Thursday, May 14, 2015

Tomorrow's Gift - 1970 - Tomorrow's Gift

Tomorrow's Gift
1970
Tomorrow's Gift




101. Riddle in a swamp
102. Prayin' to Satan
103. One of the narrow-minded thoughts
104. Tenakel Gnag
105. The first seasons after the destruction

201. How you want to live
202. Gray aurora
203. Ants
204. Breads there a man
205. King in a nook
206. Sandy concert
207. Enough to write a song about or two
208. Second song

- Carlo Karges / guitars, percussion
- Bernd Kiefer / bass
- Ellen Meyer / lead vocals
- Gerd Paetzke / drums
- Manfred Rürup / keyboards
- Wolfgang Trescher / flute
+ Jochen Petersen / Alto saxophone (11)


Tomorrow's Gift (along with similar bands, Frumpy and Joy Unlimited) originally formed as a blues and soul-rock band evolving by the end of the '60s into progressive rock, but still remind faithful to their roots. The line up consisted of Ellen Meyer (Vocals) Carlo Karges (guitar, percussion), Manfred Rurup (organ), Wolfgang Trescher (flute), Bernd Kiefer (bass) and Olaf Casalich (drums). Casalich was later replaced by Gerd Paetzke. In 1970 the young band (three members were still teenagers) set out to release their debt double vinyl. As expected the production yielded a rough unpolished edge giving the album the typical vintage progressive sound. The album Features an abundance of guitars, organ, flute and drum solos accompanied by Meyer's vocals which have been likened to Janis Joplin. Most believe this album would have proved stronger if edited onto just a single disc!

After their self titled effort the band had split in 1971. It was now down to Manfred Rurup and Bernd Kiefer the keep the flame lit. Recruiting "Zabba" Linder (drums) the band pushed forward as a three piece, going on to release 'Goodbye Future' (1972). The sound of the band had totally changed, with a more technical edge and much improved sound production. They took a more Jazz mind into the studio resulting in a mainly instrumental Jazz-rock album, focusing on the keen interplay between keyboard and bass. The overall sound was quite varied: incorporating the lighter Canterbury-jazz sound with an almost Zappa-esque humour.

This was to be the last record under the name Tomorrow's Gift. In 1973, guitarist Uli Trepte (previously of Guru Guru) joined, only to quit just half a year later and was replaced promptly by sax and clarinet player Norbert Jacobsen. The band now changed their name to Release Music Orchestra under which name they released five records.

 Fantastic Kraut-Prog band from Hamburg with an original and groundbreaking sound few acts were producing in ealy-70's.The initial steps found Tomorrow's Gift covering tracks from tne famous British/American Rock bands of late-60's and material from the late-69'/70' can be heard in the ''Pop & Blues Festival 1970'' and ''Love And Peace'' compilations, but at the same time the band was preparing for its debut, writing and recording original songs.Tomorrow's Gift's self-titled double-LP debut was the first album to be released on the short-lived yet legendary Plus label in 1970 with a 6-piece line-up of Ellen Meier (vocals), Wolfgang Trescher (flute), Carlo Karges (guitars, percussion), Bernd Kiefer (bass), Gerd Paetzke (drums), Manfred Rürup (keyboards).
These talented Germans sound like a band struggling to stay calm with the ordinary Psych/Blues/Hard Rock style, which was pretty popular in 1970, and simultaneously trying to push the limits of Rock music to a next level.The album yet contains the basic elements of Hard/Blues Rock, characterized by the powerful grooves, the mindblowing guitar solos, the tremendous energy of the rhythm section, the dominant Hammond organ parts and the sharp riffs, while next to these you get a singer who sounds a lot like JANIS JOPLIN.But things are actually way more complicated.Along with the basic rockin' passages you will get series of driving flutes with both Kraut and symphonic leanings, Classical-inpired keyboard textures (even some lovely clavinet appears in one track), massive sudden breaks, elaborate and refined interplays and impressive changing tempos.The daring face of the group does not stop here.The longer tracks even contain the fundamental color of early German Kraut Rock: long, powerful and pounding jams, based on furious, psychedelic grooves with guitars and organ in the forefront and yet another solid performance by the tireless rhythm section.

Among the best ever Kraut Rock debuts.A fascinating mix of Psychedelic, Hard, Symphonic and early-70's Progressive Rock, that is sure to satisfy even the most demanding proghead out there.An instant and highly recommended purchase.

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