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6 May 2017

Zarathustra "Also Spielt…“1982 German Private Prog Kraut Rock

Zarathustra "Also Spielt…“1982 German Private Prog Kraut Rock 
Early on in my collecting career (say, 1985?), I was informed that the early 80s version of Zarathustra was a waste of time, and that the 1971 album by an unrelated band was the only Zarathustra worth seeking out. So when Second Battle reissued the Metronome 1971 album (1989), I was all over it, buying the LP re-release the minute it came out. I was happy with the purchase, as it was a decent representative of the Hammond organ rich German culture of the time. And I still own that LP, which I hope to review eventually. 

23 years later, I finally heard the "inferior" 1982 band. Gotta an inside tip for all you out there: I like this one better. SORRY! 

This Zarathustra absolutely nails the 80s neo-progressive meets 60s psychedelic sound. If you like the music of similar German bands like Neuschwanstein, Ivory and Sirius with the psychedelic acid guitar of Iskander (another underrated 80s group), then by all means seek this puppy out. Perhaps only the M.L. Bongers Project approaches this mix of Hawkwind meets Genesis. A really great find. Don't miss your chance to hear it, and hopefully a CD reissue label will take a chance on this one! 

Oddly enough, the dramatic guttural English vocalist (well... that's how it sounds!) reminds me of Rob Halford (Judas Priest) circa "Sad Wings of Destiny". And the distorted vocal opening recalls first album Metal ........ 

Nothing to do with the Hamburg-based early-70's group of the same name, this Zarathustra came from near Marburg and was formed in 1980 by keyboardist Matthias Kamm, guitarist Thomas Launhardt, drummer Andreas Kupfer and bassist Jurgen Rindfuss, before line-up changes led to a six-piece core in 1981: Kamm, Launhardt, Kupfer, new bassist Thomas Weigel, lead singer Stefan Muth and second drummer Michael "Migo" Dild.Their sole album ''Also spielt'' (1982, private) is a weird mix of fading Heavy/Psych sounds and the emerging power of synth-drenched Neo Prog with lots of symphonic arrangements and a light Teutonic flavor.Half about of the tracks are based on piano paces, deep bass, strong grooves and synth flashes with some raw vocals accompanying, very pompous and passionate music, the other half going to a completely different direction with guitar and organ in evidence, characterized by some light jams, extended instrumental rhythms and some bluesy solos on both organ and guitar.Not to mention the very Gentle Giant-like break of ''Balztanz'' in the middle with the high performance on clavinet or the discreet Fusion tendencies.All over the place and absolutely non-commercial music.They continued for about a year or so as Miljö and reformed in 2005 as Z-Clan to launch a new album of an unknown direction, ''Kurzschluss''....apps79............. 

Zoroaster was a persian prophet as siddhartha gautama was the buddha (or as Palo Alto, CA is the sister city to Luanda, Angola) and roughly contemporaneous. In the late nineteenth century he was catapulted into western civilizationary fame with the four-part book by my countryman the brilliant and ultimately mad Friedrich Nietzsche (psychotic from tertiary syphilis presumably, of which many succumbed in that pre-Fleming era). 

"Also Sprach Zarathustra" -- on rereading this book today we can rightly claim it as an absolutely timeless masterpiece of literature and philosophy, very much a prelude to the entire angst-ridden twentieth century. In a bizarre parody of a religious new testament Zarathustra achieves enlightenment after ten years meditating alone in a forest and goes down to the people to tell them his mission. His first episode is a taste of what's to come: He informs some villagers waiting for a tightrope walker of his finds, but they mock him, the funambulist falls to his death, he converts him just before dying by telling him there is no afterlife or hell, therefore he is dying utterly in vain. Whereupon he leaves the village carrying the dead corpse, saying, "what a great haul of fish today, I converted one dead man." 

God is dead -- in fact, he died when he choked on his all-powerful pity, informs the last pope. But he is god, says Zarathustra, surely he died in many different ways. Later still he finds a preacher before a herd of cows preaching a sermon on the mount and invites him to his hovel along with the ugliest man on earth and a piteous person who spends his time feeding leeches in a swamp, for a last supper that features a donkey reciting prayers... 

You can see from this how modern the book still sounds. What is especially beautiful is how we get that distinct frisson of a man on the edge of madness, enraptured with his moral of how spiritualism is dead, there is no god, and life is what we make of it. We must become better than men (ubermensch) (not "supermen" as Shaw mocked him) by our own standards. The first true existentialist, his descriptions of depression as a kind of nausea really ring true to us; meantime, the man himself, wracked with migraines, chronic sciatica, presumably ulcers and some kind of inflammatory bowel disease, in addition to the aforementioned sexually transmitted infection, suffered intensely, lived in rented rooming houses and was addicted to opiates and chloral hydrates, taking an inordinate amount of prescription medication (another explanation for the almost delusional quality to his writing), hardly interacting with other people at all except to ask various and sundry for food. How was he himself an ubermensch except in his fantasy and own mind? This is of course the paradox of the modern human, that having everything, he or she is nothing but a reality show contestant. The modern human is richer than a king with all the foods and clothes in the world for him or her to possess but feels himself a beggar comparing himself to Warren Buffett or Angelina Jolie. He is required to become better than all humans who have lived before, but he can't -- not when there is everything in the world to distract the time with, such as the progressive albums we are wasting all our spare time searching for and documenting to a degree the monks of the middle ages would have found unbecoming for saint or sinner. Like them though, we can drink a trappist ale or local craft beer and forget the future by remembering the past that we live for. And when we die? Will we recall all these albums with fondness and feel we have lived a full life replete with rare records? Zarathustra whispers in our ear, "your soul will die before your body... fear nothing further..." Unfortunately, this is my own modern irony, that without an afterlife or religion, death is the end of everything, the greatest fear of all. 

What we have here is a typical late-seventies / early eighties kraut hard rock private pressing, along the lines of Last Exit, Burning Candle, etc., or the previous Forest album. Some tracks are quite enjoyably hard with driving riffs, there is a lot of variety too, but hampering somewhat is the sound, which seems almost as if it was recorded on a two track mixer.....ProgNotFrog........... 

Matthias Kamm (organ, piano, synthesizer, clavinet), 
Thomas Launhardt (guitar, synthesizer), 
Thomas F. Weigel (bass), 
Michael "Migo" Dild, Andreas "Andi" Kupfer (drums), 
Stefan Muth (vocals) 

A1 Intro / Way To Your Heart 
Written-By – Kamm*, Muth* 
A2 Echoes And Shadows 
Written-By – Kamm*, Muth*, Launh.* 
A3 Frühlingslied 
Written-By – Kamm*, Launhardt* 
B1 Balztanz 
Written-By – Launhardt* 
B2 Go To Get Away 
Written-By – Kamm*, Wild*, Weigel*, Launhardt* 
B3 Herzlichen Funk 
Written-By – Kamm*, Wild*, Weigel*, Launhardt* 
B4 Imagination 
Written-By – Kamm*, Muth* 

Dave Halford “The Record” 1970 US Private Psych Folk

Dave Halford “The Record” 1970 US ultra rare Private Psych Folk 

The Jerry Hahn Brotherhood ‎"The Jerry Hahn Brotherhood" 1970 US Psych Jazz Blues Rock

The Jerry Hahn Brotherhood ‎"The Jerry Hahn Brotherhood" 1970 US Psych Jazz Blues Rock

One of my favorite albums of all time is called The Jerry Hahn
Brotherhood - it features keyboardist/vocalist supreme Mike Finnigan.

The album was produced by Joe Gannon and Larry Sharp. I don't know who
Larry is but Joe had a huge career from Kingston Trio to Alice
Cooper to running Zappa's record company................

The Jerry Hahn Brotherhood was formed by jazz guitarist Jerry Hahn who had paid his dues working with John Handy, the Fifth Dimension and Gary Burton. By 1970, he wanted to get a band together that would reflect a myriad of musical influences--- jazz, blues, rock, gospel, country etc. One of the best parts of the early 1970's was the great amount of experimentation that was going on among bands in general. A very fertile period indeed. As a matter of fact, one could easily make the claim that this here record was one of the very first true fusion albums to hit the scene. Later came such bands as Return To Forever and Weather Report who received wide acclaim for bringing together elements of jazz and rock but let's face it--- The Jerry Hahn Brotherhood had been there first.

The band had several key elements: Hahn's jazz inflected rock guitar, a solid versatile rhythm section of George Marsh (drums) & Clyde Graves (bass) and most importantly, the lead vocals & Hammond B-3 organ of the great Mike Finnigan who infuses each song with a healthy amount of good ol' soul. Finnegan is still active today backing up such artists as Bonnie Raitt and Crosby, Still & Nash.

One of Finnegan's more celebrated moments as a backing musician was his work on the Jimi Hendrix Electric Ladyland track, Rainy Day Dream Away (Rainy Day, Still Dreaming).
Many of the songs on this lp were written by someone named Lane Tietgen who provided the band with songs that had a lyrical sensibility that would later surface in such great bands as Little Feat and Steely Dan. For many years I was unable to dig up any info on Lane Tietgen but recently discovered that he's still active as a musician and recently released a new album on ITunes.

Sadly, this self-titled effort is the only recorded output by The Jerry Hahn Brotherhood. Prior to recording a follow-up album the band broke up due to management problems. As I write this, The Jerry Hahn Brotherhood album has not seen the light of day due to ongoing legal difficulties and it looks like this record may never see release on compact disc or as a digital download (at least not in our lifetimes)... .................

I spent thirty years as a professional musician. The first time I heard this album I was stunned. I blew me away! Unfortunately someone decided they need the record more than me. The album was stolen but they left the cover so I wouldn't notice the theft immediately. After searching for a replacement copy for years I gave up. The Jerry Hahn Brotherhood album is an extraordinary collection of master performances of outstanding compositions. Now that I've stumbled onto this amazing album I have no turn table upon which to play it. (sigh) I'm thinking about buying it anyway. Ya never know what piece of hardware may find a connection to my sound system............ByWingz............

Very cool album I just stumbled upon a few years ago. The first record I bought and now I have about 40.
True fusion ! A great mix of jazz , rock , funk , and folk elements. Mike Finnigan sings and plays organ and does both
so well! He's got great pipes. You need to hear this. The drum and bass hold a great groove but also fool around at the same
time, you can tell they are jazzers. Jerry Hahn plays some smokin guitar , and some great banjo on Early Bird Cafe! Do yourself and favor and hunt for this on ebay or wherever you can find it! ........

A lesser-known but talented guitarist, Jerry Hahn attended Wichita State University and played in Kansas before moving to San Francisco in 1962. He gained some recognition for his work with John Handy's adventurous band (1964-1966) which was the hit of the 1965 Monterey Jazz Festival. Hahn led an album in 1967, toured with the Fifth Dimension the following year, and was one of many great guitarists to be part of Gary Burton's group (1968-1969). He led the Jerry Hahn Brotherhood in the early '70s and then became a teacher at Wichita State University. Hahn maintained a low profile until 1986, when he moved to Portland and began playing full-time again. In 1993, Jerry Hahn relocated to Colorado, recording his first album in 20 years for Enja..... by Scott Yanow...........

Mike Finnigan Organ, Piano, Harmonica, Vocals
Jerry Hahn Guitar, Banjo, Vocals
George Marsh Drums
Clyde Graves Bass 

1. Martha's Madman - Lane Tietgen
2. Early Bird Cafe - Lane Tietgen
3. One Man Woman - Lane Tietgen
4. Ramblin' - Ornette Coleman
5. Dippin' Snuff - Jerry Hahn
6. Time's Caught Up With You - Lane Tietgen
7. Thursday Thing - Lane Tietgen
8. What I Gave Away - Lane Tietgen
9. Comin' Down - Jerry Hahn
10. Captain Bobby Stout - Lane Tietgen


1965 - John Handy: live at the Monterey Jazz Festival (Koch)
1967 - Jerry Hahn: Jerry Hahn & his Quintet (Arhoolie)
1970 - Gary Burton: Throb derzeit erhältlich mit Gary Burton and Keith Jarrett (Rhino, 1969/70)
1970 - The Jerry Hahn Brotherhood mit Mike Finnigan, Clyde Graves und George Marsh[1]
1993 - Jerry Hahn: Time Changes (Enja) mit David Liebman, Art Lande, Phil Markowitz, Jeff Hirshfield
1996 - Ginger Baker: The Falling Off the Roof (Atlantic Records)
2006 - Jerry Hahn: Hahn Solo (Migration Records)
2009 - Jerry Hahn: Jazz Hymns (Migration Records)
2010 - The Jerry Hahn Band: Hahn Songs 

Finnegan & Wood "Crazed Hipsters" 1972 US Psych Blues Rock

Finnegan & Wood  "Crazed Hipsters" 1972  US  Psych Blues Rock 

This is an amazing album - a sort of cross between rock, rhythm & blues, pure blues, and a few more influences. From a musical perspective, Mike Finnigan is fantastic behind the B3, and his vocals on the cover of Son House's Death Letter Blues are just outstanding. He played with Hendrix on Electric Ladyland, and later toured with various iterations of CSNY. Jerry Wood plays a blistering guitar solo on the Dylan cover, Down In The Flood, and it is a shame he passed away before he could find his due. One of my all-time favorites, I've been playing this since it came out back in the early 1970s, and had the pleasure of seeing them live back then. Highly .......

Finnigan and Wood's Crazed Hipsters is one of the best records to come out of the early 70s. It's a damn shame this has not been issued on CD. Known as a cult classic, the covers of everything from Dylan to Son House show a depth far beyond the capability of most artists over the decades. A collection of high speed boogies, solid blues, great choices of lyrics, and very creative covers of a whole bunch of great songs. This is a must-hear for anyone serious about knowing the history of

Despite the fact that I like this record a lot, I notice my rating is among the lowest in the rating list. Don't let this fool you; it's a good album! But apparently, many others like it way more than I. To me, a number of tracks on this LP have a distinct soul-rock flavor, at times even mildly reminiscent of Sly & Family Stone, what with the horns and everything. Some other cuts are good boogie blues. Not exactly the type of record one might expect from the two hayseeds on the cover. Though it's getting scarce, this does turn up on ebay fairly regularly, and I highly recommend grabbing a copy if you can. These crazed hipsters really did their hometown of Lawrence, KS. proud! ..........

First off, you can only get this on vinyl, and I've had it a number of years, listened again today, and have time to write a review. This is a mixed bag of rock, blues, psyche rock, a very good album. Mike Finnigan is a seasoned keyboard player, with a good voice, and Jerry Wood a guitarist not very well known, but real good, some great guitar and keyboards on this album, as one would expect, and they get lots of help from a funky horn section, a Van Morrison like or Muscle Shoals like horn section, and just the right mix of backing vocals, which play a major part, making this album more than just another one in the big pile of music available. 72' was a great year for music, shame Crazed Hipsters is not on CD for people to pick up, its probably real hard to find on vinyl, its a lost classic. The duo and band sound like they are imitating Crosby, Sills & Nash on 'Laughing Eyes'. There's some real nice piano blues on 'Hard Times', with a brooding organ, and a gospel like choir 3/4 way through to steer the track home. 'Lady Lady' is a jumping blues number Down Child Blues Band would do, it rocks. 'Death Letter' shines, despite is gloomy subject matter, its down and dirty, a very memorable track. And theres a gritty rendition of Dylan's 'Down in the Flood' to close out the album, with Wilson Pickett like singing and high powered searing guitar from Jerry Wood. If you ever see this one, snap it up ...........

Great Album! Unfortunately this CD was mastered from a vinyl record, rather than a studio quality master tape. The audible vinyl characteristics, while minimal (surface noise with a few mild clicks and pops throughout), was not what I was expecting from a CD at collector prices. This is a nifty obscurity from the early 70s rooted in hippie folk and blues rock. The Finnigan & Wood version of the Son House classic "Death Letter" may be the finest recorded by a rock artist (White Stripes included). Other highlights include "Tend To Your Own Business", and a cover of Bob Dylan's "Down In The Flood". The CD is essentially the Crazed Hipsters album that was originally issued on the Blue Thump Records in 1972, but the original running order of the songs has been shuffled. All in all, I'm happy to have a digital copy, but I could have made my own copy of equal or better quality from my own record.

If you enjoy Finnigan & Wood, you will also like the Jerry Hahn Brotherhood record (originally released on Columbia Records in 1970), as well as "Early Bird Cafe" by The Serfs (Capitol Records 1968). Both feature Mike Finnigan...By DJ MR Smith..............

A much-respected figure within San Francisco's music community, pianist/organist Finnegan first attracted attention in the mid-60s leading Mike Finnegan And The Surfs. By the end of the decade he was a pivotal member of the Serfs, a jazz-influenced rock act responsible for Early Bird Cafe. In 1970 Finnegan teamed with former Gary Burton guitarist Jerry Hahn in Jerry Hahn's Brotherhood, but the group's sole, self-titled album failed properly to illustrate their talents. Finnegan then joined Nu Boogaloo Express, a group featuring former members of Big Brother And The Holding Company. When the latter act was re-formed in 1971, Finnegan joined the line-up on a part-time basis. He appears on their album, Be A Brother. The pianist also began his solo career that year. Mike Finnegan And Friends was completed with the help of Muscle Shoals studio musicians David Hood, Barry Beckett and Roger Hawkins. Three accomplished albums followed in the next seven years. In 1972 he recorded Crazed Hipsters with guitarist Jerry Wood and in 1978 formed Dudek, Finnegan And Krueger with Les Dudek (formerly with Boz Scaggs and Steve Miller). They completed Sweet Salvation and The DFK Band, before Dudek and Finnegan formed Black Rose, a soft-rock ensemble fronted by Cher. Finnegan resumed solo work when this act split up, but failed to recapture the profile he enjoyed during the 70s. He has worked with members of Crosby, Stills And Nash for many years and co-sang the Stephen Stills AOR hit "Can't Let Go in 1984. He continues to be sought after for session work, although he has an exceptional voice that is underused................

Michael Finnigan — keyboards, harmonica, vocals
Jerry Wood — guitar, vocals
David Gates — bass
Don «Squeek» Cleary — drums
Ray Loeckle — tenor saxophone
Ray «Bags» Bagby — drums (09)

A1 Rock And Roll Show
A2 Highway
A3 Laughing Eyes
A4 Tend To Your Own Business
A5 Hard Times
B1 Lady Lady
B2 Death Letter
B3 My, My, My
B4 Don't Cry No More
B5 Down In The Flood

The Amazing "Wait for A Light to Come" 2010 Sweden Neo Folk,Neo Psych

The Amazing  "Wait for A Light to Come" 2010  Sweden Neo Folk,Neo Psych

Limited edition 1000 copies. Lp with printed inner bag. Brand new recordings of Swedish Folk-Rock-Psych-Pop perfection. The Amazing fell far from the tree. A natural process: coming together through affection, then slowly crystallising into a folk-rock-psych-pop- collective slowly pushing, bending then playing with any preconceived notions of pop. Friends first and foremost, its this kindred spirit that imbues the bands debut with a feeling unlike that of most releases - one of natural harmony, persistent progression and with a panoramic gaze fixed on distant settings. Their 2009 debut album has received unanimous critical acclaim worldwide. This is their follow up a new mini-album with an all-encompassing sonic soundscape of groovy electric folk rock, psychedelic pop and heavy jams. The core musicians in The Amazing are Christoffer Gunrup, Reine Fiske, who doubles as the lead guitar wizard in Dungen and whos solos so furiously its as if somethings trapped inside him that must be turned into melody or hell burst into flames, Johan Holmegard (who doubles as the drummer in Dungen too) and Fredrik Swahn. With special guests including some of Swedens finest musicians; Gustav Ejstes (Dungen) and Moussa Fadera (Life on Earth!) amongst others, nothing on Wait for a light to come is introverted or overworked - everything is balanced, kept together by natural melodies, soulful vocals and just how perfect should be. The Amazing is a feeling, an organic consequence of something that effortlessly came together, the start of a quite extraordinary tale."...............

This is the second album from Sweden's The Amazing on Subliminal Sounds. Wait For A Light To Come features brand-new recordings of Swedish folk-rock-psych-pop perfection. Their 2009 debut album received unanimous critical acclaim worldwide. This follow-up is an all-encompassing sonic soundscape of groovy electric folk-rock, psychedelic pop and heavy jams. The core musicians in The Amazing are Christoffer Gunrup, Reine Fiske (who doubles as the lead guitar wizard in Dungen and who solos so furiously, it's as if something's trapped inside him that must be turned into melody or he'll burst into flames), Johan Holmegard (who doubles as the drummer in Dungen, too) and Fredrik Swahn. The intimacy permeating through this group intensifies itself steadily in the music they produce; swimming idly through the twisted melodies, yet luminously anchored by Reine's astral guitar. Elsewhere they forgo the interstellar for a more bucolic revelry, built upon acoustic laments and a male and female vocal ripple that could only have spread itself outwards from Sweden's forlorn beauty. With special guests including some of Sweden's finest musicians; Gustav Ejstes (Dungen) and Moussa Fadera (Life On Earth!) amongst others, nothing on Wait For A Light To Come is introverted or overworked -- everything is balanced, kept together by natural melodies and soulful vocals. The Amazing is a feeling, an organic consequence of something that effortlessly came together............

Starting with the airily sung and briskly performed acoustic/electric guitar plus flute rock arrangement of "Evil," Wait for a Light to Come finds the Amazing whipping together six songs for a quick but enjoyable dip into their take on 21st century indie/folk grooves. If the Swedish group's music isn't deathless, it's never less than attractively pleasant, sometimes finding something that brings in the lush overflow of shoegaze, as on "Head Beaches," without completely sounding like yet another Ride or Cocteau Twins knockoff. A song like "And It Looks Like Today" or the title track clearly sounds beamed in from a mid- to late-'60s West Coast session of folk dreaminess. In slight contrast, "Islands" allows a little polite R&B groove to slide under the warm glow of the music while keyboards and piano echo off into the distance, while "Defect" brings in some fuzz guitar for further period coloring -- as well as showing how to do grouped harmony vocals that don't sound like the Beach Boys, perhaps a rare thing these Ned Raggett............

There is something ultimately disappointing about this album. The Amazing tout themselves as “Swedish folk-rock-psych-pop”, which is certainly descriptive. However, when you look at an album by a band thus described and see six tracks listed, you have certain expectations. You might think that these songs will be long explorations replete with multiple solos and strange sounds, for example, since there are only a handful of tracks. This is not an entirely unjusitifed expectation, either, if you came to this record looking for anything like the Amazing’s self-titled debut, where most of the songs stretch past the five-minute mark. But the six tracks on Wait for a Light to Come clock in collectively at less than 27 minutes. Barely one side of a record. If this was sold as a long EP or a 10” record, it might not be so deceiving.

Of course, this says nothing about the music. Getting past the stinginess of the songs on this album, one might offer the explanation that what the Amazing deliver on their second LP is a tightened-up or reined-in take on folk-rock-psych-pop, whatever that is. There is something to be said for a so-called jam band that doesn’t bore you to death with repetitive chord structures and lame solos that only sound good to the musicians sitting stoned in the room playing. Only two of the songs on the album, “Islands” and “Defect”, really let loose, and they do so in a good way. The other four are more structured, providing the pop part of the folk-rock-etc. hyphenation. In my opinion, though, this cutting back takes out some of the prime meat with the fat.

The inteteresting thing the Amazing did on their first album was mix ‘70s-inspired folk-rock with elements of shoegazing—especially in the texture of the vocals. On the fourth track of the new album, “Head Beach”, the Amazing pull this off nicely. An expansive guitar riff buffered by dreamy back-up harmonies provides a nice set of layers for the Christoffer Gunrup’s lead vocals to get lost in. The Amazing are at their best when the vocals meld into the instrumentation. Even on the first album, though, they strayed from this successful mixture into derivative folk territory. When they get too folky, Gunrup starts sounding like Nick Drake crossed with Dave Matthews, which doesn’t quite cut it. Although on the second track, “And it Looks Like Today”, they beat this problem with an “authentic”-sounding folk song that nicely combines male and female vocals in the Fairport Convention manner.

The Amazing have a good pedigree—including two members from Dungen’s live band, guitarist Reine Fiske and drummer Johan Holmegard (who is also part of another Dungen spin-off, Life on Earth!). These good friends show up on the record, like Dungen brainchild Gustav Ejstes, who mans the piano. The rippling piano leads the bongo vamp of “Islands”, a song that sounds like Nick Drake singing over “Black Magic Woman”. The most psychedelic they get, on “Defect”, where Reine Fiske lives up to his guitar-whiz moniker, also proves to be where the Amazing are the most exciting. This song has a good stuttering Neil Young-type riff paired with the patent dreamy vocal melodies. But this song is also highly reminiscent of Dungen—and it doesn’t rock quite as hard as their more famous brother band might do.

This could be good: the Amazing are the softer side of Dungen. However, as both of their albums begin with nice drum fills and guitars come in and out of the melodies with ‘60s psych leads, one can’t help but yearn for the harder side of things. Basically, the Amazing haven’t yet decided to stick with what they do best. It’s a good thing to mix up the heavy and the soft, rock and folk, but they need to maintain their own unique spin on things to make it worthwhile. And they do this, just not enough. Or perhaps not long enough. It’s no good just to be retro without adding something to the mix, even though bands often get sidetracked by how close they come to reproducing the old sounds they love. The last song, the title track “Wait For a Light to Come”, is a short acoustic guitar-based piece that merely repeats the title with reverb-drenched vocals. The repetitive, washed-out aspect is where the Amazing belong, in the region of psych vamping and drowning vocals. But this short song would work better if it was an idea that repeats sounds to sum up a more majestic album. What it really does is stop short............

1 Evil 3:23
2 And It Looks Like Today 3:10
3 Islands 6:10
4 Head Beaches 4:33
5 Defect 6:36
6 Wait For A Light To Come 2:38

The Mystic Minds "Mind Over Matter" 1975 US Private Psych Funk

The  Mystic Minds  "Mind Over Matter" 1975 US ultra rare  Private  Psych Funk
These guys were a trio from California (apparently they Korean War veterans) and a s far as i know this private press LP is their only release. This album had some pretty strange moments lyrically. These are only surpassed by their use of a home made instrument called a Brass Orchestra Cabinet .. It’s like a homemade pipe organ made of trumpets and other horns.... 

Mystic Minds is one of the rare bands that you do not see much about, and Lp was originally recorded in San Mateo California in 1975. It's probably one of the rarest Lps, this Lp looks like a record type where the band paid for Have a few hundred copies made.
There are a limited number of 300 LP reprints.....

Californian trio of veterans of the Korean War, Mystic Minds recorded only this album, which, due to the small press it had, soon fell by the wayside and became rarity. Independent production, "Mind Over Matter" is a legitimate garage record that combines elements of psychedelia with funk. It would, however, be just one of many of its kind if it were not for an unusual element of surprise: the Brass Orchestra Cabinet, a complex musical instrument created by the band members themselves.
Presented in the opening track, "It's Real," like a crazy horn sound piano, the bizarre contraption that guys have developed is nothing more than a kind of organ coupled with a series of horns and trumpets instead of tubes. The result is an instrument with this (or that) face and a horn-like timbre. Interesting, at least.
After the introduction to the opening song, the group continues the album with similar songs: guitars, brass orchestra cabinet, hammond organ, in a very funky atmosphere and with anything from "Green Onions" from Booker T. & MG's. The only difference is the track "Fungus Among Us", which has a deeper foot in Soul.
Ah yes, just one more detail: you might find this album out there credited not to Mystic Minds, but to Mysterious Minds. Do not worry, it's the same band. As the two names are on the cover of the original LP, both are valid. We adopted the former by greater use. Well, enough of the talk on my part. Keep the disk..........

Exact reissue of this ultra-rare and privately released funk/psych/outsider/incredibly strange LP by Korea War veterans from the US 1975. Superb rare groove all the way, way out psychedelic lyrics but also long instrumental passages AND the worlds only Brass Orchestra Cabinet, a bizarre keyboard contraption built by one of the group members, which is a portable electric pipe unit, sounding like nothing else you ever heard before, and it's used to good measure. A unique and unknown master piece that will be highly appreciated by rare funk groove diggers, DJ's, psych-heads incredible strange music fans and DJ's alike. Ltd edition of 300 copies only.............

Design [Brass Orchestra Cabinet Designed, Developed And Invented By] – Tim S. Jones
Drums, Vocals – Bob Vieira
Engineer – Johnny Morris (6)
Guitar, Vocals – Frank Ruiz
Keyboards, Vocals, Performer [Brass Orchestra Portable Pipe Unit] – Tim S. Jones
Vocals [Fine Female Vocals] – Genie Tracy

It's Real 3:53
Welfare To Unemployment 3:41
Funky Business Games 3:30
Clean Up Your Act 3:30
Power Of The Mind 3:30
Fungus Among Us 3:42
Can You Hear Me 6:12

Offenbach “Bulldozer” 1973 Canada Prog Rock third album

Offenbach “Bulldozer” 1973 Canada Prog Rock third album


Offenbach by Jerry Boulet…. 
Jerry Boulet 
Although their third release, this album can be considered their debut album/ indeed they started the music for the Bulldozer film soundtrack in 71, before their first album (Offenbach Soap opera) was released, but the project got into a tangled mess and when it was finally settled, the group had released two albums. So the group was touring France when the Film was finally ready for its opening upon Valentine's day in 74, the album being released the same day. It didn't really get promoted, because only singer/pianist Harel had made the trip (for budget reasons) from across the Atlantic?. And he didn't rejoin the rest of the troops. So Offenbach was a double singing-keyboardist fronted group since Pierre Harel (mostly piano) joined them, his alter-ego being Gerry Boulet (organ & sax). Gerry's brother Dennis had given up the drum stool and was replaced by the frightening-looking Belval. 

Opening the A-side is the movie and title track (sung version), and you'd think you're almost in a rocker Spaghetti-Western with Moricone writing on acid. The organ-dominated track feature choirs, underlining Harel's distinctive Joual-French vocals. A good start, even if the overall sound is not the greatest. Hey Boss is a great double piano piece with the same background choirs and is a small tour-de-force in itself. Magie Rouge is a great instrumental, sometimes reminiscent of the Yardbirds line-up of Renaissance, but with a great guitarist. The piano provides a solemn touch that Gravel's guitar rips iconoclastically to shreds. Great stuff. Next is a remake of Caline de Blues, their first hit in Quebec, and it overstays its welcome. The Peanut track and its Tabarnac intro is another example of how deadly the group was. Bataille starts shakily (difficult pick up-point from the film's soundtrack, I guess) with Boulet wailing on sax, but it doesn't go anywhere. 

The same movie theme opens the flipside of its soundtrack, but this time it is the instrumental version without choirs or scats, but sax dubbing, followed by a fast drum solo and later in SOS, the group clams down to a mid-tempo guitar/piano fronted piece over Mouffe (the actress from the film) scats and sings. Harel comes back, overpowering the group with his over-done vocals in Comme On S'Ennuie. Faut que J'me Pousse is another Harel treack where he overpowers the group, but then again it was his film?. Whether this was on the film or not, the closing Adios Amor, subtitled Famille Savard is an awful- sounding and cheesy tune that is sticking out from an uneven album. There are two bonus tracks at the end, both alternate takes from the original soundtrack, but they're not really adding much to the album's overall value, except that it won't close on the dreaded Adios track anymore. 

I suppose that seeing the movie would actually help understanding the album, even if the most brilliant moments have no need of picture. I doubt that this is the kind of movie you'll find easily, and certainly not easier than the other Offenbach film that Faraldo was realizing around the band in its French tour. It would be nice if both could one day be committed onto one DVD. Despite many moments of brilliance, this album is just too uneve,n to claim its essential and 4 stars Sean Trane ..............

BULLDOZER may be one of Offenbach's most obscure albums, however it is an important one from a historical perspective since the music composed for it helped launch Offenbach's career and defined the group's sound for years to come. 

By 1970, keyboardist and vocalist Gerry Boulet, his brother and drummer Denis Boulet, guitarist Johnny Gravel, and bassist Michel Lamothe had grown tired of playing cover songs as Les Gants Blancs. 

They changed the group's name to Offenbach Soap Opera, and began writing original songs in English. 

In early 1971, their new manager, Lucien Ménard, introduced the group to poet, musician and director Pierre Harel, with whom he was working on a new film entitled Bulldozer. 

The band needed money, so Harel hired them to help write a soundtrack for the movie. Harel also encouraged the band to compose rock songs in French rather than in English, an idea Gerry Boulet found preposterous. 

Harel's talents as a songwriter were soon evident, as within no time he helped compose 'Câline de blues' and 'Faut que j'me pousse', which would later become two of Quebec's most popular rock songs. 

By the spring of 1972, Harel's film was still not finished, however the band had enough original music and decided to record its first album, Offenbach Soap Opera which featured some music from the Bulldozer soundtrack. 

The album was released that summer and received little airplay as rock music sung in French was something new. To pay the bills, the band, which had now shortened its name to Offenbach, was relegated to playing English cover songs again in hotel clubs throughout Québec, lugging around a Hammond B-3 organ and Davoli sound system. 

A disenchanted Denis Boulet quit music and was replaced by Roger Belval who had played with Gravel in the groups Les Venthols and Les Héritiers. After a gig in La Sarre, Harel had an epiphany in which he visualized the band playing the Mass for the Dead at St-Joseph's Oratory in Montreal. 

His vision soon came true, and on November 30, 1972, Offenbach performed a show sung in Latin before 3,000 people, yielding a live album entitled St-Chrone de Néant which was released in early 1973. 

Meanwhile the group continued to compose music for Harel's movie, and finally that spring the soundtrack to Bulldozer was recorded. Work then began on editing the film and synchronizing the music. 

In the summer of 1973, while Offenbach was performing on the Plaines of Abraham in Quebec City, a French cinematographer named Claude Faraldo became enthralled with the band. 

By fall, Faraldo had lured the group to France to star in a film and record a new album. Then finally, after nearly more than three years in the making, Harel returned to Montreal to launch the film Bulldozer on Valentine's day 1974, starring Donald Pilon, Mouffe, Pauline Julien and Yvan Ducharme among others. 

Offenbach's album of the same name was released simultaneously with little fanfare while the rest of the group was still in France unable to afford plane tickets for the return trip to Montreal. 

Harel decided not to go back to France where the band was leading a life of debauchery which was being filmed by Faraldo. 

However, many new songs had already been written by Harel, which would be featured on Offenbach's next three albums: Tabarnac (1975), Never Too Tender (1976), and the eponymous Offenbach (1977). 

Harel continue to collaborate with Offenbach, writing more big hits for the group until he formed Corbeau with Lamothe and Belval in 1977 (from CD notes).........

"Who in 1973 would have thought that the recordings on the just-released soundtrack was the genesis of one of Quebec's favorite bands as we know it? In fact, this album (one of the least promoted of Offenbach's discography, with none of its tracks available on CD until now) dates back to 1970, when band manager Lucien MÈnard orchestrates their fateful meeting with poet/musician/songwriter Pierre Harel, who was also working with MÈnard on a new film: "Bulldozer". Harel proposes that the group records the film's soundtrack, and writes the band's first French lyrics. The result is an album that often demonstrates the young Offenbach's progressive tendencies, with completely different versions of the classic songs "Bulldozer", "C‚line de doux blues" and "Faut que j'me pousse". Essential for dyed-in-the-wool Offenbach fans!"...................

In a hard and arid country, the Abitibi, in the midst of a landscape of desolation, is tragic destiny where violence springs from everyday life. This is the universe of the Galarneau, poor beings who live on the margins of society, far from the established order, in a sort of parallel world.

"A film of" bum "and abitibian dump, underground and marginality, love and freedom. An imperfect and provocative film that could only be seen at ACPAV by the insolent camera of a filmmaker "rocker" unique in our cinema. Bulldozer is an important film. He is surely the one who comes closest to the film, the great Quebec film to be made. This film is the most faithful expression of the Québécois soul, the soul of this people of nothing, of little, this submissive, colonized people. (Robert Levesque, 1974)...........

Line-up / Musicians
-Gérry Boulet / keyboard, saxophone, vocals
-Pierre Harel / keyboard, vocals
-Jean Gravel / guitars
-Michel Lamothe / bass
-Roger Belval / drums
-Mouffe / vocals (10,14)
-La Famille Savard / vocals (13)

A1 Bulldozer (Chanté) 4:39
A2 Hey Boss 4:40
A3 Magie Rouge 4:09
A4 Câline De Doux Blues 5:04
A5 Adios Amor (La Famille Savard) 3:17
B1 Bulldozer Thème (Sax) 3:03
B2 Solange Tabarnac 0:31
B3 Marche De Peanut 2:10
B4 Bataille 2:49
B5 Qu'est-Ce Qui Te Prend 2:43
B6 S.o.s 3:18
B7 Ah Comme On S'ennuie 3:14
B8 Faut Que J'me Pousse 2:37


1972 Québec Rock b/w Ma patrie est à terre (Deram) DF-571
1973 Caline de doux blues/Faut que j'me pousse (Barclay - France) 61821
1976 Never Too Tender/Running Away (A & M) AM-434
1976 High Down/Running Away (A & M) AM-438
1977 Chu un Rocker/La Jeune Lune (A & M) AM-444
1977 Sad Song/Running Away (A & M) AM-449
1977 La Voix que J'ai/La Jeune Lune (A & M) AM-451
1979 Ayoye/Bye Bye (Kebec-Disc)
1979 Je Chante Comme Un Coyote/Mes Blues Passent Pu Dans’ Porte (Kebec-Disc)
1980 Ride Ride Ride/Someone On The Line (Spectra-Scene - France)
1980 Le Blues Me Guette/Caline De Blues (Spectra-Scene - France)
1980 Strange Time/Georgia On My Mind (Spectra-Scene - France) AZ-1-802
1981 Le Bar Salon Des Deux Toxons/Palace Des Glaces (Spectra-Scene)
1984 Pourquoi Mourir D'amour/Rock De V'lours (CBS) SS-6005
1985 Coeur En Frimas/Seulement Qu'une Aventure (CBS) C5-7078
1985 La Louve/Diable Vert (CBS) C5-7107
1972 Offenbach Soap Opera (Barclay) 80137
1973 Saint-Chrone de Neant (Barclay) 80153
1973 Bulldozer [Original Motion Picture Soundtrack] (Barclay - France) 80182
1974 Les grands succès Barclay - Volume 20: Offenbach (Barclay - France) 75020
1975 Tabarnac [Original Motion Picture Soundtrack] (Deram) ADEF-1178
1976 Never Too Tender (A & M) SP-9025
1977 Offenbach (A & M) SP-9027
1979 Traversion (Kebec-Disc) KD-L963
1979 Offenbach En Fusion avec le Vic Vogel Big Band (Spectra-Scene) SS-1701
1980 Rock Bottom (Spectra-Scene) SS-1702
1981 Coup De Foudre (Spectra-Scene) SS-1704
1983 Tonnedebrick (Kebec-Disc/CBS) PFC-80077
1984 Offenbach et Plume: Live A Fond d'Train (Kebec-Disc/CBS) GFC-80086
1985 Rockorama (Kebec-Disc/CBS) PFC-80103
1986 Le Dernier Show (Kebec-Disc/CBS) GFC-80109
1989 C'était plus qu'une aventure, 1972 - 1985
1990 Offenbach [re-issue] (A & M)
1992 1-3-5 [Box Set] (BMG Québec) 74321-10293-2
1992 2-4-6 [Box Set] (BMG Québec) 74321-10247-2
1995 Les incontournables: Rock de v'lours (BMG Québec) 74321-32565-2
1996 Les incontournables: Blues (BMG Québec) 74321-38040-2
1997 Les incontournables: Rock (BMG Québec) 74321-45380-2
1998 Les incontournables: En fusion avec Vic Vogel (BMG Québec) 74321-56569-2
1999 Les 20 Plus Grands Succes
2002 Les Grandes Succes, Volume 2
2005 Nature
2007 L'ultime Offenbach 

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“A Revolutionary New Triumph in Tape” 1958

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