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13 May 2017

Cerebrum Spain Prog Rock



















Cerebrum Spain Prog Rock 
watch interview by Psychedelic baby
Cerebrum were remembered for their two singles, once re-released on Wah Wah Records as a 10inch, now sold-out. Thomas Hartlage from Shadoks music traced the band and found out there have been more recordings, recorded live at Spanish National radio and decided to release them. They surely fit well with the previously known material. It becomes in fact more clear how the band had a primitive garage-sound of bluesrock with heavier tendencies, with from speeded up moments to a slightly chaotic mix of creative confusion. On the singles there has been some studio experimentations (with reverb effects and voice distortion, and a classical piano piece brought in confusingly into the mix) that make the music more interesting in a different, progressive way, also compensating a bit for the noise, the chaos of energy it creates and the distorted tendencies. The band on the radio recording is pretty similar but without any effects, as raw and Americanised boogie blues rock. This might not be better than foreign examples but it has a talent its development to be noted. Unfortunately for the band the lack of interest for the two singles led to the end of the band. 
Hard psychedelic blues with harmonica, weird spanish vocals, fuzzed geetarsolos adn just about all trippy weirdness this genre has to offer. Not the most important songs in the world but its still great garagefun, and hey, thats not bad at all in my book. Copies of Cerebrums two singles go for about 30-40 pounds each on the rare occasions when they are up for sale. 

From The spanish progressive rock encyclopedia:They recorded two singles by late 60s-early 70s and rapidly they splitted, giving birth to a new band named Delirium Tremens. Other members of the group kept on as Cerebrum without any new recordings. The journalist Jordi Serra i Fabra wrote: “Cerebrum are the summit of spanish progressive music. Their music is revolutionary and experimental. They components are young and unquiet, hopefull and plenty of that force that pushes to succeess, to security… Cerebrum is with no doubt a musical experiment, a synthesis of strengthin the grooves of a single.” It seems that the second version of Cerebrum hosted the first musical steps of the guitarrist Salvador Domínguez…………………. 

Hard psychedelic blues with harmonica, weird spanish vocals, fuzzed geetarsolos adn just about all trippy weirdness this genre has to offer. Not the most important songs in the world but its still great garagefun, and hey, thats not bad at all in my book. Copies of Cerebrums two singles go for about 30-40 pounds each on the rare occasions when they are up for sale. From The spanish progressive rock encyclopedia:They recorded two singles by late 60s-early 70s and rapidly they splitted, giving birth to a new band named Delirium Tremens. Other members of the group kept on as Cerebrum without any new recordings. The journalist Jordi Serra i Fabra wrote: “Cerebrum are the summit of spanish progressive music. Their music is revolutionary and experimental. They components are young and unquiet, hopefull and plenty of that force that pushes to succeess, to security… Cerebrum is with no doubt a musical experiment, a synthesis of strengthin the grooves of a single.” It seems that the second version of Cerebrum hosted the first musical steps of the guitarrist Salvador Domínguez. Limited and numbered issue of 500 copies!!……. 


Biography: 
By 1969 public activity began almost simultaneously with three groups disconnected from each other, but with common characteristics: Smash, in Seville; Máquina!,, in Barcelona; Los Más, in Madrid. The three have in common their contempt for the commercial music of the groups of the time, their desire to make music comparable to the one that at that moment came from England and their eagerness to experiment and break with the formulas of sixties pop. His style is first labeled as underground and shortly afterwards as progressive music. Their importance lies more in the paths they opened than in the goals they achieved; However, without them the evolution of Spanish rock would have been slower. 
Of the three, the lesser known are Los Más , perhaps because they were the first to split, although the two singles they edited sold reasonably well given the musical circumstances of the moment, the poor power of their label and the mosqueo that hairy amplified Rise in the militant Franco. For some reason the label Ekipo / Dimension did not like the name of the group and suggested that it be changed. Thus, The More were renamed Cerebrum without implying changes in their formation. This band, or set, as it was then called to the musical formations, supposed the advance of the hard rock of Madrid and its direct was really shocking. 
The basic training of the group was: Javier Esteve (guitar), Luis Navarro (singer and harmonica), Chema Pellico (bass) and Fernando Artalejo, who would be replaced by Pedro Moreno when he went to military service, on drums. They had the rehearsal room in a basement on Calle Arturo Soria, not far from Ciudad Lineal, and until that time we approached the kids from the neighborhood. These essays consisted of very long improvisations from some subject. In its beginnings its repertoire was based on versions of foreign groups, mainly Cream and Ten Years After; But soon they begin to compose their own subjects. Bringing those long discharges to the locals of the time, demanding music to dance was complicated, although they almost always made the crowd forget that they were in a dance hall and sit and listen to them. Nightclubs and dance halls such as Picadilly, JJ, Stones or those of the Consulate chain were frequently visited by this band. 
With the Barcelona label Dimensión they record in the GMA studios the singles: “Eagle’s Death / Read a Book” (Dimension, 1969) and “Time’s Door / It’s so Hard” (Dimension, 1970). In these four songs we listen to guitar, and a few English lyrics close to the surrealism of the last Beatle era. 
In November 1970, in Barcelona, they participated in the First Permanent Festival of Progressive Music, in the Iris Room, with a poster that almost 40 years later still impressed: Máquina! , Bread and Liquor, Cerebrum, Los Canarios, Los Brincos, Crac (Those of Jorge Pardo, not to confuse with the Asturian Crack), Green Piano, Dispersed Music, Evolution and Smash. Shortly before, Esteve had left the group and had been replaced by Alfredo Santana, who starred in that festival an anecdote that now seems funny, but then was about to cause the closing of the festival and find everyone in the police station. In the middle of a guitar solo he introduced the Spanish national anthem raising the booing of the Catalans and to fix things said: “I would like to have Catalan passport” with the room full of policemen of what we then called the “secret” . In a minute it was wrong with some and others, although the blood did not reach the river. 
When they began to prepare their next album and with the organist Manolo Marinelli recently incorporated to the group, Alfredo Santana gives him the vein and leaves for the United States, Chema Pellico enters a hippy commune in Ibiza and Luis Navarro decides to leave the music. At that moment (March of the 71) enters the Egyptian Dick Zappala like bass and singer and the mythical Salvador Domínguez like guitar. Cerebrum participates like trio in several festivales of progressive music, but already is wounded to death and at the end of the summer it undoes. 
Javier Esteve will form with Dick Zappala and Artalejo - passed away in 2008 -, Araxes and then Araxes II, Chema will return from Ibiza because there are many power outages there and he needs watts for his ampli. Along with Pedro Moreno and Salvador, after the passage of this one by Pekenikes, will form Banana. Pedro Moreno would enter with time like percusionista titular of the National Orchestra of Spain………….. 

Luis Navarro: vocals, harmonica 
Javier Esteve: guitar 
Jose Maria Pellico: Bass 
Pedro Moreno: Drums 

Discography 

Cerebrum "Eagle Death (El Aguila De La Muerte) / Read A Book (Lee Un Libro)“ Single 7” 1970 Dimensión Label 

Tracklist 
Eagle Death (El Aguila De La Muerte) 5:03 
Read A Book (Lee Un Libro) 5:38 

Cerebrum "Time’s Door / It’s So Hard" Single 7" 1970 Dimensión Label 


Tracklist 
Time’s Door = La Puerta Del Tiempo 2:54 
It’s So Hard = Es Tan Duro 3:43 

Cerebrum ‎(10", EP, Comp) 2002 Wah Wah Records 

Tracklist 
A1 Time’s Door
A2 It’s So Hard
B1 Eagle Death
B2 Read A Book 

Cerebrum ‎ “Eagle Death” 2011 Shadocks music 

Tracklist 
Eagle Death 6:18 
Read A Book 5:39 
Seven Days 4:38 
One Kind Favor 7:26 
Times Door 2:53 
It’s So Hard! 3:44 
Amphetamine Annie 4:50 
Murder In My Heart For The Judge 3:02 
You Don’t Love Me 2:29 

Tartessos “Tiempo Muerto"1975 Prog Rock Andaluz LP + Singles


















Tartessos “Tiempo Muerto"1975 Prog Rock Andaluz LP + Singles
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Tartessos was a rock band originally from Huelva, but also had a lot of activity at Seville, as part of his musicians were in Seville.
Was active between 1972 and 1976, although two years earlier was the name of Keys. Were considered precursors of Andalusian rock, as were the germ of what later became Alameda.
In the beginning, Tartessos conducting a very, very standard rock, singing in English and playing songs by The Allman Brothers Band, with hints of Jethro Tull or Caravan. In this line recorded four singles between 1973 and 1974 for the Phillips label, which later led to the LP "Time Out" published in 1975 and generated a fifth single.
As a curiosity it should be noted that the Sevillian joined as drummer Antonio "Tacita," which came from his experience with his band underground New times, band that also other musicians would come out of Alameda.
Anecdotally it should be noted that while the first singles were released with a single "S" for the LP edition of the group chose to put an "S" do not know if legal issues of public record or just consider it a modern .
The issue that gave title to the LP did show a clear relationship with the Andalusian rock. The LP included songs in English and Castilian, with some compositions of Jesus Conde, lyricist then continue to work to Alameda.
The biggest success was the group with the theme "Shoulder", of a more pop and came to ring the radio stations of the time.
Dissolved in 1976, incorporating Marinelli and Alameda Rock music and leaving the other components.. 

Tartesos edited five singles in addition to the LP "Tiempo Muerto" (Phillips, 1975). The made rock mixed with folk folk. It was formed from the ashes of bands like Nuevos Tiempos and Green Piano, and some of them played in Alameda later. Colaborations: David Rodríguez (flute), Fernándo Gómez (drums and vocals), Alfredo Lago (bass and vocals) and Andrés Olaegui (guitar).

On the Iberian shore of the Atlantic Ocean and behind the marshes of the Odiel, there are many expert voices that place the first settlements of the Tartéside civilization in our land. Cohesioned under the vertebral axis of the oil river, then known as Tartessos and under the shelter of the Tinto mouth, this unprecedented society found an incipient progression in its development. Development prior to a rapid decay and disappearance, condemning centuries of forgetfulness and inadvertence, an ancient legacy that, certainly, conforms our present. We will ask what is the relationship between this brief historical preamble, which also serves as an introduction, with our thematic line. Surely you have already guessed. Today we write about the magnificent band of the 70, Tartessos.
Allow us therefore the present prolegomeno, not without first pointing out to you some curious parallels between the band and the happened culture, to which the members of the group certainly remembered. It is not only the geographic location but, save the pertinent differences, seems to establish a simile between the evolution of the group with the future of the Tartéside civilization.

Tartessos is a group formed there in 1968 in Huelva, although with greater activity in Seville, with a trajectory that is lost by the dissolution of the ensemble in 1976. Formed by Pepe Roca and José Barros (guitars and singers), Manuel Marinelli (keyboards) , Eliseo Alfonso Bazo (bass) and Antonio Tacita (drums). That is to say, the germ of the indisputable band later Alameda, without which it could not be understood the own Andalusian rock
Initially the set is conformed under the name Keys, that will maintain until 1972, from that moment will be known like Tartessos, one of the precursors par excellence of the rock in our earth.

In the beginning, Tartessos performed a very standard rock, singing in English and playing songs from The Allman Brothers Band, with nods to Jethro Tull or Caravan. In that line they record four singles between 1973 and 1974 for the seal Phillips, that later they ended in the elepe Dead time, published in 1975, and that generated a fifth single.

Dead time is a clear commercial cut, overproduced and limited in terms of the compositional freedom of components. This creates a strange composition of dye collage, interweaving melodies easy of the English beat scene with some songs in the purest progressive rock style with clear influences of Genesis or Yes.

He emphasizes on the eleven songs that make up the mythical and enigmatic album "Living for the Moon", a subject that seems to be extracted from the very same Tales from Topographic Oceans and that gives us a quite correct idea about the quality that these lads of "twenty-first "Were developing. Pure progressive rock of the first wave (at least in our land), pillar or omen of the upcoming events that were about to explode.

The greatest success was obtained by this group with the song "Bandolera", of more pop cut and that came to sound in the radio stations of the time.
In 1976 they dissolved, incorporating Marinelli and Rock to Alameda and leaving the music the rest of the components.

As an anecdote it should be noted that while the first singles were released with a single "s", for the edition of elepé the group chose to put an "s" more, we do not know whether for legal issues of public record or simply considering it a modernity .

It is Tartessos not only a reference to progressive Andalusian rock, but one of the first traces of that movement that began to take its first steps, under the protection of a society thirsting for freedom...............

The LP catches the group at a good time. We heard a vocal group and instrumentally very well settled. Nevertheless, the struggle between the musicians' ideas and the commercial pursuit of the record company is felt. Thus appear several nondescript subjects that try to exploit the commercial clichés of many other groups of the time. This is the case of the two songs that open the album: "Somewhere" and "Tiempo muerto", which gives title to the LP. On the other hand, moving forward in listening to the album we encounter other more elaborate instrumentally in which the band flirts with touches of folk and jazz as is the case of "Living for the moon" or the subtle musical hall of "To your eyes ".

The voice and keyboards of Marinelli and the flute of Pepe Roca shine with their own light on the rest of the instrumentalists of a group, which on many occasions seems to play more by trade than by conviction. The overall result is therefore quite uneven.

Among the best of the album we find "Cerca del sueño", which reminds us of some tracks from Supertramp with their guitar and electric piano dialogues, and a way of saying the song by the very typical singer of the 70's. "That's right" , The strangest track on the record, a sort of lyrical journey with Clapton guitar and chorus voices in the Crosby wave and his boys.

As for sales, this album worked less than expected and perhaps less than it deserved. Even less worked the only single that was extracted from him, formed by the first two cuts of the LP....by....Julián Molero ........

Credits
Bass – Eliseo Alfonso
Composed By – José Roca*
Drums – Antonio Tacita*
Flute, Keyboards – José Roca*
Guitar, Percussion – José Barros
Voice, Keyboards – Manuel Marinelli*
Voice, Percussion – Jesús Conde

Tracklist
A1 En Algún Lugar
A2 Tiempo Muerto
A3 Eres Estrella
A4 To Your Eyes
A5 Tan Lejos Como Puedo Ver
A6 That's Right
B1 Living For The Moon
B2 Vuelvo A Cantar
B3 Cerca Del Sueño
B4 Búscame
B5 Canción Agradecida

Discography

Albums
Tiempo Muerto ‎(LP, Album) 1975 Philips

Singles
Campos De Algodón / Buen Hombre ‎(7", Single) 1973 Philips
Ven A Mi / Creo En Ti ‎(7", Single) 1973 Philips
Well Allright / Come And Go Blues ‎(7", Single) 1974 Philips
Bandolera / Desde Mi Balcon ‎(7") 1974 Philips
En Algun Lugar/ Tiempo Muerto ‎(7", Single) 1975 Philips

Swegas "Beyond The Ox"1971 UK Prog Jazz Rock,Brass Rock










Swegas  "Beyond The Ox"1971 UK Prog Jazz Rock,Brass Rock
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Beyond The Ox was the second Swegas album and again shows that Nick, with tracks like Into The Ox and Said But Never Heard, to his credit as a writer and arranger, was guiding the band in the right direction. John Macnicol's playing is a welcome addition to the band's sound and Billy Hogan's tight drumming has knitted the band together in a manner that wasn't quite achieved on Child Of Light...............

SWEGAS were a British 'progressive' brass-rock band that existed between 1969 and 1971. They played all the major venues in the UK and made several tours of Italy and Germany where they were extremely popular. The name of the band is derived from an Anglo Saxon word for music.
Swegas began life as a rehearsal band in 1969. They were put together by Brian (Joe) Spibey and Nick Ronai who had been members of the Fulson Stilwell Band before joining the soul band, Cat Road Show. The original Swegas band consisted of Joe Spibey (trumpet), Nick Ronai (trombone), Alan Smith (Tenor Sax), Jonny Toogood (guitar) plus a few pick up players. Mid 1969 they advertised for an Organist and Bass Guitarist and Keith Strachan and Roy Truman applied and got the gig. They had been playing together in various bands since being at college together and were looking for something a bit more adventurous. They found it in this band which were beginning to fuse Rock and Jazz in the manner of Blood Sweat and Tears and The Chicago Transit Authority who were in their early stages of development. They rehearsed originally above a pub in Acton (The Kings Head?) but later in a basement of a cafe in Fulham Palace Road (about no. 201)
They secured a deal with B&C Records in October 1969 and recorded an untitled album at Advision Studios, Regent St. The line up was Chris Dawe (trumpet), Brian (Joe) Spibey (trumpet/vocals), Nick Ronai (trombone), Alan Smith (alto sax and piano), Nick Thomas (tnr sax), John Legg (bari sax), Keith Strachan (organ/vocals), Jonny Toogood (guitar), Roy Truman (bass guitar), Chrys Chrysostomou (drums). The album was not destined for release and Joe Spibey, Alan Smith and Jonny Toogood left the group shortly thereafter followed shortly by Chrys Chrysostomou.

Undeterred, Keith, Roy, Nick and John recruited Stewart Wilkinson (guitar), Ron Shillingford (tenor sax) and Maurice McElroy (drums) and managed to get a deal with First Class Management. Barry Class bought the group a tour bus (at their suggestion) but the insurance and hgv licence issues not to mention the parking problems in Soho soon put paid to that idea and the bus was exchanged for a Ford Transit minibus and a Transit van.
With their new line-up the band rehearsed endlessly on new material in a room at the London Ambulance Service in Waterloo Road. They signed record and management deals with the Barry Class Organisation in March 1970 and during this Spring period of 1970 they had a regular spot Upstairs at Ronnie Scotts - Swegas one night - Genesis the next! They then embarked on a three month tour of Europe starting in Oslo on May 20th.
They travelled to Gothenburg from Felixstowe by ship on 17th or 18th May. They were in Oslo till the first week in June then travelled to Zurich for one week. They then left Zurich for Munich on Mon 15th June and ended up in Hamburg in July. The blue mini bus was breaking down continually and through lack of money spent a number of nights sleeping under the vans. They ended up in the famous Top Ten club sharing the bill with the Boston Show Band (featuring the then unknown Gary Glitter). They liked their drummer Billy Hogan so when Maurice left shortly after Billy was offered the job.
When they arrived back from Germany in July they went into the salubrious Tangerine Studios in Dalston to record the Child Of Light album. Maurice was still playing drums at this point.
More gigs followed around the UK then in September 1970 the group returned to Europe for a few weeks to play in Turin & Rome (The Titan Club). Chris left shortly after and was eventually replaced by Lennie who joined the band in December. Swegas returned to Italy again in Jan 1971 and played a few open air concerts in Bavaria.
The second album Beyond The Ox followed in early 1971 and was recorded at Command Studios in Piccadilly.
Things started to go wrong in mid 1971. The band bus (a blue transit) suffered a collision in Hamburg and it was a virtual write-off. The writing was on the wall and Barry Class and First Class Management pulled the plug when the band returned from Germany.
Swegas played its final gig on 9th September at The Granary, Bristol............

Personnel
*Alan Smith - Alto Sax, Piano
*Nick Thomas - Tenor Sax
*John Legg - Baritone Sax
*Joe Spibey - Trumpet, Vocals
*Chris Dawe - Trumpet
*Nick Ronai - Trombone
*Keith Strachan - Organ, Vocals
*Jonny Toogood - Guitar
*Roy Truman - Bass Guitar
*Chrys Chrysostomou - Drums

Tracklist
Into The Ox 3:29
Said But Never Heard 4:51
Polution (12:35)
Dawning 3:40
Morning 3:10
Evensong 2:50
Tomorrow 2:55
1776 Fantasia 6:47
Cold Unfriendly Way 6:39
Gravedigger 2:40
Beyond The Ox 6:25
Oxtail 0:20 

God Bless “Huma Diatas Bukit (Huma Di Atas Bukit)” 1976 Indonesia Prog Psych







God Bless “Huma Diatas Bukit (Huma Di Atas Bukit)” 1976 mega rare Indonesia Prog Psych
Released by only cassette. So, LP vinyl is promo only! Pressed only less than 30 copies! vinyl is promo only
God Bless is an Indonesian legendary HR band that has released 6 albums to this date.
Unfortunately ,only this 2nd album "Cermin" never released as CD in spite of the best album of their 6 albums.
Yockie Suryoprayogo (key) played in almost of their albums ,but about "Cermin" Abadi Soesman (ex- Guruh Gipsy) played on all the tracks ,and he blew his a lot of jazzy and progressive feelings into the album,so we prog lovers can accept it as one of the Indonesian prog masterpieces ...
Abadi has rejoined God Bless as a regular member since 2002 after withdrawing from the band in 1980............

God Bless was founded by Ahmad Albar (vocals), Jockie Soerjoprajogo (keyboard), Fuad Hassan (drums), Donny Fattah (bass), and Ludwig Lemans (guitar) in 1973. They had their first concert on 5 May 1973 at Taman Ismail Marzuki, which was followed on 16 August with the Summer 28 concert, the first (and, as of 2004, largest) open-air concert in Indonesia. During that period they also played at the Jakarta Fair, held near the National Monument. That same year the band acted in Ambisi (Ambition); Lemans left the band not long after to return to the Netherlands.

In 1975 the band opened for British rock band Deep Purple when the latter played in Jakarta. They released their first album, Huma di Atas Bukit (Rice Field on a Hill), the following year. The titular song for the progressive rock album, an adaptation of "Firth Of Fifth", from Genesis' 1973 album Selling England by the Pound, went on to be used as the theme song to Sjumadjaja's film Laila Majenun (Laila is Possessed).

Four years later, God Bless released Cermin (Mirror), which included more ballads and showed influences from Deep Purple and Van Halen; Abadi Soesman contributed a bit. The band, in an off-again on-again state for the next several years, released their third album, Semut Hitam (Black Ants) in 1988; the album went on to be their most successful. This was followed by Raksasa (Monster; 1989), and Apa Kabar? (What's Up?; 1997).

God Bless performed a "duel" with Padi on 9 November 2011, a band twenty years their younger; held in the Hard Rock Cafe Jakarta, the duel was witnessed by over 200 people, greater than the capacity of the venue. In 2003 Jockie left the group; initially reported as being over creative differences, in October 2011 Jockie revealed that it was after a fight over Albar's drug habits.[6] Jockie, once a drug user himself, was asked to tell Albar to stop using drugs; in response, Albar reportedly pulled a gun on him.[7] Jockie was soon replaced by Abadi Soesman. Guitarist Ian Antono confirmed that a pistol was involved, but he thought it could be a toy; he stated that the argument flared up when Jockie insulted Albar's family.

In 2007, Yaya Moekito joined the band as a drummer. After Albar was imprisoned for drug possession in November 2007 and paroled in July 2008, in mid-2009, God Bless played at the Jakarta Fair and released another album, 36th. In late 2009 the band was pictured on the cover of Rolling Stone Indonesia. The following year, the band went on a cross-country tour, playing in nine cities and accompanied by Nidji, Gigi, Andra and The BackBone, and Naif. The band also played in the 2010 Djakarta Artmosphere festival.
On 14 June 2011, God Bless performed at the Hard Rock Cafe with Jibriel to celebrate founder's day; the latter group consists of two of Albar's sons, one of Jockie's, one of Antono's, and Albar's nephew Bagoes. In July, the band played at the Hard Rock Cafe Jakarta to celebrate its 40th anniversary. The following month, from 22 to 24 July 2011, the band performed at the InterMusic Java Rockin' Land alongside The Cranberries and Neon Trees. On 20 October 2011 Jockie posted on his Facebook wall that he was upset that the band continued to play songs written by him without paying royalties.

Tertiani Z.B. Simanjuntak, writing for The Jakarta Post, notes that God Bless often advocated the rights of the poor and working classes.

In a 2009 issue, Rolling Stone Indonesia ranked two of God Bless' songs as being among the 150 best Indonesian songs of all time: "Kehidupan" ("Life"), was ranked 8th, while "Rumah Kita" ("Our House") was ranked 22nd.

In August 2011 Kompas reported that Mira Lesmana and Riri Riza have spent two years producing a documentary about the band, to be titled Rockumentary.......

God Bless pioneered the birth of rock music in Indonesia dated back in early 70’s. The band’s central figure vocalist Ahmad Albar, previously formed Take Five (1966-1967), and later Clover Leaf (1967-1972). When he returned to Indonesia, Fuad Hassan (drums), Donny Fatah (bass) and Deddy Dores (keyboard) were invited to form with him God Bless. They dominated rock music performance during the decade, even though they did cover versions of Deep Purple, Genesis, Kin Ping Meh, Queen.

God Bless also performed as opening act for a spectacular show (with 120,000 crowd!) featuring Deep Purple live in Stadion Utama, Jakarta, 1975. The band released its self-titled debut album in 1976, by Indonesian label Pramaqua. With a major hit: Huma di Atas Bukit the album remarked the birth of Indo rock scene.

Classic Rock at it’s best definition, words in Indonesian with a tuned rock band. They’re the best selling rock band from Indonesia history and are still on the run!............

Credits
Bass, Vocals – Donny*
Drums – Eddy. S*
Lead Guitar, Vocals – Yan Antono*
Lead Vocals – Ahmad Albar
Organ, Synthesizer [Moog], Electric Piano, Piano – Yocky*

Tracklist  Lp
A1 Huma Diatas Bukit 5:04
A2 Setan Tertawa 4:19
A3 Sesat 5:33
B1 She Passed Away 6:33
B2 Gadis Binal 4:07
B3 Rock Diudara 4:50 

Tracklist Cassete

A1 Huma Di Atas Bukit
A2 Rock Di Udara
A3 Sesat
A4 Eleanor Rigby
A5 Instrumental
B1 Gadis Binal
B2 Friday On My Mind
B3 Setan Tertawa
B4 She Passed Away

johnkatsmc5, welcome music..