsolete"1971 killer.. France Prog Psych Rock

















Dashiell Hedayat avec (Gong) “Obsolete"1971 France Prog Psych Rock..recommended….!
full
Killer out French prog with a backing band made up of Gong (the Gong of the day then) and featuring William Burroughs on vox. 
In 1971, poet and counter-culture activist DASHIELL HEDAYAT teamed up with GONG to bring their artistic visions to reality. Psychedelic guitars, hypnotic bass lines and freaked-out sounds made this record a must-have for the «Continental Circus» and «Camembert Electrique» fans. 
One of the most essential french rock albums ever dug out! This sweet ticket is just the nugget if that combo tickles your particular grits……..highly recommended….! 


ATTENTION GONG FANS!!!!!! THIS IS FOR YOU!!!!!! 
Actually some Pot Head Pixies consider this album to be the best to ever come out out of Planet GonG. Without going that far , this is an exceptional album where GonG shines like the sun. Please note that Gong had yet to record Cammembert Electrique and The Radio Gnome Invisible Trilogy, but by the time this album came out , GonG had become very capable musicians, and the "Hippy commune in Normady” was gradually phased out. 

OK, now!! On with the music and Dashiell Hedayatt: After having won some litteracy prizes for his first album , Dashiell , a poet and counter-culture activist started this project that quickly involved all of Gong but also Beat Poet extraordinaire William Bourroughs - also known for his very influential books, one of which (The Naked Feast) spawned at least two group names: Soft Machine and Steely Dan . With this kind of line- up , one can only expect a total freak-out of an album , and the least we can say is that you shall not be disappointed: in the psych genre this is one of the summit. But also a strikening feature is thaty this is also a surprisingly and superbly melodic album , all this extreme zaniness is embellished by the Allen glissando guitars (at its debut only ) and Malherbe wind breaks. 

The musical delire start with Dashiell singing out his hippy lifestyle living out of a pink 50’s broken-down Chrysler asa his home in a back court and his troubles for tranquil love-making (this is where La Fille De L'Ombre comes in but we cannot be sure because Dashiell is not so sure himself…..) then comes in the pièce de résistance Long Song For Zelda complete with sireal travelling and ouyt of this world text from W Burroughs. 

Side 2 will not give you a single momentsof rest as Gong his only getting warmed up and the side-long track Cielo Drive (Sky driving or space flying if yoiu wish) is the main theme. One comes to realize that this album is essential in the GonG metamorphosis from a clumsy hippy chysalis group (that had recoded the Brother album and signed an energetic Continental Circus movie soundtrack) to a superb and graceful space/prog butterfly that will take off through the RDI trilogy. 

Obsolete is truely one of the most important album to ever having come out of France, especially true for rock fans. More than a forgotten token of a lost era , this album belong in a museum dedicated to psychadelia. I , unlike many , use rarely the word “masterpiece” , but in this case , I do!!!!!!!!!!……by Sean Trane …….. 
Five-Star CLASSIC !! 
Dashiell Hedayat’s ‘Obsolete’ LP is a spectacular Space-Rock trip. French poet Dashiell H. latched onto the GONG commune of the time to bring to reality his artistic vision, presented through the medium of music, of his life and times during the beat/hippy era (not that I’d really know or fully understand), but on the back cover of the LP it states “Warning : This record must be played as loud as possible, must be heard as stoned as impossible and thank-you everybody” - I am no longer like this but the album is still part of my essential listening roster.  

Needless to say, if you are a fan of Camembert/Continental Circus period Gong, then this album is totally ESSENTIAL. If you’re not, then it’s STILL totally essential !! Full-on tripped-out spacey jams full of cascading guitar glissando’s and sharp soloing from DAEVID ALLEN, relentless Bass-riffs courtesy of Christian Tritsch and PIP PYLE’s distinctively forceful and busy drum-work - add to that the creative sax and flute playing of one Didier (Bloomdido) Malherbe, makes for one monster of an album. Dash himself is credited with some solo guitar, keyboards, cosmic-Hedayat-rumble and cut-ups. Gilli Smyth’s 'space-whisper’ is noticeable at various points (credited as 'wet pleasure shout and intergalactic whisper’). All the material, 2 side-long pieces, is composed by Dashiell himself in Autumn '69, way ahead of schedule for this sort of thing, and hasn’t been matched, unless one considers Radio-Gnome Gong as superlative. To this listener, 'Obsolete’ is a truly must-have album, and worth its weight in gold……by Tom Ozric ……………. 
Lost cheese in time 
You gotta wonder how on earth a cult classic like Obsolete, an album generally believed by many Gong fans and French psych music fans alike to be the best Gong album out there - why in the name of Zorro and all that’s holy this gem hasn’t been reviewed since my dear friend Tom Ozric rightfully so awarded it 5 stars in late November 2007?!?!??! What the blue feck is going on?!?!? 

Released as a solo album by French beat figure Dashiell Hedayatt in 1971, Obsolete offers up a musical polaroid picture of Gong metamorphosing from whimsical slightly clumsy psych rock act to the floating space creature that went on to make Camembert Electrique and the Radio Gnome Invincible Trilogy.  

Without the loud and fretting fireball weaponry of Steve Hillage, we additionally get to hear what Daevid Allen is really made of - and surprise surprise if he doesn’t wield that wah wah guitar like a genuine prince of marmalade. Fantastic rhythmic intonation as well as a frail melodic sense about him when soloing that really connects with me on a personal level. This album is full of understated solos and beautifully wandering riffing that Daevid does so incredible well, and you just gotta love how the band responds to his playing too. There’s indeed a symbioses going down, beautiful as bees. 

Together with Gilli Smythe, Pip Pyle, Didier Malherbe and Daevid Allen, Dashiel Hedayat succeeds in making one of the most sought out psychedelia remnants of the early seventies(especially if you’re looking for the vinyl version), and jolly well if the reputation isn’t fully deserved. This record is as charming as a pooch poo in a creme shop. The laid back almost talkative French vocals makes it feel as a refined hippie chill out album, and the foggy bass and slow swoop of the guitars certainly doesn’t change this album’s obvious dreamy character, yet with a fickle yet abnormally acute sense of dynamics Obsolete seems forever loveable in it’s expression. It genuinely feels like the Gong boys, and girl, found their mojo on the path to making an album without their name on it. It literally oozes out of your speakers. 

Adding to the counter culture imagery and the whole beatnik reverence, the dark Frankenstein and always astonishingly humorous Bill Burroughs comes in to lend a helping hand on Long Song For Zelda. Joyous irreverent as his usual self - Burroughs’ small cameo somehow makes the album shift into overdrive, taking the remaining part of the album from breathtaking pulsing musical scenery to terrific jam parts that foresaw the coming supersonic 5th gear of the later Radio Gnome Invincible days. Especially the side long Cielo Drive 17 pips the atmospheres from backyard dreamings to full solar voyages peeping awkwardly out the periscope - with Daevid Allen at his most relentless and Malherbe on a most inspired flute stint waaaay above the music like a distant satellite. 

I rate this among the most important French rock releases - up there with Gainsbourg and Vannier’s Histoire de Melody Nelson, Igor Wakhevitch’s Logos and Magma’s MDK. If you’re sitting out there beyond the screen thinking that you’ve never really heard about this Hedayatt fella, though still a major fan of the bright n orangy serpentlike Gong with all their mad gorgeous playfulness - then BROTHER you’ve been missing out on one of the most benign addictions known to mankind!………….by Guldbamsen ………… 

Dashiell Hedayat’s Obsolete is in some respects a super-secret disguised Gong album, with Daevid Allen and cronies providing instrumental backing whilst Hedayat himself takes lead vocals. It’s a slightly more rock-oriented brand of psychedelia than Gong’s style of the era and has less jazz influence, but nonetheless is a hidden gem of the band’s history. Canterbury historians will also be happy to note the presence of Robert Wyatt, Allen’s old Soft Machine ally (as well as William Burroughs himself, who gave his blessing to Soft Machine naming themselves after one of his novels thanks to Allen getting his permission), making this something of a confluence of the radical countercultural end of Canterbury……. by Warthur …………….. 

I remember someone posting an audio clip of Dashiell Hedayatt’s “Cielo Drive” and before I was too far into the song I was writing down the information as I knew I had to have this. Unfortunately my cd liner notes are in French but at least the lineup and words on the back of the liner notes are in English. Dashiell is a French poet and writer who has enlisted the GONG lineup from the “Camembert Electrique” period, in fact that album along with GONG’s “Continental Circus” and the album I am reviewing all were released in 1971 and they all have a similar vibe. Of note Robert Wyatt is not on this album as a few have stated but his son Sam who was 5 years old at the time does say some “baby” words on the closing number. Sam was raised by Pip Pyle and there’s a great picture of the two in the centerfold of the “Camembert Electrique liner notes I have from the same period. 
We get two long suites but the first one "Oh, Mushroom, Will You Mush My Room?” is divided into 3 tracks. Up first is “Chrysler” which reminds me of GURU GURU for some reason. Check out the psychedelic guitar in the intro as vocals, bass and drums kick in quickly. I like when the sax joins in, love that tone. Catchy stuff. It’s like they jam the rest of the way but check out the bass before 6 minutes. Nice. “Fille De L'Ombre” opens with water sounds as percussion joins in. More water sounds then we get spoken words, guitar and some freak-out sounds. Insanity! “Long Song For Zelda” features strummed guitar and vocals to start and they sound so good here. Drums and bass join in then we get a second guitar before 1 ½ minutes. Dashiell offers up some theatrical vocals sounds around 5 minutes then he continues to pretty much speak the words. Sax follows adding a sexy mood. It turns freaky after 7 minutes to end it including a spoken word bit by William S. Burroughs. 

“Cielo Drive/17” is haunting to begin with and very psychedelic as this hypnotic bass line joins in before a minute. Eerie sounds continue but check out that bass! Drums and cymbals join in as well. Spoken words before 4 minutes, sax too. A guitar solo from Pip replaces the spoken words before 8 minutes but the words are back quickly as the guitar continues to light it up with bass and drums supporting. Around 11 ½ minutes we’re back to that haunting atmosphere with those hypnotic bass lines. Unreal! Drums help out and then those spoken baby words from Sam arrive before 12 ½ minutes. Flute after 14 minutes as spoken words follow. The guitar is back before 16 minutes as the vocals and sound turn somewhat bombastic. It’s starting to wind down at 16 ½ minutes until we get a dreamy, folky soundscape with vocals as it drifts on to the end of this epic track. 

I can’t give this less than 5 stars, it’s a Psychedelic masterpiece and better than my favourite GONG albums, all in my opinion of course……..by Mellotron Storm ……….. 


French musician and author who worked under various pseudonyms throughout his career. He was born 5 June 1947 and died 17 July 2013 
He started out writing for the Rock & Folk magazine. His musical career was brief and he recorded under the names Melmoth and Dashiell Hedayat [a tribute to Dashiell Hammett and Sadegh Hedayat]. He also used the Hedayat name for his first books before taking on the name Jack-Alain Léger in 1974. He published most of his book under the name Léger and had a best seller with “Monsignore”. Later he also wrote books under the names Eve Saint-Roch and Paul Smaïl. 

The album Obsolete was written and composed on Autumn 1969 and recorded at Strawberry Studio on May 1971. 
It was recorded with the musicians of Gong at the same time as the album Electric Camembert in Hérouville Castle . Its first edition on the label Shandar in 1971 was gone largely unnoticed. The album was reissued on CD by Mantra, first in 1992 and then in 2008 ………………………. 


Dashiell Hedayat’s only solo LP is a highly satisfying mix of psychedelia and early prog rock. His backing band does a really good job. Especially Daevid Allen rocks on the lead guitar. The album includes just two songs which both fill each side of the LP. The A-side song “Eh, Mushroom, Will You Mush My Room?” has three separate parts and it’s a good song as a whole. But the B-side is my favourite here because “Cielo Drive / 17” kicks ass big time. It’s a wonderful song and not a second too long in my opinion. 

As a totality this record gets four stars out of five from me. I like it very much and there’s nothing to complain about. Hedayat does a nice job on the vocals as well. His spoken word parts are interesting and enjoyable too. And that’s the case with the whole album….by..CooperBolan ……. 

Dashiell Hedayat’s Obsolete is in some respects a super-secret disguised Gong album, with Daevid Allen and cronies providing instrumental backing whilst Hedayat himself takes lead vocals. It’s a slightly more rock-oriented brand of psychedelia than Gong’s style of the era and has less jazz influence, but nonetheless is a hidden gem of the band’s history. Canterbury historians will also be happy to note the presence of Robert Wyatt, Allen’s old Soft Machine ally (as well as William Burroughs himself, who gave his blessing to Soft Machine naming themselves after one of his novels thanks to Allen getting his permission), making this something of a confluence of the radical countercultural end of Canterbury. …….by…….Warthur …………….. 

From this record that has become legendary, everything has been said, or almost … The original galette, which proposes only four tracks, was released under a pink embossed pocket by the Shandar label, whose notes indicate: «Warning: this record must be played As loud as possible, must be heard as stoned as impossible and thank-you everybody. “ Behind the pseudonym of Dashiell Hedayat is actually Daniel Théron - a contemporary writer better known under another pseudonym, Jack-Alain Léger. 

Dashiell Hedayat told everyone who wanted to listen to him that Gong did not play a more important role than accompanying the songs he had composed alone. He compared his situation and role with Dylan, when he chose the future members of The Band for the recording of his albums from 1965 (Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde) . Unfortunately for Dashiell Hedayat, this view of things seems unlikely, as the sound of Gong is easy to recognize from one end of the disc to the other. The year 1971 marked the peak of Daevid Allen’s first period of the Gong (barely a year after the release of Magick Brother, Mystick Sister): the first classics of the band were released that year: Continental Circus , Electric Camembert, but also the solo album of Daevid Allen, Banana Moon. The importance of Gong’s influence on Dashiell Hedayat’s writing is still a matter of discussion, but the comparison between Obsolete and La Rue des Ivresses (released in 1969 under another pseudonym, that of Melmoth) A rather classical prog-rock style - not to say anything (we think of bands like Angel) to virtuoso music, impressive solidity, and resolutely rock'n'roll. 

Indeed, from the first guitar riff of "Chrysler”, the listener understands that he is in the presence of a great rock record: the rhythm is fast, and the band solid. The guitars (held by Dashiell Hedayat himself, but also by Daevid Allen, Christian Tritsch, and even Pip Pyle) are sharp, Christian Tritsch’s bass is monumental, and the Pyle battery prodigious. The lyrics of the songs, repetitive and hypnotizing, like the music that accompanies them, are implacable: “I have a Chrysler at the back of the court / it can not roll anymore but that’s where I do Love ”. Those who do not know the record must find it strange or laughable; The others know what it is all about. “Chrysler” is an extraordinary piece - one of the best recorded and sung in France. The next song, “Daughter of the Shadow” is an experimental piece on which strange aquatic sounds play a rhythm, before the guitar starts a looped riff and Gilli Smythe shouts his screams around Dashiell’s disturbing ritornello Hedayat. 

The song “Long song for Zelda” is a pure moment of happiness: the acoustic guitar intro, supported by a comforting bass, prepares the arrival of a magnificent song: “I am at the window / And you You’re in the bathtub / Your feet stand out / I can see them in the mirror of the closet. ”. The song passes like a beautiful dream, from the narratives of its strange visions to its strange conclusion, surprising to the absurd, yet wonderful. 

The B side of the original LP features “Cielo Drive / 17”, a track that is more than twenty minutes long, a titanic piece with the sound and rhythm breaks characteristic of Gong: monumental bass and virtuoso, relentless drums, guitars Aggressive with solos of glissando. The relationship with Continental Circus is undeniable: the rhythms played by Tritsch and Pyle are extremely close to those played for the B.O. of Laperoussaz’s film. The parts played by Didier Malherbe (aka Bloomdido Bad De Grass, the brilliant saxophonist and flutist of Gong) are prodigious. Gilli Smythe pushes his usual “wet pleasure chants” and Daevid Allen chains the parts of glissando, whereas Hedayat plays the guitar solos. The texts echo themes already covered in the disc (like the reflection); The mystery is present everywhere on this magical disc, which ends in a long chant very far from the first structure of the piece. The fragile song of Dashiell Hedayat and that of Gilli Smythe accompany the melody which gradually disappears with extreme softness, but inexorably. 

Obsolete is a single disc; An album without a real equivalent in the history of music: in four pieces only, Dashiell Hedayat & Gong recorded a prodigious, definitive and indispensable record………….. 

One of the best French acid folk albums ever recorded. 2 long tracks from 1971 with fragile vocals and gentle guitars, to turn over and be totally freaked out. Heavily recommended !! ………………….. 

Two years after seeing his first album (La Devanture Des Ivresses) rewarded by the Academy Charles Cros, Melmoth, reincarnated in Dashiell Hedayat, makes Obsolete appear, vinyl slab wrapped in a thick pink embossed cardboard pouch, on the Shandar label . In 1971, the Gong, composed of Daevid Allen, Gilli Smyth, Didier Malherbe, Christian Tritsch and Pip Pyle, produced two cult albums of psychedelia: Camembert Electrique and Continental Circus. The year also when Michel Magne had just opened the mythical studios of the Château d'Hérouville where so many artists were going to stay and record. Where Dashiell was given carte blanche, for eight days, smoked, to delirious, with Daevid, Didier, Pip Pyle ... "Ambiance ... 

The disc starts on the hats of a Chrysler Rose, where the guitar wah-wah never ceases to spread, drooling, dripping. The throbbing rhythm roars under the spirals rolled by the sax of Malherbe, mixed in the background, and the guitar glissandos send to mirror the whole to suspended worlds from where the disc will not return again before its term. "Your Chrysler is sadly broken ... yes but ... we're all smashed!" The words sparkle, the atmosphere sets in. Lava lamps and incense sticks. 

The sequel to the disc, more nonchalant, more sidereal, goes to see Dashiell Hedayat, under the false airs of decadent dandy, spreading of his fragile and murmuring voice, texts surrealist, poetic, elusive. The hallucinatory, hallucinatory delusions, unfolding like a roll of "colored silk paper" in floods of disjointed words, in which words hide, return, tangle and tell us ... Little fairground music (a theme of Nino Rota), then comes the Daughter of the Shadow first, accompanied by flushing sounds, aquatic percussions, wah-wah again and the languishing and unrivaled space-whispers which are the trademark of Gilli Smyth. 

Then Dashiell introduces us Zelda the beautiful redhead and the dogs in the night. To accompany it, an acoustic guitar, the heavy notes of Christian Tritsch's bass, Pip Pyle's discreet drums, and a throbbing music, recalling in a nonchalant atmosphere the Atom Heart Mother's Pink Floyd Fat Old Sun. The electric guitar blows a few bubbles, round and light, the sax of Didier Malherbe blows like an air of old jazz and William Burroughs, a passing buddy, comes to offer his voice to close the piece. We are in the heart of delirium ... 

The suite is called Cielo Drive / 17. It is a long 21-minute piece in the purest Gong tradition of the early seventies. Daevid Allen starts the flying carpet of his guitar slides suspended in the ether, then Christian Tritsch and his slimy bass like a fresh tar starts a heady line, haunting, repeated to infinity. The drums knit, ghostly voices echo in the distance, Dashiell Hedayat murmurs, the saxophone gets in motion ... "tails of comets in the hair, rings of Saturn on each finger, tears of blood that are as much Of novas ". The rhythm accelerates, the sax is racing and the electrical flashes of the guitar of Allen improvise a groove of dry, sharp, saturated sounds. It is 11'27 on the counter and then comes that bass line that clings and that twists the skulls, carried by the sheets of glissando. The voice of a 5-year-old, Sam Wyatt (Robert's son) emerges from nothing, like a specter, repeats the same words for a short time and then sets out again towards infinity. The interlacings drawn by Didier Malherbe embroidered laces of notes, the guitar returns to the foreground, Dashiell races, loses control "Is ... or else? ... I ... or perhaps, be". 

The altimeter exploded its dial, the carpet descends to the ground, gently, carried by a few acoustic arpeggios and a shy flute, towards a melted slowly lined with stars leading to silence. 

35 years after its publication, the album has retained all its freshness and lightness. Like a fragile flashback, obsolete ..............


Credits 
Bass, Acoustic Guitar – Christian Tritsch 
Drums [Here There And Everywhere] – Pip Pyle 
Flute, Saxophone [Bloomdido-saxo], Performer [Water Music] – Didier Malherbe 
Guitar – Pip Pyle (tracks: B) 
Guitar, Soloist – Dashiell Hedayat (tracks: A1, B) 
Lead Guitar – Daevid Allen 
Lead Vocals, Keyboards, Tape [Cut-ups], Performer [Cosmic-hedayat-rumble] – Dashiell Hedayat 
Vocals – Sam Wyatt, William Burroughs* (tracks: A3) 
Vocals [Wet Pleasure Shout & Intergalactic Whisper] – Gilli Smyth 

Songs / Tracks Listing 
1. Eh, Mushroom, Will You Mush My Room? (16:42) 
a. Chrysler - 6:40 
b. Fille de L'Ombre - 2:18 
c. Long Song for Zelda - 7:44 
2. Cielo Drive/17 (21:09) 

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