gfdg: June 2006

Passport - Doldinger 1971 @ 320 (German fusion)

The man behind the many excellent Passport albums was Klaus Doldinger and on this their first release, he names the album after himself. The band, in various guises went onto to make about 20 albums before being disbanded in 1996.

This was not his first group, he was a member of The German Jazz Quartet from 1962, until forming Passport.

The Passport sound is here, but probably not fully formed. It is , however, very good fusion.

Enjoy!

Klaus Doldinger - alto, soprano & tenor saxes, keyboards
Jimmy Jackson - organ
Olaf Kübler - tenor saxophone, flute
Udo Lindenberg - drums
Lothar Meid - bass guitar

hexensabbat

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Tangerine Dream - "Cyclone" [1978] @ VBR 175 (Electronic Psychedelic Prog)

Filling another request for Pedro here, my apologies for the bitrate, as this was the only rip I was able to track down. Enjoy!!

Cyclone is the band’s most “commercial” effort to date, including songs with vocals that suggest a Teutonic Pink Floyd. The change in direction stemmed in part from the band’s first lineup change since 1972’s Zeit: with Peter Baumann off to pursue a solo career, the band re-enlisted multi-instrumentalist/vocalist Steve Jolliffe and added drummer Klaus Krieger. Jolliffe is clearly influenced by Roger Waters, going so far as to double his own vocals to achieve the same half mad/half sane stance that marked Waters’ style, but the Pink Floyd fascination extends to the whole band, who appropriate the ending of “Dogs” to form the basis of “Bent Cold Sidewalk.” The second vocal track, “Rising Runner Missed By Endless Sender,” is twitchy electronic rock similar to Polyrock, although the ambitious lyrics are delivered in more of a defiant whisper than actual

singing. While the group’s willingness to tamper with their formula is praiseworthy, most would agree that the album’s return to that formula on the side-long “Madrigal Meridian” is the real highlight here. On this piece, Christopher Franke’s sequencers have an urgency heretofore only hinted at, while Krieger’s drums serve to pull the rug out from the under the rhythm in a delightful way. The result is space music that runs like a well-oiled machine, more fluid and engaging than past experiments with sequencer-based epics. Although it has a reputation as an agitated exception in a very mellow catalog, Cyclone belongs with TD’s better albums from the ‘70s. Despite his considerable contributions, Jolliffe left after only one album with the band, and began a prolific (though less visible) solo career.

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Track 2 - Rising Runner Missed By Endless Sender....

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Peter Hammill - Live at the Fabrik Hamburg 10.01.2001 @320

Just great i can tell you - I was there.
A bootleg in superb quality. Starts with Easy to slip away, ends with Refugees.
Nearly two hours PJAH supported by Stuart Gordon.

No sample - this is not my world. Take it or leave it.

http://rapidshare.de/files/24596865/20010110fabrik.part1.rar
http://rapidshare.de/files/24601807/20010110fabrik.part2.rar
http://rapidshare.de/files/24627270/20010110fabrik.part3.rar

Have Fun!

Kaipa - "Inget Nytt Under Solen" [1976] @ 320 (Swedish Symphonic Prog)

The second album by the band best known for being guitarist Roine Stolt's first professional band. This was originally released in 1976 by Decca, and this fine Musea reissue features six bonus tracks. "Kaipa were Sweden's best known symphonic rock band. They formed in Uppsala in 1973. Originally a keyboard-fronted trio, Kaipa added the young guitar player Roine Stolt in 1974. Kaipa showcased a technically very competent group fronted by Hans Lundin's impressive range of keyboards, often favoring lush string ensembles, organ and electric piano. Inget Nytt Under Solen was a more complex & pompous album including possibly their finest moment 'Skenet Bedrar' - a large scale suite lasting for 22 minutes...their style was now closer to what Genesis, Camel, Greenslade and Yes had done in recent years..." (Scented Gardens of the Mind: A Comprehensive Guide to the Golden Era of Progressive Rock)

On Inget Nytt Under Solen the band refined their influences and bought or hired in some new gear, including a Mellotron M400. They go straight for the jugular with their only side-long piece, the multi-part Skenet Bedrar ('It's Not What it Seems'), which works well, doing all the usual prog things, which I suppose makes them the most successful purveyors of 'mainstream' symphonic prog from Sweden at the time (they were actually on Swedish Decca). Plenty of other good material, too, including Korståg ('Crusade') and the title track ('Nothing New Under the Sun'). Hans Lundin doesn't actually use the 'Tron that much, but there's some gorgeous choir work on both Hoppfullheten and particularly Korståg, plus some rarely-heard M400 brass on Bitterheten and the title track. Incidentally, the CD adds a live version of Skenet Bedrar, an outtake from their debut, and four English-language mixes of Inget Nytt tracks, which repeat the Mellotron parts from the originals, of course.

-- http://www.planetmellotron.com

Highly Recommended!

Track 6 - Ignet Nytt Under Solen.........

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Vytas Brenner - “Hermanos” [1974] @256 Essential South American Prog, Highly Recommended

Vytas Brenner, was a Venezuelan in his heart although he was born in Tubingen, Germany in 1946. His parents emigrated to South America in 1948 and he studied in the famous Emil Friedman School, an institution dedicated to form composers and performers since an early age. In 1958 he travelled to Italy and Spain and there he formed several juvenile bands like Vytas Brenner Quartet, Brenner’s Folk or The Pic Nics. In 1967 he went to USA to study electronic music in Tenesee Conservatory and later in Nashville College where he graduated with honors in 1972. That year he went back to Venezuela and started a long relation with Venezuelan folkloric music, an influence that permeates all his posterior works. At that time he was also obviously influenced by the electronic kraut scene (specially Cluster and Tangerine Dream) and devoted himself to the possibilities of synthtizers and the potential of the fusion of modern electronic sounds, progressive rock and acoustic aboriginal and folk elements.

The unique and marvellous results was edited in 5 albums, with his band “Ofrenda” (Offering) at the time the most important prog rock outfit of Latin America, with great albums as “Hermanos” , “Jayeche", and others including the spectacular “En Vivo” (Live).

In all of them one finds a dizzying connection bonding afrolatin percussion, Venezuelan cuatros and maracas, frantic Joropo and Golpe rhythms, abstract pre ambient noise, natural effects, all that seasoned with rock combo of bass, electric guitars and drums.

Although he could have followed the path of other latin musicians as Santana, or even go to join the Fusion army that plagued vinyl industry at the time, he choose to stay on the symph-prog and art side of things. Nevertheless he was very successful in Venezuela and achieved certain local fame in Latin America.

Sadly the political and economical situation of the country after the currency crash in 1983 (The Black Friday) , obliged Vytas to leave to Europe. He never achieved there the success he had in South America and preferred to stay in the shadow, semi retired and managing a recording studio, although he visited Venezuela briefly during the 90’s and gave a free concert at Plaza Morelos with a simpler line up: only his keyboards and percussionist extraordinaire Nené Quintero.

His last two works where the suite Oro Negro, Performed by Venezuelan Symphonic Orchestra in 1989 (Oro Negro means Black Gold, an obvious refrence to the Venezuelan richness in oil) and later the aboriginal ethnic-new-agey “Amazonia" (1995)

Sadly Vytas’s untimely death caused by a heart attack in 2004 took from us a great musician, which I believe was about to give us more surprises. Life seems truly absurd at times.

Eventually I will post all his albums

Ladies and Gentlemen, prog fans or not, it is an honour to give you, Vytas Brenner.

Keep Listening…!!!

Links in comments, as usual.

Vytas Brenner - Madrugada...

Jukka Tolonen - "Tolonen!" [1971] @ 192 (Finnish Jazz Fusion)

It was Kinda hard to find info about this album, so I had to take what I could get. This review came from a translation of a German website: http://tinyurl.com/m64w9

Jukka Tolonen took up this first solo plate already 1971, at hardly 20 years old. The exclamation mark behind the name is absolutely justified: Here the Finnish exception guitarist put the foundation-stone for his large career, which he already began few years before with Tasavallan a Presidentti and also Wigwam. And it made an important contribution with this album to set Finland on the musical map of the world.

The pieces work remarkably matured; ” Element: Earth, Fire, Water, air “about convinces as Suite with four different topics and tendencies. Beautifully also the lyric” Mountains “, only with Pekka Pöyry (ss). Besides still Pekka Pohjola and Heikki Virtanen (B), Reino Laine and/or Ronnie Österberg (dr) and Jukka Gustavsson (org) for Groove and tension ensure. Tolonen plays idea-rich and flinkfingrig; its technology, particularly the left hand makes its sound already here absolutely unmistakable. One of the completely important year 70's from Finland. (tjk)

Highly Recommended!

Track 1 - Elements: Earth, Fire, Water, Air......

Performers:
All Tracks : Jukka Tolonen (g, p, spinet)
Tracks 1, 4, 5: Pekka Pohjola (b)
Tracks 1, 2: Reino Laine (dr)
Tracks 1, 2, 3: Pekka Pöyry (ss, as)
Tracks 2: Heikki Virtanen
Tracks 4, 5: Ronni Österberg (dr)
Tracks 5: Jukka Gustavson (org)

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Tangerine Dream - "Tangram" [1980] @ 224 (Electronic Ambient Prog)

I saw there was a request for some Tangerine Dream, so here it is!

In 1980, at the dawn of a new decade, and with a new lineup, Tangerine Dream pumped out more freaky fuel for intrepid inner-space explorers, in the form of TANGRAM. The title track takes its name from a Chinese puzzle that requires a square to be divided into five triangles, a smaller square and a rhomboid, which are then shifted to create different shapes. Long-term member Peter Baumann had departed, and been replaced by Johannes Schmoelling, who fit in well with Edgar Froese and Chris Franke, and made the transition painless and almost undetectable for this longstanding fan.

This is one of the trio's better 80s efforts, beyond a doubt. As befitted the new era, the band's sound was somewhat updated, clear, and fresh, but retained more than enough of the old mystic magic to please their devoted followers. All of the essential TD elements, from gently drifting spacey parts, to more rhythmic sequences and almost frightening sections, can be found here, along with an increased focus on melody (which would only grow in the years to come). This manifest desire to augment the beauty of the music may not have met with universal approval, but -- for me, at least -- it contributed to the group's overall depth, and breadth of appeal.

The shorter, upbeat, almost danceable numbers that were to come, had yet to surface at this stage -- the disc is composed of two "side long" suites. "Tangram Set 1," in classic TD fashion, draws upon a rich and varied palette of tones and emotions, and the diverse sections of this musical "mind puzzle" flow and meld smoothly together in a unified whole. "Tangram Set 2," despite its similar title, is thematically independent, yet, for my money, every bit as interesting and good as its forerunner.

This engaging electronica, as with all of TD's extensive oeuvre, is not suited to all tastes. Still, for those who occasionally enjoy music that soothes, and invites flights of fancy (rather than bludgeoning the listener into submission with rapid-fire, grandstanding riffage), TANGRAM can provide an ideal aural ambiance for pleasurable pursuits from reading to reverie, romancing and reposing. A must for the committed Tangerine Dreamer!

Think 'electronic tubular bells' and you won't be far from a good description of the music on this album.

--- http://www.progarchives.com

Highly Recommended!

Seeing as how this album is just 2 long suites, there won't be any samples, they would be too big. Sorry!

Keep Listening!!!!

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Jan Hammer - The First Seven Days 1975 @ 320 (electronic ambient jazz)

This is another release on the Nemperor label (see Jerry Goodman & Jan Hammer in the May archive) and is a far cry from fast and heavy Mahavishnu Orchestra for whom Hammer provided his considerable keyboard skills.

This is a concept album, the subject matter being obvious and is instrumental. I'm pleased to say that Hammer is not being a creationist here, he refers to the concept as being valid whether a day is 24 hours or a hundred million years, I go for the latter!

Almost all the instruments are played

by Hammer, with exception of violin from another ex-Mahavishnu, Steve Kindler and congas. It is evokative and beautiful, full of lovely melodies.

Even though the abum had a major label backing, it sank, from memory, without a trace. pity as it deserves recognition. Just listen to the sample, a good guide to the album as a whole.

Hammer went on to write music for crap TV programmes before dropping out of the music industry completely some years ago.

I recommend this album as a forgotten jewel.

Darkness-Earth In Search Of A Sun

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Stanley Clarke - Children Of Forever 1973 @320 (modern jazz)

Many think that the mighty "Stanley Clarke" on Nemperor records was the great bassists first album, not so, this is in fact the first and what a different beast it is!

It comes from a time when Clarke was a member of the first Return To Forever, the band that fearured Joe Farrell, Aitro, Flora Purim, not to mention Chick Corea. Note that he is referred to as "Stan" on the cover.

Thus the music does have similiarities with that fantastic band, after all Chick Corea plays on this album as well. However the most startling difference is the use of vocalists Dee Dee Bridgewater and the wonderful Andy Bey. I'm not sure it all works as well as Clarke had hoped. It is good, nonetheless. the standout track is the last one, a 16 minute opus, "Sea Journey", featuring drummer Lenny white and guitarist Pat Martino.

I must say that this is vastly better than some of his later fusion work, the stuff that gave fusion a bad name!

In commenting on this album, it would be an oversight not to mention that Clarke is one of the few musicians who can honestly say that they have transformed the role of the electric bass.

Enjoy!

Bass Folk Song

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Abdel Aziz El Mubarak - Straight From The Heart 1989 @ 320 (World)

A complete change of pace. nothing like a change! Abdel Aziz El Mubarak is Sudanese and plays a popular music like no other.

I will not comment much about this album as I am not sure what to say, sufffice I first heard it on a cover CD for Songlines and was smitten. After months I tracked down the CD and was not disappointed, intense, joyful, danceable all at once.

This album was voted by the world music magazine, Songlines, a few years ago as one of the greatest world music albums ever released.

Who am I to argue?

Just listen to the sample to be convinced.

Ya A'Asaal

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Le Orme - "Verità Nascoste" [1976] @ VBR 224 (Excellent Italian Progressive Rock)

Excellent 70's Italian progressive trio (still around today) with classical stylings, featuring keyboards to the fore and a unique dreamy/powerful style. Le Orme was one of the three major Italian groups, the other two being PFM and Banco. This band is usually considered as the Italian ELP and even Banco Del Mutuo Soccorso by the Italian singing. Its music is based upon organ developments and soli reminding Seventies groups which works are essentially built upon keyboards parts.

Verità Nascoste is an excellent album recorded in London and released by Le Orme in 1976, after the previous and more commercial Smogmagica, which has its interesting moments, yet. Now Tolo Marton is gone, replaced by other guitarist Germano Serafin who stayed with the group until 1982. He sadly passed on in 1992. Electric guitar takes now its own place, a more appropriate and right equilibrium with the mythic keyboards of Toni Pagliuca. Verità Nascoste signed the most high point of glory for Le Orme in Italy.

The opener is the strong 6 mns piece titled Insieme al Concerto (Together at the Concert). It starts with the usual soft acoustic guitar and is well conducted and played to a more strong melodic-prog way from the 2nd minute. ”People has already gone away…what a marvellous full-moon evening…”. In Ottobre is a 6:43 long track, another favourite of mine, speaking about the time the group spent in London to work on this good release. They commenced October the first and finished October the 31th. Great rhythm session here, one of the best tunes of the album. Verità Nascoste is a soft and acoustic gem within very nice strings, presage of what would have appeared later, with the excellent 1979 album Florian.

Vedi Amsterdam… is the true highlight, in my honest opinion! “Mothers don’t know why their sons go to Amsterdam…Never-crying-Venice…”. Great keyboards parts, very good drums and bass, it reminds me of Contrappunti album! Regina al Troubadour is another good 6:44 long piece with soft opening vocals: “Queen of the Snow, we’re sitting besides you, why you cannot say no? You give to each one the Most Near Good…easy, so easy!”. Radiofelicità is an interesting song, not at the level of the previous tracks, though. Radio frequencies acting during the song…some more commercial keyboards. Salmoni is an awesome arranged track with funny lyrics telling all the risks and the dangerous life of these fishes during their river-climbing. Il Gradino Più Stretto del Cielo is another excellent track in a very similar Contrappunti vein!

-- http://www.progarchives.com

Highly Recommended!

Track 2 - In Ottobre.............

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Oregon - Roots In The Sky 1979 @320 (modern acoustic jazz)

There was a request for Oregon, following the Larry Coryell post, so here they are.

Oregon have an original sound, totally their own. The band evolved from the Paul Winter Consort and in particular, "Icarus" and the live album, "Road". Soon after leaving Winter, the core members formed Oregon, which still plays today, with a few forced personnel changes.

This album features all original members:

Ralph Towner - guitars, piano
Colin Walcott - percussion
Glen Moore - bass
Paul McCandless - wind

They are more of an ensemble than a group with a soloist, they perform very much as one. Towner, as you can here on the sample and the Coryell album, adds colour and rhythm on 6 and twelve string guitars, solos are sparse and often finish before you realize they have started, Walcott seems to have in infinite range ot rhythms, Moore just has a beautiful tone, whilst McCandless is ever inventive and as he does not play the usual jazz instruments, his sound is totally orignal. The whole sound is more important than individual musicians.

Throughly recommended

June Bug

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Jorge Reyes & Antonio Zepeda : “ A La Izquierda del Colibrí” [1986] @256 Electro Ritual Aztec Proggresion

Jorge Reyes and Antonio Zepeda are two Mexican experimental percussionists that have been working with pre Columbian instruments for more than a decade, mixing these ancient sounds with electronic sampling and processing, all kind of synths and rhythm boxes, and even electric guitar.
The use of modern technology doesn’t take any of the ancient mystic mood to their music. Actually they re-create the Aztec rituals in all their splendour and all their darkness. Let’s not forget that this was a culture which worshipped death and believed in a dusty, gloomy, and eternally nocturnal underworld in where feathered snakes, sinister humming birds, and dog-headed people dwelled, hunted and wandered. They were also very keen of human sacrifice. (The favorite way of performing the sacrifice was taking out the heart of their victims while still beating, specially the heart of enemies captured in battle).

So, among smoking mirrors and other peyote induced visions Zepeda and Reyes recreate for us the ritual side of a still very much misunderstood culture. The album has a flavor of jungle, of primitivism, atavism and aboriginal hopes and fears.

It goes from the luminous “Caña” to the terrifying “A La Izquierda del Colbrí” ("To the left of the Hummingbird”)

Ancient ritual gone Modern and Progressive.

Recommended, indeed…

Keep Listening…!!!

Jorge Reyes & Antonio Zepeda - Caña ...

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England - "Last Of The Jubblies" [1977] @ VBR 207 (British Progressive Rock)

Yes, England, the band that released that marvellous album Garden Shed in 1977. The tapes for the first, Japanese re-issue of that very rare LP, was taken from a heavily worn vinyl version, thus with a lot of irritating clicks. I think Robert Webb, keyboard player, got hold of a copy, realised there was still a lot of interest in the music, and thought it was time to get the master tapes out of his files and re-issue the disc properly. I still thank him for that.

Another result of this, probably, was that some time ago, Last Of The Jubblies was released, a collection of unreleased tracks, including some demo recordings. The CD is under forty minutes, which is a shame, but of course, it could be all of the recordings the band ever made.

England are known for their very Genesis-influenced style. However, there are some differences. England, for example, paid more attention to the music than the lyrics. But when it comes to singing, I think England are more diverse in lead vocals as well as harmony vocals. Well, I am not talking about charisma, of course...

Most of the music is not as good as the songs on Garden Shed (so, a good choice what to put on that album, then...). A bit more song-structured tunes and less of the good bits with many things going on at once. For example, A One-Day Legged Tale (nine minutes) is not as interesting as thirteen-minute Three-Piece Suite from Garden Shed.

But there's still some really good stuff here. Tooting Bec Rape Case contains a great gutar riff, and would have been great on Garden Shed. Mister Meener lacks the genius that marks Garden Shed, but still is a good, and original song. The middle section contains strange keyboard sounds that can be heard on Paraphernalia as well. The last track, Nanogram, contains something that reminds me of a track on Garden Shed, and is closest to that LP than any of the other songs on this CD. This is actually the best track. Er, wasn't this the B-side of the one and only single the band released?

I know, I compared a lot of this CD to England's original LP. But let's face it, there's nothing else to compare it to. If there are any, I would love to hear some live recordings. This CD is not as essential as Garden Shed, but if you really like that album, you should get this one as well. It is available from Vinyl Tap Records, 1 Whitecloth Hall, Leeds LS1 7BR, United Kingdom.

--- reviewed by Jerry van Kooten @ http://www.dprp.net

Track 1 - Creepin' Instrumental.......

Track 6 - Nanogram........................

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Larry Coryell - The Restful Mind 1974 @ 320 (Jazz guitar)

Having posted Coryell's "Spaces" recently, it seemed wise to add this excellent example of Coryell's craft. On this occasion, he is joined by most of the acoustic group, Oregon. Ralph Towner on guitar, Glen Moore on bass and Colin Walcott on tablas and congas.

Towner maybe be familiar as the 12-string guitarist on Weather Report's "I Sing The Body Electric" and, in additional to Oregon, has many releases on ECM.

This is an intense album, full of invention and powerful soloing from Coryell. Just listen to the sample below, you'll get the idea.
In contrast is Ravel's "Pavane For A Dead Princess", played for solo acoustic guitar, forshadows the series of albums containing classical interptetations that he would put out much later. Wonderful.

For me, the success of this album rests with the choice of the Oregon members for a backing band. They are never less than magnificant and they appear to inspire Coryell to new heights. One of the best albums in his large body of work.

Improvisation On Robert De Visee's Menuet II

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Joe Farrell - Super Session 1970 @320 (Jazz)

I'll again start by listing the personnel:

Joe Farrell - saxes
John McLaughlin - guitar
Chick Corea - piano
Dave Holland - bass
Jack DeJohnette - drums

This is not an all out blowing session by a bunch of greats, just great modern jazz at its best. Also note that most of the the tracks feature combinations of the musicians, rather than the full band.

If you thought the the leader, Farrell, is the weak link in this star band, then you'd be wrong. He is, however, the only member of the band who was not at some stage in one of Miles Davis's electric bands. Just listen to his playing on the first two Return To Forever albums. He would be better known if it had not been for the fact that he died at the age of 49 in 1986.

This is an odd CTI release in many ways, it does not have any of Creed Taylor's CTI overproduction nor the addition of brass or strings, just unadorned tracks brilliantly performed, thankfully!

The sample track says it all.

Follow Your Heart

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Jukka Tolonen - "The Hook" [1974] @ VBR 212/"Hysterica" [1975] @ 320 (Finnish Jazz Fusion)

Jukka Tolonen is not only Finland's national guitar hero but also one of the world's most respected guitarists. For the past 4 decades, he has captivated audiences through Scandinavia and Europe with his powerful and passionate works. He remains of the the most diverse guitarists of today, being equally proficient in a blues, rock, or fusion jazz environment.

Born in Helsinki in 1952, Tolonen first came to center stage in 1969 when a group of young Finnish musicians merged their collective

talents to form the widely popular rock/jazz fusion band Tasavallan Presidentti, who were to record four critically acclaimed albums. During this time, Tolonen also recorded two albums with another well know band Wigwam. These recordings would establish Tolonen as a powerfully explosive and technically spectacular guitarist.

However, it would be his soon coming solo recordings that would really turn the music world upon its collective ear. His self titled debut recording, followed by "Summer Games", "The Hook", and "Hysterica" would set new standards for jazz fusion recordings and remain popular world wide even unto today.

-- http://www.jukkatolonen.com/

Highly Recommended!

Jukka Tolonen - "The Hook" - 04 - The Hook....

Jukka Tolonen - "Hysterica" - 03 - Hysterica.....

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Larry Coryell - Spaces 1970 @ 192 (Jazz fusion)

The best place to start in discussing this album is to list the personnel:

Larry Coryell - guitar
John McLaughlin - guitar
Chick Corea - keyboards
Miroslav Vitous - bass
Billy Cobham - drums

Enough said!

Also, read the article posted on the back cover, a review of the album in Rolling Stone.

There are many similiarities between Coryell and Mclaughlin, they have spent their careers constantly changing and searching for new ways to musically express themselves and they both possess lightening fingers. But this is not just an example of how fast they can play, these are, as you would expect from this collection of creme de la creme musicians, stunning examples of fusion, from the jazz perspective.

Note that McLaughlin, Cobham and Corea all played with Miles Davis and Vitous was the first bassist with Weather Report. His contributions to that band are much overlooked. His "Mountains In The Clouds" is a must have.

I'm not saying anymore, listen and be impressed.

Wrong Is Right

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Test by The Herbalist (aren't we sick of him yet?)

Catherine Lara - Flamenrock ...

Nick Gravenites with Michael Bloomfield - My Labors & More (with Bloomfield) [1969] @320 (Blues)

Following on from the Barry Goldberg post, this album again showcases the guitar of Michael Bloomfield. In this case, however, it is a genuine Gravenities album.

Gravenities is an unsung force in the development of US white blues. His biggest claim to fame is being brains behind Janis Joplin's masterpiece, "Pearl" It was Gravenities who organized the band, arranged the tunes and, I think, produced. He also worked for the Paul Butterfield Blues Band, Quicksilver Messenger Service and the Electric Flag.

Of his solo work, such as it is, this is the most impressive. Possessor of a soulful voice, he also is a excellent musician and often played with Bloomfield.

This version of the album has additional tracks from "Live From

Bill Graham's Fillmore West" The reason for this is simply that half of the original album is live from the same show, this merely brings more of this material together. Just why they did that and not simply re-release the whole album as a second disc is, of course, an example of the mysteries of record company logic.

Nonetheless, these tracks come from a classic album and whilst providing filler, merely make you want the remainder of the album, which features an all star cast including a guest spot on a few tracks from Taj Mahal.

It is the live tracks that stand out here, as they are a good vehicle for Bloomfield to stretch out.

Throughly recommended.

Killing My Love

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Flyte - "Dawn Dancer" [1979] @ 160 (Belgian Progressive Rock) Thanks to Ole for this recommendation!

First off, my apologies for the bitrate. This seems to be quite an obscure album and this was the only version I was able to track down. Very nice sound for 160 kbps regardless!

As far as my knowledge goes this is the only Dutch-Belgian progressive outfit that ever existed. After winning the much acclaimed contest for amateur bands in 1976 at the well known Bilzen festival in Belgium, Flyte were able to open the festival comprising the Steve Miller Band, Steeleye Span and Rick Wakeman. Originally called Grace, they changed their name to Flyte when they found out there already was a Grace in Britain (not the boys from Pulling Strings... ). At the time they played covers by King Crimson, Wishbone Ash and Camel. Especially the sound of the latter is to be heard throughout the fairly melodic album Dawn Dancer.

"You're Free, I Guess" is almost an outtake of Camel's own Mirage album. In opener "Woman" the band goes on to copy The Who's "Pinball Wizard" whilst in "Aim At The Head" (and also some of the other tracks) they come very close to what Kayak was doing. If they are using so many well known themes, is the band's music original enough, I hear you ask. Rest assured it does, as the band's singer has a very unique voice which carries half of the band's sound. He's helped out by two keyboard players who combine a fair use of mellotron and Fender Rhodes piano. On the other hand there's guitarist Ruud Wortman who doesn't try to imitate the bigger names in progland. However his style comes close to that of Kayak member Johan Slager! The main result is that you don't get the typical symphonic album here with long tracks and neverending solos. Each of the eight tracks clocks in at around five minutes and most of them have a nice rock structure which was fairly new when the album was recorded in 1979.

Flyte unfortunately didn't have the chance to sign with a major company. They signed to a label which went bust after they only had pressed 2000 copies of the album. Without any promotion and distribution, the release of the album went unnoticed even if most of the album's tracks got some airplay. This is probably the main reason why Dawn Dancer remained the band's only album. It is however one of the best melodic, symphonic albums to emerge this side of the water!

-- review by John "Bo Bo" Bollenberg @ http://www.progressiveworld.net

Musicians:
Lu Rousseau - lead vocals, percussion
Ruud Worthman - acoustic and electric guitars
Jack van Liesdonck - acoustic and electric piano, clavinet, synthesizer
Leo Cornelissens - electric organ, mellotron, string ensemble, vocals
Hans Boeye - drums, percussion
Hans Marynissen - percussion
Peter Dekeersmaeker - bass, vocals

Track 1 - Woman..................................

Track 6 - Your Breath Enjoyer...........

Keep Listening!!!!

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England - "Garden Shed" [1977] @ VBR 210 (Underrated British Symphonic Prog)

The only problem with England's magnificent Garden Shed is that it was released about five years too late. Granted, England's style is not particularly original, being not much more than supremely enjoyable amalgamation of Yes and Genesis, except that Garden Shed truly lives up to some of the strongest works by those two bands. This is phenomenal English symphonic prog, truly inspired and immaculately performed.

"Midnight Madness" opens the album in fine form, with some bright rhythmic work and vocals that sound, fittingly, like a mix of Peter Gabriel and Jon Anderson. Occasionally, the rest of the band will jump in will complementary vocal harmonies that further remind one of Yes. "All Alone" is a fairly short ballad that actually sounds extremely reminiscent of Queen. "Three Piece Suite" is a prog mini-epic running at about thirteen minutes, an extremely enjoyable track with some phenomenal sections. "Paraffinalea" has a great vocal melody and has a whimsical English feel that would not have sounded particularly out of place on Selling England by the Pound. The real gem however is the phenomenal "Poisoned Youth", the album's centerpiece as well as the most unique track on the album. The song is much darker in tone than the rest and includes utterly amazing moments scattered throughout its sixteen minutes.

Basically, if you're familiar with Yes and Genesis you know what this sounds like. It's an extremely good album, not particularly original but also not overly derivative either. Make no mistake, this does not approach the more hard-edged cloning tendencies of the neo-progressive movement, and there is none of the cheesy AOR pomp that dominates many of the modern so-called "retro" bands. Rather Garden Shed is a firmly 70s symphonic with beautifully textured arrangements. Due to the relative obscurity of this album, it's not surprising that this gem has been dubbed a true "lost classic" by many. Personally, I wouldn't go so far as to call it a classic, but it's definitely a superb late 70s release that must have gotten lost in the shuffle as progressive rock as a commercially viable entity.

-- reviewed by Greg Northrup @ http://www.progweed.net

Track 1 - Midnight Madness...........

Keep Listening!!!!

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The Voice of The Moon -> A Music Podcast, Webradio Show, or whatever you wanna call it, performed and conceived by The Herbalist

I've been thinking about doing a few experiments in podcasting. So this is the result of the first one.
Although I have had some experience in radio, I have never done a show in english, so forgive my pronuntiation or any grammar mistake I might have done.

I am not sure if I am going to do this regularly. I wish I had the time. We'll see. I also wish I could get paid for this.

Podacst should be kept light, so don't expect the sound quality you're used to when you get any recommendation from ProgNotFrog. Anyway I am sure it reaches an enjoyable level.

I kept information about the music at a minimal level. A radio show is not a lesson on the history of a songor a band . The star is the music itself, not the DJ, even if he/she is a walking music encyclopedia.

I had a lot of fun doing the sound effects , intro, teasers and outro. Music selection was entirely a quasi-random process. If I keep doing this you should expect in eclectcism, in big quantities. I've never liked be constrained or imprisoned in any genre. Not even rock or prog. Not even western or modern music for that matters. I wish I had albums recorded in Pluto. I am sure they are great. (Unless the RIAA has an office there).

Please leave some comments (or I'll never do another podcast)

Keep Listening...!!!

You can reach The Voice Of The Moon here

Triana - "El Patio" [1975] @ 192 (Spanish progressive folk)

Filling another request for Pedro. Enjoy!

My first foray into folky Spanish prog (Fusioon and Canarios are Spanish, but don't exactly fall into the "folky" category). Some great flamenco guitar here; the first track especially is a fantastic meshing of flamenco and prog - lots of that aforementioned guitar, very effective singing and lyrics, and a lengthy instrumental closing section. The keyboards take a fairly strong presence on some tracks; they usually remain tasteful but at times get a little obtrusive. The acoustic guitar work more than makes up for it, though. Overall the melodies, carried mostly by guitar and vocals, are attractive and fairly memorable (though "Todo es de Color" is an unfortunate exception). One problem I had with this album is the voice of singer Jesus de la Rosa: although he's great for a few minutes, over the course of the album his straining voice begins to grate. Also, some of the compositions really aren't quite up to par with many other prog groups, and some of the songs stretch for longer than necessary. I only really enjoy two songs - the opener and "En el Lago". That said, this is an enjoyable if not particularly mind-blowing introduction into Spanish prog, and I'll definitely be delving deeper into the genre.

-- review by Brandon Wu (unknown source)

Musicians:
Jesus de la Rosa.....vocals, keyboards
Juan Jose Palacios.....drums and percussion
Eduardo Rodriguez.....flamenco guitar
Antonio Perez.....electric guitar
Manolo Rosa.....bass

See, sometimes it pays off to leave comments, keep them coming!

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Keep Listening!!!!

Trace - "Trace" [1974] @ 320 (upgrade)(Dutch Keyboard-Dominated Prog)

This post is filling a request for Pedro.

Listening to Trace's first album, it's like a war. Notes sprawling and tearing up your inner ear like bullets fired straight out of a smoking machine gun. Lightning Bach style, super tight bass/drum interplay. It's Emerson Lake & Palmer...but without the gigantic ego, the lyrical bullcorn and the awful by-product filler that every album's filled with.

Some bands are just TOO COMPETENT to write a page of history (and therefore, being understood) and Trace is one of the leaders in this sad but mind-boggling category maybe with Echolyn or Par Lindh Project. In fact, the product is purely an exercise, so it's not accessible and therefore, dispensable. In no way these guys thought they would carry on or reform one day on the sake of making a few dollars. This band probably made some money by doing marathon concerts. Hard working, not physically attractive (Rick van der Linden looks like an anorexic Leif Ericksson) and ridiculously perfectionist... dude, this record is tough to swallow and needs time to digest to full appreciation.

This is a major kick in Rachmaninov's...er, piano I guess.

Highly Recommended!

There is still a problem with the site that hosts the mini-players, hopefully we can straighten that out very soon and have the samples back!

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Jade Warrior - Jade Warrior 1971 @ 192 (British ambient rock)

Jade Warrior were, in many ways, ahead of their time. 1971 was a time of heavy rock, prog and the last of the psycheledic bands.

Jade warrior went against all this and produced a series of what can only be described as ambient albums, notably "Waves" and "Way Of The Sun" The duo of Jon Field and Tony Duhig played most of the instruments themselves with extensive overdubbing and relied heavily on acoustic instruments. That is not say that they did not look forward, they engaged the cream of the British musicians to assist and dabbled in electronics, such as it was then.

This album is their first excursion into this world and while their blueprint is not fully formed on this album, it gives a clear indication as to what was to come. As the album is a Vertigo release, the cover art is excellent.

Well worth a listen. If there is sufficient interest (and there should be) I will post other morsels from their canon.

Sundial Song

Keep Listening !!!

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Happy The Man - "Happy The Man" [1977] @ VBR 210 (American symphonic prog)

This was the first official release of perhaps America's greatest symphonic act, and the best known behind Kansas, namely Happy the Man. This band took some cues from other similar bands of the time, but were essentially an entity unto themselves. They were predominantly instrumental, and tended to alternate between two kinds of pieces. "Starborne" is an example of their slower, reflective and beautiful pieces. On the other hand, "Stumpy Meets the Firecracker in Stencil Forest" is one of their faster pieces, an intricate display of odd time sigs featuring ripping guitar parts woven into the tight ensemble playing of the band. The band whips through whimsical, serious, reflective, aggressive moods with the greatest of ease.

There are two vocals tracks here, but in general I find these somewhat less compelling. It is in the instrumental domain that Happy the Man truly shines, a fact that perhaps hurt their marketability back in the day. Had Arista not criminally underpromoted them, who knows how far Happy the Man might have gone? It's hard to say, but what is definite is that this a superior musical product that deserves all the accolades it has received.

review by Sean McFee @ http://www.progreviews.com

Highly Recommended!

Musicians:
Stanley Whitaker - six and twelve string guitars, lead vocals
Kit Watkins - synthesizers, acoustic and electric pianos, organ, clavinet, flute, marimba
Frank Wyatt - saxophones, flute, piano, keyboards, vocals
Rick Kennell - electric bass
Mike Beck - percussion

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There seems to be a problem with the site that hosts the mini-players that we use for the sample songs, as soon as the situation is remedied, the samples will be back!

Keep Listening!!!!

Fusioon - "Fusioon" [1972] @ 256 (Spanish Jazz Fusion)

This is a Spanish quartet from Barcelona featuring Manuel Camp (piano and keyboards), Jordi Camp (bass), Santi Arisa (drums) and Marti Brunet (electric guitars and synthesizers). In the first half of the Seventies Fusioon released three albums entitled "Fusioon I" (1972), "Fusioon II" (1974) and "Minorisa" (1975).

The first album "Fusioon" contains arrangements from ‘traditionals’. It sounds like a tasteful stew with classical, folk, jazz and symphonic elements. The songs have echoes from King Crimson (Fripperian guitar), Focus (flute) and Le Orme/Ekseption/ELP (Hammond organ) but the musical ideas are great and the musicians play strong with many surprising breaks and exciting solos and interplay. The highlight is “Danza del molinero” (Manual de Falla) with sparkling piano, a tight rhythm-section, an Andalusian sounding violin, fiery electric guitar and powerful Hammond waves, culminating in a grand finale.

This record is a mostly instrumental one (a few scatting one the opening track), but this does not hamper the enjoyment of the music: they have a fairly unique sound and the music has some very subtle Spanish overtones but not in the Flamenco realm. Their sound oscillates between Isotope, Wigwam (the Gustavson and Pohjola compositions), Focus or Finch, Sloche (or fellow Quebecois Maneige) and countrymen Iceberg. If the jazz colours are the main characteristics of the album, the classical influences peak here and there, most notably in Negra Sombra (Dark Black). All of the tracks are covers of traditional songs (6 of 8 tracks) all adapted/arranged by Manel Camp and the other two being penned by other writers. The odd flute, sax and clarinet (actually un-credited) but drummer Arisa is the one playing them (says D-E Asbjornsen) and bring touches of brilliance. The superb piano may even ring reminiscence of Chilean Los Jaivas in their more symphonic moments and with the organs, ELP comes to mind.

Certainly worth the investigation, especially if you enjoyed the better-known two later albums.

--- http://www.progarchives.com

Highly Recommended!

Keep Listening!!!!

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Indio -"Big Harvest" [1989] @256 Excellent and very rare Art-Pop

Indio can be classified under your One Hit Wonders folder. No one knows for sure why Indio’s leader, canadian Gordon Peterson, disappeared from the face of the earth after making such a fantastic album. Some have compared this work to the likes of Peter Gabriel and Paul Simon, but that comparison could be misleading. Certainly he used World Music elements in the song-building process as they did in the late 80's but his marvelous voice and exquisite arrangements make this album a unique listening experience. Indio was not a band but a gathering of virtuosos, under peterson's command. That differs from the above mentioned artists' way of making music.

Big Harvest is Pop oriented, yes, but don’t let that scare you. There’s good Pop around and this is certainly one of the best examples ever of what good Pop should be. Excellent lyrics, great song writing, edgy progressive and eastern elements here and there.

Un fortunately Peterson never resurfaced. It an very short statement (perhaps apochryphal) he said that he couldn’t cope with the pressures of the music industry. (nervous breakdown, maybe?). Anyway he’s alive and kicking and rumours of new songs float in the air.

Read the line up of the album and you’ll wonder, like myself, why this guy never got to be a superstar:

Gordon Peterson: Keyboards, Vocals, Vocals (Background), Choir, Chorus, Producer, Chant, Art Direction, Guitar, Percussion, Piano, Strings

L. Subramaniam: Violin
Vinnie Colaiuta: Drums
Alex “Neciosup” acuña : Percussion
Brenda Russell: Chorus
Bill Dillon: Chant, Guitar, Mandolin
Adrain Brett: Wood winds
David Bottrill: Engineering
Larry Klein: Bass
Manny Elias: Percussion, Drums
Tony Pleeth: Cello
Van Dyke Parks : Accordion
Produced by David Rhodes, who also played guitar

I believe this album is one of the great mysteries of the history of Good Music.

Highly recommended.

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Indio - The Grinding Wheel...

John Abercrombie - Straight Flight [1979] @ 224 (jazz guitar)

Abercrombie is one of the elite electric guitarist in jazz, along with McLaughlin, Bill Frisell and John Schofield. He has had a long association with ECM records making a many beautifully recorded landmark albums. If you don't have "Timeless", get it.

This is an odd release in 2 respects. Firstly, you only need to look at the cover (I wish albums still cost $5.98!) to see that it's a world away from the crafted artwork of ECM. Secondly, he plays a standards in a mainstream trio setting, assisted by George Mraz on bass and Peter Donald on drums.

I would assume that is why it is on this obscure label, it just would not fit the ECM image. In many ways

it is a precurser to the albums he would make with pianist Andy LaVerne in the late '80's and '90's.

The point about musicians such as Abercrombie is that not only can he change stlye from the modern to mainstream , but can do it better than most seasoned practitioners. As such, it is is an excellent example of the guitarist craft, supported noteably by Marz, who played with Bill Evans on so many classic recordings.

Nardis (Miles Davis) 6:44.

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Keep listening !!!

Arti & Mestieri - "Quinto Stato" [1979] @ 256 (Italian Jazz Fusion)

One of the groups of the Italian Cramps label, Arti & Mestieri of Turin were form you around to the 1974 from the former drummer of Trip Furio Chirico (who had previously also played with the Boys of Sole and Martò and the Judas) with other musicians with various musical experiences. Gigi Venegoni (guitar, synth), Giovanni Vigliar (violin, voice, percussions) and Arthur Vitale (sax, clarinet, vibraphone) played with the Dream of Archimedes, a progressive rock/jazz fusion group. Often playing with Area, they shared their interest towards a fusion of jazz-rock with elements of progressive music, and the first album, Tilt, is an optimal result, even if the limited vocal parts were their weak point. The album comprised of only two vocal tracks, the rest were instrumentals.

In 1975, their second album, Giro di Valzer per Domani, saw the income of a singer, Gianfranco Gaza from Procession, and the album has a much better sound and production than

the first one, of which it resumes the style but with some jazzy elements. Two of the better songs of the album, the instrumental Valzer in order tomorrow and the sung brano To know to feel exited also like 45 turns. After some years of interruption, in 1979 they released a third album, Quinto Stato, with the always guided group from Chirico but with a various formation and in a more traditional style jazz-rock, while the album seemed to be headed more and more clearly towards a kind fusion.

---taken from a review @ www.italianprog.com

Highly Recommended!

Lineup:

Gianfranco Gaza (voice)
Gigi Venegoni (guitar, synth)
Beppe Crovella (keyboards)
Giovanni Vigliar (violin, voice, percussions)
Arthur Vitale (sax, clarinet, vibraphone)
Mark Welsh (bass)
Furio Chirico (battery, percussions)

Track 6 - D'essy

Track 7 - Arti

Keep Listening!!!!

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Pyg - "Pyg (First album)" [1972] @224 (japanese prog rock)

Hello Friends!! for one week or more when i enter to have a look to the blog (at 7:00 am Uk greenwich time) i see 1 japon flag on neocounter everyday.i dont know he/she is the same person (if he/she is i am saying him/her a big hello :) he/she remind me some great and rare japan bands.and i feel happy for that :) as you know my english no good to tell whole story of bands.so a light copy paste is here: PYG (Pyg) was Japan's first rock super-group, made up of members of the most famous bands of the Group Sounds era, The Tempters, The Spiders and The Tigers.The members were (keyboards) Katsuo Ohno, (guitar) Takayuki Inouye, (drums) Hiroshi Oguchi, (lead vocals) Kenichi Hagiwara, (bass) Ittoku "Sally" Kishibe and (lead vocals) Kenji Sawada. Session man Yuji Harada, a non "Group Sounds" star, was also added to the line-up as a second drummer. The band were a seven piece ensemble on stage.Formed in 1970, the unit was fronted by the two biggest stars of the era, lead singers Kenji Sawada of The Tigers and Kenichi Hagiwara of The Tempters. The musical director of the band was guitarist Takayuki Inouye of The Spiders. Review was taken from wiki. happy listenings :)

Love of Peace and Hope/Pyg .....

Nothing Free/Pyg......................

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Barry Goldberg (w Bloomfield) - And Friends @ 192 (Bloomfield blues)

This is a Michael Bloomfield album in all but name. Released on the obscure Record Man label sometime in, I think, the first half of the '70's, in Goldberg's name so as to avoid contractual problems, this is electric Bloomfield in a rough & ready live blues jam.

But its Bloomfield that commands attention. A true gunius and the most powerful guitarist around at the time.

Don't forget that it was Bloomfield who provided the guitar to Dylan's "Like A Rolling Stone" and to the Butterfield Blues Band ( if you don't have "East-West", get it)

As I said this is a jam, so much soloing from Bloomfield and Goldberg and that's fine by me. When the musicians are this good, why not let them go for it? Somewhere in the mix is Harvey Mandel (I'm not convinced that he really is there) and I think a bass player, but really this is the Bloomfield Show warts and all.

Do yourself a favour and get this obscure little gem.

Mess "A Da" Blues

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Keep listening !!!

David Bromberg - David Bromberg [1971] @ 192 ( American guitarist, singer -songwriter with a bent)

Not many artists get requests from established musicians to appear on their first album. So why did George Harrison (you can hear his slide guitar on "The Holdup"), Bob Dylan and bluegrass legend Norman Blake offer their services to this unknown? Because of the fact that he'd already been on dozens of albums as a session player and shown extraordinary talent.

This is, quite simply, one of the best and most confident first albums ever made, and that's saying something.

Lots a humor, great musicians having a ball with terrific songs is probably a good description. I add the ryder that the last song "Sammy's Song" is none of these, explicit and tragic and "Last Song From Selby Jean" isn't all beer and skittles either, just class.

The live version of "Delhia" is, in my view, the definitive one while the aforementioned "The Holdup" co-written with Harrison is brilliant, an unknown gem from the former Beatle.

Truly essential, so do yourself a favour.

The Holdup

Keep listening !!!

Jonas Hellborg & Glen Velez - "Ars Moriendi" [1989] @256 Superb virtuoso ethnic flavored fusion. Do Not Miss It.

Those of you who have been following this blog from its beginning a few months ago, probably downloaded an extraordinary ethno fusion album by Trilok Gurtu called Usfret. If you did, no doubt you found out a great bass player, the Swedish Jonas Hellborg, amazing virtuoso of electric and six stringed acoustic bass.

On this work Mr.Hellborg is accompanied by Glen Velez, master of ethnic drumming and one of the most famous session musicians of the contemporary ethno jazz scene.

One of many Hellborg’s biographies states that…
”Jonas Hellborg was born 1958 in Gothenburg, Sweden. He taught himself to play the bass at age 12. Influenced by artists such as Jimi Hendrix, Cream, and Deep Purple, Hellborg played mainly blues and Heavy Rock. In 1972 he heard a record that changed his perception of music. This album, The Inner Mountain Flame, by the Mahavishnu Orchestra (Featuring English guitarist John McLaughlin) would not only influence his music, but his career as well.”

So, as we can see, Mr. Hellborg, contrary to many virtuoso musicians, started with rock and since the mid 80’s has been moving to… jazz?, classical?, avantpunk?… who knows?

Anyway his playing skills are truly mind boggling. He can do things with his bass that no one else would wven dare to try c. In the above mentioned Gurtu album we can hear how Hellborg is able to follow even the most intrincate hindu rhythmic constructions without any hint of hesitation or any sign of even the slightlest flaw. And that my friends is quite a compliment for a bassit, because hundu music complexity is way beyond our most difficult jazz or rock masterpieces. I read somewhere that he assumes the bass is a keyboard instrument. Maybe that's right.

His delightful collaborations are many. John Mc Laughling, Giger Baker, Anton Fier, Bill Laswell Michael Shrieve and many others.

Be prepared. I believe he is second to no one and Jaco is waiting for him in Heaven to share his place with him.

But hey... hellborg plays with another guy...! Glen Velez deserves more than a few words himself. Texan of Mexican origin, he ‘s one of the most outstanding percussionist alive. His mastering of all kind of frame drums have created around him a sonic aura that resembles nothing else but Velez. No one, nothing, sounds like him. The beating of the Bodhran and many other framed resounding skins fill the space with a solid phonic fluid that gets deep into one’s ears and mind. He sounds Arabic, or hindu, or celtic or something among and beyond all those words.

Actually he’s recognized as the highest authority of this instrument in the world. Considering that the history of the frame drum is dated as back as Ancient Mesopotamy, that’s a great achievement.

He reminds us that the first musical thing we humans ever did was beating something against something. He seems to be a messenger of antiquity and also a dweller of the future, calling us to an ocean of flows and counter flows of pure drumming. Glen Velez collaborations with Oud maestro Rabih Abou Khalil, for ECM records, are not to be missed. He has also played with Steve Reich (crossing thus the classical boundaries), John Cage, Zakir Hussain and Paul Winter.

Ladies and Gentlemen, this is the result of a magical moment in history of modern music.
The collaboration between two giants. This album is absolutely, strongly, undoubtedly recommended.
Please give this work what it deserves…

Headphones. A nice chair, a quiet intense listening while drinking something exotic. It is that good. Believe me.

Keep Listening…!!!

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Stars of the Morning Sky...

Triumvirat - "Mediterranean Tales" [1972] @256 (prog rock)

Here is a copy paste from progarchives: Triumvirat have always been referred to as an ELP clone band a view which I have failed personally to adopt... sure there are some strong similarities but also a number of differences... "Mediterranean Tales" is certainly one of those differences ! The opening side long title track is simply killer with heavy 70’s keyboard and German underground sensitivities. Cleverly energized epic track with some breathtaking instrumental-passages and instrumentation. "Mediterranean Tales" is a strong mix of classical and rock genres including overtures, fugues, thematic restatements and many different styled movements. Make no mistake this album is full of Jürgen Fritz’s killer keyboard work (a classically trained musician). The rest of the band include Hans Bathelt (drums, percussion) and Hans Pape (bass, vocals). Re-mastered CD edition also includes four bonus tracks previously appeared on singles. A Classic Recording from a great progressive rock band ! Happy lisyenings :)

Across the waters/Triumvirat ......

E Minor 59 Minor 5/Triumvirat .....

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Kaleidoscope - Incredible Kaleidoscope [1969] @320 (US prog rock)

Hello Proggers! well this album is a must for all who addicted to progressive rock! i dont write a review for that album..all i want to tell is a song from this album..Seven Ate Sweet! this song is one of the greatest song i have ever listened..Song starts with traditional scales of north part of turkey karadeniz..and continues with greek bouziki! most of these scales were using in wedding tunes..all i can say about is..if one day i become married..i will play that song in my wedding :) its really hard to express music..better you listen decide. here you can find a lightweight info for the band.

Seven Ate Sweet/Kaleidoscope ...

Banjo/Kaleidoscope ...................

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Sohail Rana - "Khyber Mail" [1970] @256 (pakistan psychfolk)

Hello everybody! i remembered the day i first listen this album! i am sure you will like that album..i am not good on writting so copy paste here: Sohail Rana, who is the son of renowned Urdu poet, Rana Akbar Abadi, was born in his native city, Agra, Uttar Pardesh, India, to a highly literary, academic and respectable family. They all migrated to Pakistan after partition. Years passed by and Sohail Rana successfully completed his primary and secondary school education in Hyderabad, Sind, Pakistan. He earned his Bachelor of Arts degree from the university of Karachi through D.J. Science College initially. Later he received his final B.A. degree from National College, Karachi. Sohail Rana met read more here This album is like a candy :)