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Saturday, 13 May 2017

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



  full ok

Released by only cassette. So, LP vinyl is promo only! Pressed only less than 30 copies! vinyl is promo onlyGod 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!.. 


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 

Kathy & Joe Allison “The Old Stone Singers” 1971 Private US female & male Acid Folk. 12-string guitar, flute

Kathy & Joe Allison “The Old Stone Singers” 1971 ultra rare Private US female & male Acid Folk. 12-string guitar, flute

Somewhat similar is the Old Stone Singers, a k a Kathy & Joe Allison, who self-released their From The Hearth album in 1971 on DB Records #121271. Despite having sold for substantial money on occasion, I hear nothing to set this apart from dozens of other local Peter Paul & Mary combos who kept the folk-boom aesthetics way past its due date. There’s a nice dual acoustic guitar interplay throughout and not too shabby vocal harmonies. “Early Morning Rain” highlights side 1, while side 2 has a version of “Get Together” and a charming original (?) titled “Close Your Eyes”. There is none of the dark, gothic late-night moods that psych guys might fall for and could have warranted an Acid Archives inclusion. Hardcore folk genre fans might dig this for the reasonably adept (male lead) vocal and instrumental performances, somewhat like Colours from TX, but that band had electric instruments and much hipper record collections….Acid Archives…….. 

Lonely Soul Delegation “Live!” 1973 Private Soul Funk Rock from Tennessee.

Lonely Soul Delegation “Live!” 1973 rare Private Soul Funk Rock from Tennessee
full  vk

This is a fabulous record for it’s type. These guys were the house band I believe for this night club that the recording was done at. Strong band with a gritty funk vibe combining originals and covers with a lounge vibe..Anyone who has gotten this far knows where I’m coming from. Just think if Jade Stone chose a funk direction instead of psych and you’ll get the idea………….

A1 China Grove
A2 Lady Of L.A.
A3 I’m A Good Woman
A4 Me & Booby Gee
A5 Since I Fell For You
B1 My Crew
B2 Kentucky Beau
B3 Crazy Arms
B4 Dim Lights, Thick Smoke
B5 Funk 49 

Boudewijn de Groot ‎ “Nacht En Ontij” 1968 Dutch Psych Folk Rock

Boudewijn de Groot ‎ “Nacht En Ontij” 1968 Dutch Psych Folk Rock
In 1968 it was not possible for Boudewijn de Groot (1944). He had some big knockers on his name (including “A Girl of Sixteen,” Welterusten Mr. President, and “Land of Maas and Waal”), his new album ‘Picknick’ contained the hit 'Meester Prikkebeen’ (a duet With Elly Nieman) and gradually he expanded to the voice of his generation. However, Boudewijn himself was not so pleased with the direction he took his career and looked for something new. He broke down the collaboration with regular copywriter Lennaert Nijgh and his accompaniment group, no longer wanted to live live, and performed the studio with Cuby & The Blizzards guitarist Eelco Gelling to try it out in English. The result, the single 'In Your Life’ under the denominator Tower, was quite successful. At the same time, he wrote together with former student Lucien Duzee texts for his new album 'Nacht en ontij’ (1968).For this lp he radically moved the helm. Ear’s Pop Encyclopedia describes it as “a mystical and pretentious album that alienates him from his audience.” And especially it was certain. If the lyrics of Lennaert Nijgh were already cryptic, “Nacht en ontij”, De Groot and Duzee are doing a great deal on the top. The album opens with the number 'Babylon’. Geroezemoes wake up, classical sounds swell and after a minute, Boudewijn falls into: “ Girls wait for nights / on the god of Shalomon Ra, / the dragon monitors Ophelia / who is in the avenue avenue / with jasmine under flat planes / back to Antarctica. ’ 'The rest of the album is seized by the brilliant and intriguing’ Witches Sabbath ’(Part 1 and Part 2), which takes 25 minutes.A nice blurry song with wizards, wizards, Kardansus de Kobolt and numerous classical figures, inspired by elements from various Old Dutch sagas and legends. Striking is the tremendous fracture with the rest of his oeuvre: 'Witches Sabbath’ is nothing short of a psychedelic masterpiece overlooked. Not only the text is shady and mysterious (see below), also the instrumentation is special: classic strings (with Bert Paige arrangements) are interspersed with experimental percussion, folk-like music, Gregorian songs and strange sound effects. Responsible for these effects was none other than Dick Raaijmakers, who wrote in the Physics Laboratory of Philips (or the Natlab) in the fifties by experimenting with electronic music and computers as one of the first in the world.'Heksen-sabbath’ is een bedwelmend en zeer tot de verbeelding sprekend nummer waarin steeds iets nieuws valt te ontdekken. Voor zijn fans was het echter een brug te ver. Zij verwachtten licht maatschappijkritische liedjes met misschien een humoristisch tintje, maar in plaats daarvan werden ze meegesleept in een vervreemdend verhaal over een nachtelijke heksensabbat. 'Nacht en ontij’ werd nauwelijks verkocht en de bij het album gevoegde bonussingle 'Aeneas nu’ (toch best wel toegankelijk) flopte. En toen ook de tweede single van zijn Engelstalige project Tower geen succes werd, had de toen 24-jarige Boudewijn het even helemaal gehad. Hij trok zich terug in een commune in Dwingeloo en verdween uit de schijnwerpers. In the years to follow, he wrote songs for others, produced albums by Oscar Benton, Kraayeveld and Rob de Nijs, and together with Rick van der Linden he produced the single 'Moonstruck’. Record company Philips has burned the flame by bringing regularly successful collectors to the market. For example, from the lp 'Five year hits’ (1971), in a year’s time, almost 100,000 copies were over the counter. So around 1972, Boudewijn reconciled himself to Lennaert Nijgh, making the album 'How strong is the lonely cyclist’ (1973) and the hit 'Jimmy’ a 'comeback’. The lp won an Edison and a Gold Harp. The rest is history, as it is so beautiful. 

In the oeuvre of Boudewijn de Groot, 'Nacht en ontij’ is said to be an outer leg. Although I’m not too familiar with his later work, I do not believe he ever jumped out of the tire again ………….

A protest singer to personal singer-songwriter, translator of Stephen King books and actor in the role of Chekhov and Otto Frank. Boudewijn de Groot has shown many sides of himself in 50 years. 

Boudewijn’s musical career has a few periods, interrupted by breathing pauses. He’s never been someone who has worked in the footsteps of others, but has often ensured that he sets a new standard. ” In his heyday, he does so with a team consisting of producer Tony Vos, arranger Bert Paige, technician Albert Kos and natural lyricist Lennaert Nijgh. But Boudewijn de Groot loves byways to occasionally collaborate with others. 

This happens for the first time in 1968. Instead of going Nijgh Baldwin cooperate with Lucien Duzee, a friend with whom he sat at the film academy. It provides “day or night”, an almost ghostly work that is not included in the said year. Everyone is still in the clouds of flower power and not to separate this work. The album is perhaps the first “fantasy” or “gothic’ plate homegrown. An outsider in the work of the now 70-year-old Haarlem.How The Great came to separate this album? Are especially songs from the second half of the sixties that made him a public figure, such as "Master Prikkebeen”, “Drowned” and “The Van Maas Land And Waal, Boudewijn looking after his third album” Picnic “ (which can be seen as a kind of Dutch "Sgt. Pepper’s Lonely Hearts Club Band”) for new challenges. The protest songs and contemporary texts Nijgh Boudewijn is equally ready. 

With Duzee he hits another direction: he writes the “Witch-Sabbath ’, full of mythical texts Torralba, Gauricus and Baldur. Mostly made-up and the music is full of separate pieces: a medieval witch song to an electronic document in which Dick Raaijmakers of Philips Laboratory participates in Eindhoven. The end is grotesque, almost Wagnerian and the sound rises as it were in a spiral. Long before the digital age technician Kos may affect reaching the plate with a kind of coffee mill. The sound goes from left to right, but also from front to back. A kind of prehistoric quadraphonic!"Witches Sabbath-is a nearly half-hour radio play that fills the entire album” day or night “. Although, as an introduction to the pretentious piece is first heard 'Babylon’, a rather traditional sounding song, including string, but the text is almost as unearthly as the witch part. 

Originally sits on the plate a single, with "Who Can Tell Me Yet” and “Aeneas now. Then Baldwin is accompanied by the group The Tower, that he would make a few English singles. The guitarist on these recordings, and also with The Tower part of hearing the 'Witches’ Sabbath’ is none other than Eelco Gelling. Known for Cuby & The Blizzards, but also occasionally used as a studio musician. Gellings name is nowhere to be found on the cover of "day or night”, but if you listen carefully, recognize his blue full game right. Just because Gelling contributions album worth hearing again. Drummer of The Tower is otherwise (late) Q65 member Jay Baar, bassist Jan Hollestelle and Hans Jansen plays keys. No strangers at that time. 

Is “ungodly hours” a classic, like several other albums Boudewijn? No, not artistically; before the work is still something temporal. Not even commercial field since sold the sheet due to the different character totally. However, the album is a “classic” in the sense that it Boudewijns most adventurous work and has now become a cult album. Collectors of psychedelics (both in the Netherlands and abroad) have a first pressing of “day or night” (with photo album and single!) Hundreds of euros over.Personally, I hear snatches of the album for the first time in the early nineties during a series of Baudouin of the bunch, on the radio at the Poster Program. Especially the vortex income end impresses me, but the album is brand -so I find all speed difficult. Eventually a CD in 1994 and I buy, but the search for the original LP continues. One time I buy an original pressing, but 250 guilders being asked for it, I can not muster. I until a few years ago at the fantastic shopping Sounds Venlo a copy without single for “only” 25 euro find. Equal but take and afterwards certainly not regret it, because it sounds wonderful and just because the cover is a beautiful item. 

And Boudewijn? Which returns after this album flopped a while the music back on and seeks refuge on a farm just outside Dwingeloo. He is regularly found in Assen to Beilen or with Eelco Gelling, Harry Muskee or other Blizzards drink. Muskee has -after he left Grolloo- his farm in Ansen and Boudewijn is in Leggeloo well in place. Only in 1972 he returned to Haarlem to visit his buddy Lenneart Nijgh and to write to him again. 

His career takes on “How Strong Is The Lone Biker” a pleasant twist and plates that have been published by him in 1984, are very private and are all worth it. “Where I Live and Who I Am” (1975), “From A Distance” (1980) and “Maelstrom” (1984), the English pop revitalize. In his band play late seventies include Ernst Jansz and Henny Vrienten. Those brands at Baldwin doing that English is fine. Five years later, the establishment of Doe Maar fact. Boudewijn de Groot, like Herman van Veen and to some extent Bram Vermeulen, much direction to the Dutch pop in the eighties data. 

Baldwin brings this weekend a new album, “Behind Glass”. A second “day or night” he will never make. Occasionally he plays 'Babylon’ even in acting. The plate 1968 is what it is: a child of his time, but who wants to hear the adventurous Boudewijn de Groot once, this is a recommended format………….

A1 Babylon 
Written-By – B. de Groot* 
A2 Heksen-Sabbath (Deel 1) 
Written-By – B. de Groot*, L. Duzee* 
B Heksen-Sabbath (Deel 2) 
Written-By – B. de Groot*, L. Duzee* 
C Aeneas Nu 
Written-By – B. de Groot* 
D Wie Kan Me Nog Vertellen 
Written-By – B. de Groot* 

Asgaerd “In The Realm Of Asgaerd” 1972 UK Prog Art Rock

Asgaerd “In The Realm Of Asgaerd” 1972 UK Prog Art Rock
In The Realm Of Asgaerd, originally released in 1972 by the British band Asgard - not to be confused with the Italian and French bands with the same name - is another re-release of Esoteric Recordings. The only album of the band was released on the famous Threshold-label of the legendary The Moody Blues. Asgard then consisted of Rodney Harrison (guitar, vocals), Dave Cook (bass guitar), Ian Snow (drums), James Smith (vocals), Ted Bartlett (vocals) and Peter Orgitt (violin). At first they got a lot of support from drummer Graeme Edge and keyboard player Mike Pinder, two founder members of The Moody Blues.

The music is probably inspired by Tolkien's Lord Of The Rings-trilogy. The theme of this famous book can easily be heard in symphonic rock pieces like the title track, Friends and Town Crier. The title track contains a short violin solo as well as a short guitar solo. The lyrics are well-sung; it's typical early seventies prog rock. Friends starts with an 'easy' Deep Purple- riff; the combination with the violin solo at the end is a rather strange one. Town Crier and Austin Osmanspare are two good rock songs with catchy melodies. Children Of A New Born Age strongly reminded me of the overture from Tommy by The Who and the more up-tempo piece Time is in the vein of the hard and heavy rockers of Uriah Heep with a country violin (!) at the end. The final song Starquest is a kind of blend of The Moody Blues, especially in the verses, and Deep Purple's Child In Time. Well, if you like old school prog from the seventies you won't be disappointed with this album. .....Cor Smeets (edited by Peter Willemsen)........

Almost passed over this one, thinking it was one of them early KING CRIMSON LPs I’ve consciously overlooked for the past quarter century or so. But then it hit me: just who the fuck are ASGÆRD? I don’t know what an ASGÆRD is, and I’ve never, ever heard even a peep about this ASGÆRD record before. Perfect reason to buy it! And low and behold but this is decent folk/fantasy (rather than classical/symphonic) prog rock in a lighter URIAH HEEP vein. They do lay the vocal harmonies on thick, but they don’t go overboard with the mellotron and they ain’t afraid to rock out (albeit politely), so I’m happy. Oh and they do a song about Austin Osman Spare wherein they “kiss the cloven hoof.” Yes there are still little treasures buried deep within this fair isle..................

Not to be confused with the French prog folk group of the later 70's or the Italian neo- prog group of the early 90's, this English band (spelling the name differently) released just one album in 72 that is sometimes considered a hidden gem of the UK's early 70's proto-prog. And indeed this impressive heroic-fantasy gatefold artworks hides some pretty good hard prog that is strongly guitar-driven heavy progressive rock (all tracks bar one are guitarist Harrison-penned) often oogling in the direction of Uriah Heep with Hensley's organ replaced with Orgil's violin. Another particularity of the group is that it had two full-time singers in Smith and Bartlett. Made of short songs (only two just barely over 5 minutes), the album is not a very long one either, but sweet enough that even after a few years, a second consecutive listen is not out of the question for this writer.

Right from the first seconds of the opening title track, you just know this album will be aimed at those that like dramatic organ-driven prog, even if in this case the group is organ-less. But this doesn't stop them from sounding like the best Uriah Heep moments between Salisbury and Look at Yourself and in particular July Morning. Also coming to mind at times is Vanilla Fudge's Renaissance album without the psych influences: mid- tempo with strong throat-grabbing multi vocals that appeal to most young males in their late-teens or just after. Town Crier is a bit more of a Beatles-inspired track, partly because of Orgil's double-tracked violin, sounding Rigby-ish (all things considered of course) but this is due to the descending violin line. All of the tracks are fairly even in quality and are contagious in terms of enthusiasm. In some tracks, Kansas is not too far away either, but this mostly due to the violin again. Among the better tracks is the Children Of A New Born Age and its follow-up Time.

On the downside of things, the fact that there is only one person involved in the songwriting fails to renew enough the succession of tracks that rely a bit too much on the guitar riffs, the keyboards are very absent, even if there seems to be odd bit here and there. While this album is indeed a small gem, there is nothing really all that unforgettable, groundbreaking or unforgivably over-looked by the public either. Not essential by its nature, but still quite worth the occasional spin or Sean Trane ......

 A sound very reminiscent of the Wooden Nickel era Styx, Asgærd combine Dennis deYoung-like vocals with Uriah Heepish guitars and the overall pastiche of bands like Rhapsody, only at the height of the progressive (aka art) rock era. In other words, they were dead-on for their time. The sound doesn’t wear all that well with time, but some accommodation must be made since this album was released in the very early seventies.
This is one of those bands that’s impossible to find on the original vinyl, but Progressive Line reissued it as a pretty decent quality CD. From what I’ve read the original vinyl gatefold was pretty ostentatious – I’d like to get a look at that someday.

Nothing special here though, mostly just fairly mainstream guitar and rhythm section and lyrics that range from fantasy to pseudo- folk to heavy-rock. The violinist is a very nice touch though, and at a time when that instrument was not nearly as prevalent in prog music as it is today.

When hearing the opening title track I can’t help but picture Spinal Tap’s ‘Stonehenge’ scene: wildly pretentious, way too serious, and grandiosely Tolkeinesque. Great stuff!

The rest of the album doesn’t quite rise to that level though. A couple tracks like “Austin Osmanspare”, “Lorraine” and “Children of a New Born Age” have some very good vocal harmonies ala CSNY, and “Starquest” features decent fuzz guitar and a decidedly Moody Blues vocal influence. Not surprising since this was originally released on Threshold.

The rest of the album is pretty much generic anonymous art rock from the age of art rock. Not bad, but not really memorable either. Pretty much the definition of a three star album in my opinion. So let’s give it that and move on to something ClemofNazareth ........

Short-lived British band, formed at the dawn of the 70's by already experienced musicians of the Psychedelic Rock scene.Guitarist/singer Rodney Harrison had been playing with Bulldog Breed next to future T2's leading man Keith Cross, while singer James Smith and drummer Ian Snow played together in Stonehouse.The line-up was completed with a second vocalist, Ted Bartlett, along with Dave Cook on bass and Peter Orgil on violin.Among the very first signings of The Moody Blues Threshold label, they recorded their debut ''In the Realm of Asgard'' partly at Decca Studios and partly at Threshold Studios and the album was released in 1972.
The Threshold label was not the only connection of Asgard with THE MOODY BLUES, because their music contained also strong hints from the style of the British Art/Psych Rock veterans, having evident and outdated psychedelic influences, while the presence of Orgil on violin either connects with the string orchestral and deeply romantic side of THE MOODY BLUES or bursts a weird combination of Folk and Classical influence akin to EAST OF EDEN.The music in general alternated between 60's-influenced Psychedelic Rock with melodic vocals and soft arrangements and harder parts with some impressive in-your-face guitar lines, strong soloing and more bombastic passages.Apparently the album was lyrically inspired by Tolkien's ''The lord of the rings'' in another album listed in the countless catalog of Tolkien-inspired works.Dual vocal lines and some nice orchestral segments combined with the pure power of electric guitars are often in the forefront, but the album rarely escapes from this basic matrix.

As aforementioned, Asgard were short-lived and it seems that they disbanded after the album.Reputedly Harrison had done some sessions with The Moody Blues, but it appears he never became an official part of the band.

Energetic Psych Rock with some progressive touches, destinated for fans of early-70's Proto-Prog stylings.Half about of the tracks are very good, but do not expect a killer release.Either way, this is a recommended apps79 ..........

 I got an original of this which was my most wanted UK LP for Christmas and on first listening I was knocked out. I have played the album probably over 100 times since and it continues to be out of this world. There is no other album or band like Asgard in any time period. Their sound and lyrics are dark, menacing, powerful, and filled with a sinister quality lacking lyrically and musically in a lot of other prog rock bands. It is the thoughtful and literate writing of Rodney Harrison (Ex Bulldog Breed) and the soarng multilayered vocals (especially ex Stonehouse James Smith's high pitched wail) that really make this album as well as the very inventive rhythm section. No other band sounds like Asgard so it would be fruitless to try and compare them to another group, but the only two bands who very slightly resemble this music are early Genesis and early King Crimson. Be warned though, this may be my very favourite progressive/ psychedelic crossover album and if you don't like psychedelic effects or guitar or influences intruding you may want to opt for something else. Anyone with an open mind however needs to discover this masterpiece. It also might just as easily be said that this album does what a lot of 80s metal tried and failed at. For anyone who loves different and challenging music this is essential!... by bristolstc............

The band was built around the talents of singer/lead guitarist Rod Harrison who had previously recorded with the bands Please and Bulldog Breed. Taking their name from an ancient Norse religion, as Asgaerd, Harrison was accompanied by singers Ted Bartlett and James Smith, bassist Dave Cook, violin player Peter Orgil, and drummer Ian Snow. They somehow attracted the attention of Gerry Hoff who made them one of his fist signing to The Moody Blues newly formed Threshold Records.

Like The Moody Blues catalog, most of these eight tracks featured a distinctive progressive vibe, and while Asgaerd's take on the genre was just as pretentious and over-the-top as The Moodies, for the most part they avoided over-orchestrated, hyper-romanticism in favor of an odd, but engaging mixture of Tolken-esque (or Norse) fantasies coupled with some surprisingly nice pop flavored touches. Okay, okay 'Starquest' found them venturing into deep space ... Harrison wrote most of the material (he shared writing credits on one track) so he deserved both the credit and the criticism. The good news is the while there wasn't anything particularly earth shattering here, most of the set was quite enjoyable. The collection certainly benefited from having two decent lead singers in Bartlett and Smith. Fr what it was worth, to my ears Bartlett had the better of the two. Smith was good, but his occasional detours into falsetto territory were best avoided. In case anyone cared, these guys exhibited far better group harmonies than The Moodies (check out their performance on 'Austin Osman Spare'). Perhaps the biggest surprise for me came in the form of Orgil's violin. I'm usually not a big fan of violin in rock and roll and while I wouldn't rave over Orgil's contributions to the collection, his work wasn't without its charms - check out 'Town Crier (Hear Ye All)'....Bad Cat...........

Line-up / Musicians
- Ted Bartlett / vocals
- Dave Cook / bass
- Rodney Harrison / guitar, vocals
- Peter Orgil / violin
- James Smith / vocals
- Ian Snow / drums

The tracks:
1- In The Realm Of Asgaerd (4:25)
2- Friends (4:39)
3- Town Crier (3:59)
4- Austin Osmanspare (4:15)
5- Children Of A New Born Age (3:13)
6- Time (5:11)
7- Lorraine (4:45)
8- Starquest (5:17) 

Turner Bros "Act 1"1974 Private Soul Funk (Best 100 -70’s Soul Funk Albums Groove Collector)

Turner Bros "Act 1"1974 mega rare Private Soul Funk  (Best 100 -70’s Soul Funk Albums Groove Collector)
full spotify

One of the last great years for funk music. Real funk music. Raw and gritty. The way it's supposed to be. Funk was the peoples music, played in BBQ joints and dive soul brother bars. It was music aimed directly at the ass. With the exception of George Clinton and a select few, funk went into hiding during the late seventies disco craze. Forward 25 years later, and enthusiasm for the funk phenomenom is stronger than ever. 

One look at the cover art for the newly re-issued Turner Bros. album "Act 1," will quickly clue you to the fact that this is no light weight one-track wonder soul album, but rather a sweet and funky long player, brimming with funky bass lines, oo-wee vocals, fat breaks, and afros. Lots of afros. And yes, it was recorded in 1974. 

Brought to our attention by DJ Sureshot of the seattle based Sharpshooters, the Turner Bros. album is a highly collectable slab of wax that is so unbeleavably rare, that even hardcore funk collectors are not familiar with it, or may have only heard it rumored to exist. So, Luv N Haight, America's premier jazz, funk, and soul re-issue label comes to the rescue. The album has been given a face-lift by way of re-vamped cover art, and a digital remaster from the original tapes. 

Need proof of the booty-juice? Drop the needle (or lazer, whatever the case may be) on "Cause I Love You," and "Sound of the Taurus". Need a funky drum break? Check "Sweetest Thing in the World". It's all there. 

Originally from Columbia, South Carolina, the blue print of the Turner Brothers was laid out in 1955 when leader Calvin Turner was but a tot in his family's gospel group, titled The Turner Singers. The Turners relocated to Indianapolis, Indiana in 1963, and local gigging and a strong repuation brought them to the attention of Chess Records, where they released a number of well received doo-wop singles. 

Eventually, in an effort to keep up with the times, the Turner Brothers revamped their sound, and at one point they were the biggest soul act out of Indianapolis, having toured with the likes Rufus Thomas, Tavares, Chi-Lites, Ohio Players, and many other major acts in soul music. 

"Act 1" was originally released on their own label and was a huge local success, earning the brothers a level of respect that they still receive in Indiana today. Eventually the band disintegrated. Today most of them are preachers and deacons, electricians and accountants. All are flattered that once again their music is being exposed, this time to a new and eager, funk hungry audience....~

THE TURNER BROS. It all started back in the late 50’s with Melvin, Calvin and Allison singing with their father James in Columbia, South Carolina. After moving to the Indianapolis area in 1963, Allison and Calvin decided to pursue a career in R&B . Their early success came in the late 60’s while singing on the ATLANTIC and CHESS labels. Then the group started to grow. Four younger brothers, Rudy, Charles, Harrison and Paul joined the band to make it more of a family affair. Rounding out the group now, in addition to these talented brothers are James Dixon, Michael Boards, Rudy Ross, Charles Cotton and Ted Patterson…~

If you have it, then you are a killer !!! Incredible & ultra rare funk 70' lp. including top dance dj cut "cause i love you". The Turner Brothers' Act 1, originally released on their own label ( MB), was recorded in 1974, they picked up a serious soul sound. From age 12 to 27 old. They were huge in Indiana, and toured with many greats artists , like Ohio Players, Chi-Lites, and Staple Singers, yet their album was incredibly rare to find!!!. Top impact blaxploitation chase scene, with wah-wah like on "Cause I Love You" & slow soulful jams with "Let's Go Fishing", "I Remember".....Record Collector....~

A1 Running In The Rain 3:53 
A2 Every Time I'm Near You 3:17 
A3 Cause I Love You 4:09 
A4 Let's Go Fishing 2:47 
B1 Please The People 2:43 
B2 I Remember 4:15 
B3 Sweetest Thing In The World 2:14 
B4 Sound Of The Taurus 5:40 

johnkatsmc5, welcome music..







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music forever

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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958