Bye! Fela Kuti - Part 1

Dear friends! Soon I am going to Africa and will spend at least couple of years there. Therefore I will not be in position to update this blog. It was my pleasure to share some of my favorite music with you and I am feeling sad but at the same time happy cose I will soon be at the place where everything once began. I will keep the blog alive and for the last post here is the 2 part video by my favorite african musician - late Fela Kuti. God bless you all!!!

Fela Kuti - Part 2

Counter @ the bottom of the page said...

Rock`n`Bikers Festival Time Off...

Sorry people but I won`t be arround for at least 20 days. If I find some time I will put some pictures from the festival. CU soon...

by request: AQUARELLE - Aquarelle (aka Sous Un Arbre)

In the second part of the 70's, Quebec was going wild in terms of progressive rock undergoing a sort of cultural revolution/emancipation (Quebec was busy considering flying on its own) and a flurry of bands were seeing the light of day, a good deal of those not really caring about being commercial. Aquarelle is Pierre Lescaut's project; he was the main composer, but everyone in the group had interesting and challenging role in the group, not least Bournaki's violin work.
If you are like me, and have heard a few hundred Jazz-rock/fusion album, chances are that Aquarelle will not sound incredibly inventive or particularly original. What we have here is a very honest and professional album, which fits the mould of what was being released at the time. Sounding close to Ponty's albums of that same era, or many other groups, Aquarelle did not really manage to make a real dent in the market mostly because of the competitive market and the sheer amount of similar music being released, some group were bound to remain in obscurity. Sadly so, because Aquarelle were a very endearing unit that produced a very pleasant JR/F on their two albums, but it was not flawless. One of the more puzzling characteristics about their music is Courtemanche's wordless high-strung vocals (which are often under-mixed) that add some unexpected flavour to the music, but they are rather unusual and can be irritating. Highlights of this album include the (unofficial) title track with the heavy piano work, and the three part eponymous track Aquarelle, where the group does not miss to introduce their wide scoped musical abilities.

Line-up

- Anne-Marie Courtemanche / vocals

- Pierre Lescaut / keyboards

- Stéphane Morency / guitar

- Pierre Bournaki / violin

- Jean-Philippe Gélinas / saxophone, flute

- Michel De Lisle / bass

- André Leclerc / drums

Tracks

1. Aquarelle

2. Aquarelle pt2

3. Aquarelle pt3

4. Bridge

5. Esperanto

6. Francoise

7. Magic Of Sounds

8. Under A Tree

9. Volupté

Album downloaded from SLSK @192 as 2 tracks (side one & two)

LINK:

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Forgotten pearl No. 15

ALCATRAZ - Vampire State Building

No, not the '80s metal band, featuring Yngwie -- that Alcatrazz had two zz's in their name. This Alcatraz was a krautrock outfit from Hamburg, who released this album, their debut, in 1972. At last it gets a cd reissue -- we've always been curious about 'em 'cause the striking/silly LP cover painting (the lips and teeth of a vampire, with the bloody fangs being two inverted Empire State Buildings) always shows up in books of krautrock lore like Cosmic Dreams At Play and The Crack In The Cosmic Egg. AND, they're one of those Nurse With Wound list bands too! In fact, Nurse With Wound and Stereolab 'covered' this album's brilliant lead-off track "Simple Headphone Mind" on a collaborative ep some years back.Alcatraz prove to be one of those wildly jamming, kinda-heavy bands, with some bluesy Zeppelin-esque riffing and powerful, fuzz-psych lead guitar (love that tone!) cutting through their fusionoid, jazzily-rockin' songs, which also feature sax, flute, piano, drums, bongos, and (on two tracks only) vocals. Reminds us of some way-out Traffic or Santana type of thing. Really, the mostly instrumental songs on here don't really sound like 'songs', just a lot of improv parts and crazy playing, which is of course cool by us. It totally makes sense that they started out playing covers of stuff by the likes of Savoy Brown, Vanilla Fudge, Black Sabbath, and Uriah Heep before getting into Soft Machine and Tony William's Lifetime -- the liner notes mention 'em blending Cannonball Adderly and Deep Purple! While by no means a newly unearthed krautrock classic of Can or Faust proportions (though it was recorded at Faust's Wumme studio, during a police raid on suspected terrorists no less), this is a cool album of eccentric, sometimes epic, hippy jazz-rock.

Line-up

- Rüdiger Berghan / piano, vocal

- Klaus Holst / guitar

- Klaus Nagurski / flute, Tenor saxophone

- Ronald Wilson / bass

- Jan Rieck / drums, percussion

Tracks

1. Simple Headphone Mind (10:00)

2. Your Chance of a Lifetime (5:06)

3. Where the Wild Things Are (3:03)

4. Vampire State Building (13:10)

5. Piss Off (3:18)

6. Change will come (6:08)

LINK:

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Forgotten pearl No. 14

ACHE - Green Man

Ache started in 1968 heaving their roots in the hippie subculture of Copenhagen. They played a mixture of beat, symphonic-rock and classical-rock with strong organ and guitar interplays. Ache was said to be Danish equivalent of Procol Harum but its music was also under influence of Van der Graaf Generator and The Nice (great combination anyway!). The first album The Homine Urbano includes only two compositions. On side A there is a title track composed for ballet (performed in e.g. Copenhagen and Moscow). On Little Things (that covers the whole side B) the musicians started working in 1968 and since then they developed it piece by piece. According to them the composition is about little things that exist around us. It is slightly better developed than The Homine Urbano and must-have not only for symphonic-rock proggers.
Ache were planning to create Ache Rock Theatre an artistic event. This idea, unfortunately, failed due to lack of money, but music on their second album Green Man(except track Acheron) comes from that show. Compositions on this record are shorter (none exceeds 9 minutes) which enabled musicians to present more diverse material. Some tracks remind of the previous album (Equatorial Rain, The Invasion, Acheron), some are more like hits e.g. beautiful Shadow Of A Gipsy or titled Green Man. The last composition is Ache-ish cover of The Beatles' We Can Work It Out.
Torsten Olafsson said in 1971 about their music: When listening to music you may sometime imagine sceneries on situations appearing from far away, from sub consciousness, and when experiencing sceneries or happenings you may as well put sounds or music to them; and in both ways picture and sound will be linked together, and you will always believe them to belong to each other".Ache soon disbanded but in 1976 reformed in different line-up and recorded two albums. The first rock opera Pictures From Cyclus 7 is said to be a better one.


Line-up
- Torsten Olafsson / vocals, bass, spinet
- Peter Mellin / Hammond organ, vibraphone, vocals
- Finn Olafsson / guitars, vocals, percussion
- Glenn Fischer / drums, percussion
- Johnny Reimar / backing vocals


Tracks
1. Equatorial rain (6:59)
2. Sweet Jolly Joyce (3:47)
3. The Invasion (5:58)
4. Shadow Of A Gypsy (4:38)
5. Green Man (4:38)
6. Accheron (4:47)
7. We Can Work It Out (8:43)


LINK:
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by request: PETE BROWN & HIS BATTERED ORNAMENTS - A Meal You Can ....

Album Title - A Meal You Can Shake Hands With In The Dark

Pete Brown's debut album may not have been as accessible as those of Cream (for whom he often helped write material) or even the early Jack Bruce (for whom he continued to collaborate as a songwriter). There are similarities, however, though more to Bruce's solo work than to Cream. For one thing, there are those lyrics, which are of a far higher standard than heard on most rock songs, ranging from ominous impressionism to take-out-the-piss political satire. Then there's Brown's voice, which rather resembles a gruff Jack Bruce, and is effective though certainly not as smoothly melodic as Bruce's vocals. And then there's the music, which grew out of the same jazz-blues-rock community that gave birth to the Graham Bond Organisation, Cream, and Colosseum. In fact, two other alumni of that scene, Bond (on organ) and Dick Heckstall-Smith (on saxophone), are among the supporting players, as is a young Chris Spedding. There are also unusual psychedelic and Middle Eastern accents here and there in the arrangements, though tasteful and subdued. Because there aren't the pop hooks of the songs Brown had a hand with in Cream, and because Brown's voice is not that of your average rock frontman, it's not something that ever got a wide audience. But it has its rewards for those looking for something a little more avant-garde and intellectual than much late-'60s psychedelic-prog rock, including the fairly grooving "Dark Lady" (which musically resembles Graham Bond's work), "Station Song" (where the likeness to some of Jack Bruce's more mysterious tracks is highest), and the beguiling downward-spiral melody of "Rainy Taxi Girl." Some of the bluesy tunes are more functional, but the 12-minute "The Politician" — not the same as the Cream classic "Politician" penned by Brown and Bruce, though there are similarities — is a highlight, as a very witty and scathing anti-establishment spoken word poem segueing into an off-kilter blues-rocker that exposes the "politician" for the lecherously hypocritical geezer he is.

Tracks

1 Dark Lady 5:21

2 Old Man 5:26

3 Station Song 3:22

4 The Politician 12:14

5 Rainy Taxi Girl 4:46

6 Morning Call 2:48

7 Sand Castle 9:22

8 Travelling Blues 12:07

9 High Sorrow 3:24

10 Raining Pins and Needles 3:35

LINK:

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Forgotten pearl No. 13

AUNT MARY - Same

One of the early and by many considered to be one of Norways definitely best prog bands. Their music is a mix of heavy hard-rocking tunes, combined with clear influences from the symphonic genre. The more symphonic sound however didn't appeared until their third, and last studio album, "Janus". A great concept-album to start with. If you want the more thundering sounds coming from AUNT MARY, look for 1972s "Loaded", but this is their first baby and the one I like most (I am sure not many of you will agree). High-skilled musicians combined with good, creative melodies makes AUNT MARY a important Norwegian band to become acquainted with.

Line-up

Bjoern Christiansen - guitar, vocals

Per Ivar Fure - flute, harmonica, saxophone

Jan Groth - keyboards, vocals

Svein Gundersen - bass

Kjetil Stensvik - drums

Tracks

1. Whispering farewell (4:00)

2. Did you notice (3:18)

3. Theres a lot of fish in the sea (3:51)

4. I do and I did (4:52)

5. 47 steps (4:39)

6. Rome wasn't built in one day (2:59)

7. Come in (3:29)

8. Why don't you try yourself (2:28)

9. The ball (3:33)

10. All my sympathy for Lily (3:21)

11. Yes, by now Ive reached the end (2:51)

LINK:

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Forgotten pearl No. 12

TROYKA - Same

A progressive rock trio from Edmonton, Alberta, Canada. The album was recorded at Round Sound, Edmonton, Alberta. The band took care of the arrangements, words and music themselves. Most of the tracks - "Early Morning", "Life's OK", "Rub-A-Dub-Dub Troyka In A Tub", "Dear Margaret (Malgasia)" and "Troyka Finale" are progressive rock style instrumentals. Another "Rolling Down The Back Road "has a sorta guitar freakout and "Go East Young Man Beautiful Pink Eyes "culminates in a sorta guitar jam. Certainly not for everyone but if guitar-driven instrumentation is your scene this could be for you. Certainly an unusual album. Often compared to Gun and Warpig.

Tracks

1 Introduction :37

2 Natural 2:47

3 Early Morning 3:52

4 Life's O.K. 4:03

5 Burning of the Witch 2:54

6 Rub-A-Dub-Dub Troyka in a Tub 2:19

7 Troyka Lament :33

8 Troyka Solo :37

9 Rolling Down the Back Road 4:04

10 Berry Picking 2:48

11 Dear Margaret (Malgosia) 2:33

12 Go East Young Man/Beautiful Pink Eyes 6:12

13 Troyka Finale :30

LINK:

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by request: QUINTESSENCE - Dive Deep

What a welcome release this has been. Never previously released on CD, this reissue comes sounding a whole lot better than the album ever did but without any additional tracks.
This is the last of the "holy trinity" of Qunitessence albums, the remaining two being somewhat lower down the list of must have albums.
Unlike the self titled Quintessence this album marks somewhat of a change in direction by the band whilst at the same time remaining true to form. Whereas the second album was a fusion of studio and live performances, these are primarily studio recordings but with a live feel. During the time that this album was made Quintessence continued their touring and left no-one in any doubt over the power and reach of the band live. While most of the songs led to the improvised playing which had some dancers almost in ecstasy the studio recordings eschewed that aspect and as a result are considerably diminished in my view as a result. The reputation of Quintessence as a powerful live act was maintained by this album although, unlike their west coast cousins without religion the Grateful Dead, they were able to produce a decent album bouyed by the live act. The strains are beginning to emerge within the band characterised by a poorer quality of the songwriting and a more self-indulgent approach as typified by the mere six relatively lengthy tracks.
The first of these, Dive Deep treads no new ground, preferring the obvious safety of the blistering guitar solo which bears much similarity to St. Pancras on the second album but without the range. On Dance for the one, Raja Ram's flute again goes over the same ground as on the earlier albums. Brahman and the Seer are the weakest songs in my estimation although in performance the improvisation is the saving grace but which is denied the listener here. Epitaph for tomorrow and the Sri Ram chant are the remaining tracks and are strong in their own way but the latter in particular is a little lengthier than it perhaps ought to be.
The sleeve notes record the emergence of tensions within the group which led to their most unfortunate demise following this album.
It may not be the strongest of the Holy Trinity but it does represent the band just after their peak whilst they were still a great draw as anyone witnessing their performances will bear out. I would certainly recommend this album although I do mourn particularly the lack of unreleased live tracks which would raise this album to the heights for which it was intended.

Tracks

1. Dive Deep

2. Dance For The One

3. Brahman

4. Seer

5. Epitaph For Tomorrow

6. Sri Ram Chant

LINK: @192

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Forgotten pearl No. 11

TOAD - Same

Toad's self-titled debut album may have, single-handedly, kicked off the entire Swiss hard rock movement in the '70s. Their first single, "Stay." made a great deal of headway on the Swiss charts — a feat that no other hard rock band had ever accomplished in that country. Essentially a power trio consisting of Vittorio "Vic" Vergeat (guitar/vocals), Werner Frohlich (bass) and Cosimo Lampis (drums), Toad enlisted the help of vocalist Bens Jaeger for this (and only this) album. Heavily blues-based rock (à la Cream/Black Sabbath) was the major force behind Toad's hard driving sound, with bassist Frohlich providing a mean (and meanderingly gutsy) counterpoint to Vergeat's loose and greasy guitar licks. The record also has moments of Deep Purple-like propulsion, no doubt thanks to that band's engineer Martin Birch, who manned the controls on this one as well. Like most of the B-list (sometimes C-list) rock groups that Italian imprint Akarma has reissued throughout the early 2000s, Toad's debut was mainly a collector's object in its LP form. There were better bands out there, doing the same sort of thing, but, chances are, those records were already on the shelves of most die-hard collectors. Albums like Toad may have enjoyed regional success in their time, but were largely forgotten or relegated to "closet classic" status (if they were remembered at all). These types of records have been fetching higher and higher prices over the years and it's darn good to see a reissue label dipping into this pool of underappreciated groups.

[Originally released in 1972, Toad was reissued in 2007.]

Tracks

1 Cottonwood Hill

2 A Life That Ain't Worth Living

3 Tank

4 They Say I'm Made

5 Life Goes On

6 Pig's Walk

7 The One I Mean

LINK:

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Forgotten pearl No. 10

BLACK CAT BONES - Barbed Wire Sandwich

BLACK CAT BONES were a typical British blues rock band playing late 60's raw progressive blues in the same vein as CHICKEN SHACK and TEN YEARS AFTER. Two of its original members, guitarist Paul Kossoff and drummer Simon Kirke, would later form their own band (FREE). When they felt they had taken BLACK CAT BONES as far as it could go, they both left before the band even cut their album in 1969 (entitled "Barbed Wire Sandwich"). The album features Rod Price on vocals (FOGHAT's future vocalist), Phil Lenoir on drums, Stu Brooks on bass guitar, Brian Short on additional vocals and Derek Brooks on rhythm guitar.
"Barbed Wire Sandwich" was originally released on Decca as a mid-priced album noted for its (then fashionable) gruesome cover. The cd re-edition is an excellent testimony to some of the best heavy blues rock of its time, a hidden gem full of soul and raw energy.
Recommended for lovers of late 60's British blues boom.

Tracks
1. Chauffeur (5:15)

2. Death Valley Blues (3:52)

3. Feelin' Good (4:58)

4. Please Tell Me Baby (3:10)

5. Coming Back (2:32)

6. Save My Love (4:50)

7. Four Women (5:09)

8. Sylvesters' Blues (3:45)

9. Good Lookin' Woman (7:16)

LINK:

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Forgotten pearl No. 9

The Norman Haines Band - Den of Iniquity

Reissue of 1971 classic Birmingham UK heavy prog rock album from Norman Haines Band (post Locomotive and formerly Sacrifice). The sound is much like a heavy brew of Locomotive, Arzachel and The Beatles! Featuring Neil Clark on guitar, Andy Hughes on bass & vocals, Jimmy Skidmore on drums and Mr Haines himself on keyboards & vocals.

Tracks

1. Den Of Iniquity (4:34)

2. Finding My Way Home (3:25)

3. Everything You See (Mr. Armag (4:37)

4. When I Come Down (3:58)

5. Bourgeois (3:01)

6. Rabbits (13:05)

7. Life Is So Unkind (8:06)

8. Elaine (4:36)

9. I Really Need A Friend (3:43)

10. Daffodil (3:52)

11. Autumn Mobile (3:33)

12. Give To You Girl (2:53)

LINK:

h!!p://www.megaupload.com/?d=X0SZMF01

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Forgotten pearl No. 8

CRESSIDA - Same

Cressida were an excellent band of early British symphonic progressive scene. Their sound is mostly dominated by the most beautiful and symphonic Hammond organ (dirty, and mellow), piano, bass, guitar, and drums. The instrumental sections are equally good, and tend to be typical of early 70s English prog rock. Thanks to the captivating atmospheres and the technical ability of the musicians. Similar bands include FANTASY, BEGGARS' OPERA, CIRKUS, GRACIOUS, and SPRING.
Their self-titled debut is an early seventies forgottonclassic with delicate vocals, gobs of organ and acoustic guitar. DEFINITELY A CLASSIC!


Line-up/Musicians
- Angus Cullen / vocals
- John Heyworth / guitar, lead vocals on track 5
- Peter Jennings / harpsichord, organ, piano
- Kevin McCarthy / bass
- Iain Clark / drums


Tracks
1. To Play Your Little Game (3:15)
2. Winter is Coming Again (4:42)
3. Time For Bed (2:18)
4. Cressida (3:57)
5. Home And Where I Long To Be (4:04)
6. Depression (5:02)
7. One Of A Group (3:35)
8. Lights In My Mind (2:45)
9. The Only Earthman In Town (3:32)
10. Spring '69 (2:14)
11. Down Down (4:15)
12. Tomorrow Is A Whole New Day (5:19)


LINK:
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Forgotten pearl No. 7

COSMIC TRAVELERS - Live! At The Spring Crater Celebration-Diamond Head, Hawaii

The Cosmic Travelers were a group of veteran studio musicians that decided to get together to join the seventh major festival that was held over a four-year period (at the time) in the Diamond Head crater in Hawaii. Live! At The Spring Crater Celebration was recorded originally in 1972, during the advent of a major shift to heavy metal with groups like Deep Purple and Black Sabbath.
Drake Levin (guitar), Jimmy McGhee (guitar), Joel Christie (bass), and Dale "Mule" Layola (drums) cranked out some high-octane psych-blues.
This entire recording is live and uncut with the exception of two minutes when the tape was turned over at the original recording. What we would consider today as an archaic method of recording a live gig becomes quite good under the careful eyes and ears of experienced engineers and producers. With the help of technological advancements and Akarma Records' precise care with the remastering process, and the colorful informative packaging, what you get is history given a chance to become reborn and relived.
This was a good album when it was recorded, and it stands as an above average album now due to the previously mentioned enhancements. The last two songs "Soul" and "Soul Reprise" are real kickers. There are only six tracks, but keep in mind the first track "Farther Up The Road," a blues classic, runs for more than nine minutes and Dave Mason's "Look At You Look At Me" for more than ten minutes. So you get more than your share of quantity, quality and consistency on this release.
Take a rock and roll revival trip to Hawaii for a day, be a hippie and enjoy the tunes.

Tracks

1. Farther On Up The Road

2. Move Your Hands

3. Jungle Juice

4. Look At You Look At Me

5. Soul

6. Soul Reprise

LINK:

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Forgotten pearl No. 6

TWENTY SIXTY SIX & THEN - Reflections!

The name '2066 & THEN' comes from adding an extra thousand to the number 1066, year of the historical battle of Hastings. Their heavy progressive style has been compared to that of DEEP PURPLE, VANILLA FUDGE and IRON BUTTERFLY. After releasing their first album, individual members got involved in different projects that never really stood the test of time, so 'Reflections on the Future' is their only legacy, and a fine one at that.
Their dramatic organ-drenched, complex music sometimes dons symphonic elements, but the band isn't afraid to dive into some heavy guitar/organ jamming either, featuring elements of jazz, some high-octane rhythmic parts and quick changes, mixed with weird psychedelic electronic effects - the hoarse vocals, however, perhaps better suited to conventional hard rock, may take some getting used to.
Their record company (Second Battle) re-released the album in 1991 under the name 'Reflections on the Past'. Considered a collectors item, it also contains unreleased masters and some bonus practice sessions from an early rehearsal session in 1991. In 1994, the cd 'Reflections!' came out, compiling tracks from both, plus some which had been considered for a second album that never materialized. A combination of poor sales and a ruined German economy at the time sadly forced the premature death of this fine German band, only months after the release of their first album.
If you enjoy ELP, The NICE and JETHRO TULL or some of the bands mentioned above, do check out this Germanic prog band. Some killer material awaits you.

Line-up/Musicians

- Geff Harrison (England) / lead vocals & lyrics

- Gagey Mrozeck / guitars

- Veit Marvos / keyboards

- Dieter Bauer / bass

- Steve Robinson / keyboards

- Konstatin Bommarius / drums

Guests:

- Wolfgang Schönbrot / flute

- Curt Cress / drums

Tracks

1. At my Home (7:57)

2. Autumn(9:06)

3. Butterking (7:17)

4. Reflections on the Future (15:48)

5. The way that I feel today (11:11)

6. Spring (13:02)

7. I wanna stay (3:59)

8. Time can't take It Away (4:40)

LINK:

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Forgotten pearl No. 5

Mr. ALBERT SHOW - Warm Motor

The rock group Mr Albert Show from Eindhoven was formed in 1969 by Bertus Borgers (saxophone, flute and vocals), Roeland Boogaart (on drums), Tom Fautubun (on bass guitar), guitarist Eric Lintermans and Bonki Bongaerts (organ). The band was named after a roadie. In 1970 their first single, Wild sensation / King of galaxy is released. The vocals on this track are by Floortje Klomp. This is followed by their selftitled debut album. The sound of this album is a sort of jazzy progressive music with the focus on the saxophone and the organ. A year later they release a second album, Warm Motor. To promote this album, the non-album track Show me your tongue is released as a second single. In 1973 Bonki Bongaerts leaves the band, and this means the end the Mr Albert Show. Bertus Borgers starts a new band Sweet d'Buster, together with Robert Jan Stips of Supersister and is very active as a studio musician.

The second album of the Dutch band Mr. Albert Show from 1971 Warm Motor was a worldwide release. The US-Version had a different cover and was named Dutch Treat. This album is more on the trippy side than the first one, spheric organ, flute/sax, and great guitar work . The 6 tracks show the bands outstanding talent for progressive rock music with trippy jazz elements but also straight Hardrock. Music ranges from Golden Earring, King Crimson, Colosseum style over to several Krautrock bands. Also included 5 great non-album 45´ tracks and outtakes

Tracks

1. Did You Really Find Somebody (9:58)

2. I´m Not More Than A Sign (3:55)

3. Electronic Baby (6:48)

4. Let It All Hang Out (4:42)

5. Bantal (3:52)

6. Woman (11:29)

7. I Can´t Help It - Bonus (2:33)

8. Show Me Your Tongue - Bonus (3:36)

9. Can´t Find My Way Home - Bonu (5:03)

10. Hooked On You - Bonus (4:03)

11. Picking Up Your Page - Bonus (3:26)

LINK:

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