Monday, February 9, 2015

Wailing Wall - 1970 - Wailing Wall

Wailing Wall
1970
Wailing Wall





01. Scissor-Tailed Swallow - 3:19
02. Country Of The Goose - 9:28
03. Flying - 4:57
04. Hot Summer’s Night - 2:55
05. Mad Rapper - 5:39
06. Dark House/Crazy Nights - 5:00
07. I’m Running Low - 6:01
08. Meet My Dreams - 3:12

Mike Cancellari - guitar
Doug Adams - vocals
Darrell Adams - bass
David Rutledge – drums



Released in 1970 by the El Paso, TX, label Suemi, Wailing Wall's sole LP is mostly an item for the psychedelic rock collector's wish list, but it delivers an interesting enough listen for more casual fans of obscure American '70s rock. Mike Cancellari (guitar), Doug Adams (vocals), Darrel Adams (bass), and David Rutledge (drums) were not the best of musicians, but what they lacked in tightness (and they did) they almost made up in feeling and a certain level of creativity. Cancellari was obviously a quick learner of Jimi Hendrix's chops, but while other guitarists at the time were focusing on the genius' sound and riffs, Cancellari picked up his bluesy soul ("Meet My Dreams" borrows the moody feel of "Rainy Day, Dream Away"). Doug Adams misses a few easy notes, but he has a deep soul-blues voice, between the range and strength of Chicago's Robert Lamm and Terry Kath. The vocal harmonies in "Scissor-Tailed Swallow" and the addition of two trombones in "Meet My Dreams" provide extra similarities with early Chicago, although Wailing Wall's brand of rock is heavier and definitely Southern. The heartfelt delivery and hard-thumping grooves ("Mad Rapper" crosses Hendrix's "Red House" with the rootsier moments of early Captain Beefheart) compensate for some awful lyrics, especially in "Country of the Goose," which could have been a strong song at four or five minutes, but becomes embarrassing at nine. Still, this album deserved to receive a wider audience than the El Paso locals.

Victoria - 1971 - Victoria

Victoria
1971
Victoria





01. Peace - 2.44
02. Cumberland - 4.41
03. Gevaro - 4.11
04. Ride A Rainbow - 2.50
05. Never Knew Blues - 4.58
06. Down To The Park - 2.57
07. Village Of Etaf - 12.23
08. Core Of The Apple - 8.09

09. Mister Let Me Go (Bonus Acetate) - 3.37
10. Johny & Lisa (Bonus Acetate) - 3.02
11. Peace (Bonus Acetate) - 2.52
12. Cumberland (Bonus Acetate) - 2.51
13. Child Of Princess (Bonus Real-To-Real Track) - 3.07
14. Sundance (Bonus Real-To-Real Track) - 1.46
15. Wheels (Bonus Real-To-Real Track) - 2.02

Sharon Barton
Maureen Deidelbaum
Greg Ruban
Cheryl Simpson



Though initially recorded in the late '60s and early '70s, the tracks that make up Victoria's sole release didn't see wide release until nearly 30 years later, seeing a further re-release on Shadoks in 2005.

Consisting of a small limited-edition album and a variety of further cuts from tape and acetate, Victoria's appeal lies perhaps most in the sextet's ability to get a lot out of limited resources.

Opening cut "Peace" is almost surprisingly lush and detailed, triumphant brass parts mixing in with the exultant rock & roll from the band.

From there the 15 songs on the CD wend their way, ranging from gentle contemplation to fuller-bodied affairs, less fried psychedelia than the kind of widescreen pop that coexisted with it.

The exact lineup of the band is unclear -- only four people are credited, not all of whom appear to have performed at the same time -- but one Greg Ruban was the core songwriter and arranger, and it's his ability to capture his band surprisingly well that ensures Victoria is more than simply a rare curio.

In ways he simply reflects his time -- "Gevaro" sounds like a lost cut by contemporary Santana, while the proto-prog of "Village of Etaf (Prelude and Overture)" goes on a touch too long in the end.

Throughout, singers Maureen Deidelbaum, Cherryl Simpson, and Sharon Barton -- or some combination of them -- acquit themselves well enough. One of their best efforts is one of the quietly wittiest -- "Never Knew Blues," the title of which is both somewhat descriptive (the descending blues influence is mostly heard in the verses) and an apt section of lyric.

Intriguingly, some of the best tunes never made the original LP release -- "Mister Let Me Go" is a lovely piano-led country song à la the Band, while the autoharp-led "Wheels" feels almost like a cousin to the third Velvet Underground album thanks to the murky rhythm section and steady rumbling pace

Trúbrot - 1972 - Mandala

Trúbrot
1972
Mandala




01. Mandala (4:27)
02. My Friend & I (3:09)
03. Down By The Water (3:02)
04. Coming Your Way (2:35)
05. Drifting (3:39)
06. Rise & Shine (3:10)
07. Today (2:30)
08. Mr. Moonshine (3:05)
09. Pleasent Daydreams (3:01)
10. All I Wanna Do (4:01)
11. Scezio Pan (1:42)

- Gunnar Þórðarson / guitar, flute, voices
- Magnús Kjartansson / piano, organ, voices
- Rúnar Júlíusson / bass, voices



Trúbrot - 1971 - ...Lifun

Trúbrot
1971
...Lifun





01. Lives Overture (1:28)
02. Margföld Er Lifun Er Lifum Við Ein (1:43)
03. Hush-A-Bye (2:39)
04. To Be Grateful (2:35)
05. School Complex (1:44)
06. Tangerine Girl (2:12)
07. Am I Really Livin? (3:48)
08. Circulation (2:58)
09. What We Believe In (3:27)
10. Is There A Hope For Tomorrow (2:37)
11. Just Another Face (1:54)
12. Old Man (3:10)
13. Death And Finale (3:24)

- Gunnar Jökull Hákonarson / drums, voices
- Gunnar Þórðarson / guitar, flute, voices
- Karl Sighvatsson / organ, piano, keyboards
- Magnús Kjartansson / piano, organ, voices
- Rúnar Júlíusson / bass, voices



Trúbrot - 1970 - Undir Ahrifum

Trúbrot
1970
Undir Ahrifum




01. Going (4:44)
02. Everything's Alright (4:23)
03. In The Country (2:46)
04. Relax (2:44)
05. Sunbath (3:47)
06. Tracks (3:55)
07. Feel Me (10:34)
08. Stjörnuryk (7:35)

- Gunnar Jökull Hákonarson / drums
- Gunnar Þórðarson / guitars
- Karl Sighvatsson / keyboards
- Shady Owens / voices
- Rúnar Júlíusson / bass, voices



Trúbrot - 1969 - Trúbrot

Trúbrot
1969
Trúbrot





01. Sama Er Mér 2:36
02. Hlustaðu Á Regnið 2:34
03. Þú Skalt Mig Fá 4:37
04. Við 3:41
05. Frelsi Andans 2:59
06. Konuþjófurinn 2:48
07. Byrjenda Boogie 0:24
08. Elskaðu Náungann 4:59
09. Án þín 4:32
10. Lít Ég Börn Að Leika Sér 3:21
11. Afgangar 9:03
12. Breyttu Bara Sjálfum þér [bonus track] 2:59
13. Ég Sé það [bonus track] 3:41
14. Ég Veit Að þú Kemur [bonus track] 3:18
15. Starlight [bonus track] 5:03
16. Hr. Hvíta Skyrta Og Bindi [bonus track] 2:38
17. A Little Song of Love [bonus track] 2:15

- Shady Owens / voices
- Gunnar Þórðarson / guitar, flute, voices
- Karl Sighvatsson / organ, piano, keyboards
- Rúnar Júlíusson / voices, bass
- Gunnar Jökull Hákonarson / drums, voices



An Icelandic super rock project TRÚBROT were founded in 1969 via two of the most popular bands in Iceland - Karl SIGHVATSSON (piano, organ, keyboards), Gunnar Jökull HÁKONARSON (drums, voices) from FLOWERS, and Gunnar ÞÓRÐARSON (guitar, flute, voices), Rúnar JÚLÍUSSON (bass, voices), Shady OWENS (voices) from HLJÓMUM - against the "commercialized" Icelandic pop scene in late 60s. They'd appeared on stage in July 1969 for the first time, and at the end of the same year, recorded their debut self-titled album (it's said 3000 copies only), featuring some organ-based pop songs like The BEATLES or The SUPREMES, or a five-minute Opera titled 'Elskaðu Náungan'. In the summer of 1970 an organist / trumpeter Magnús KJARTANSSON replaced Karl who had gone back home, and Shady left them away. Gunnar took the place of Shady as a vocalist, and on the other hand they recruited Ólafur GARÐARSSON as a drummer and released their second album "Undir Áhrifum", song-written in English (that called pros and cons in Iceland actually but their albums released later have been written in English as well), in November 1970. In 1971 TRÚBROT, with gigging several times, went on a trip to London for recording their third album "Lifun", that came in a hexagonal envelope, released via Tónaútgáfan label. During 1972 the members has been pressed with recording with other artists as session musicians, whilst they took more and more times to record enormous material for their fourth (and the last) album "Mandala" between their appearances on the stages e.g. in Copenhagen. "Mandala" was released in the summer of 1972 on their own and the time was coming ... TRÚBROT were disbanded in 1973, sadly.

Trúbrot were born when members of Hljómar (Owens, Júlíusson and Þórðarson) and Flowers (Sighvatsson and Hákonarson) decided to form a 'supergroup' in 1969. Their first album appeared in the same year - a collection of late-sixties pop songs (featuring male and female vocals) with orchestral arrangements on some tracks and a kind of Bacharach-like aura, due to the frequent use of jazz chords. They did Icelandic versions of José Feliciano's "Rain", Lennon-McCartney's "I'll Be Back" and Holland-Dozier-Holland's "My World Is Empty Without You". More ambitious is their pop version of an extract from Richard Wagner's opera, "Tannhäuser" and their own tongue-in-cheek pop opera, "Afgangar" (9:00). The album was recorded at the Trident Studios in London. It was strongly influenced by British pop music. Perhaps those tracks with a hint of hippie folk and vocal harmonies, acoustic guitar, flute and percussion are the most memorable ones. It is not a bad album within its field.

Broth - 1970 - Broth

Broth
1970 
Broth





01. I'm A King – 5:56
02. Manana (Sun Shine On) – 2:59
03. Train Woman – 3:43
04. Back To The City – 3:22
05. I'm Gonna Get You – 3:43
06.  She's Famous – 4:55
07. Louie, Louie – 3:48
08. Change Your Mind – 3:49
09. Here Comes The Man – 3:25
10. Goin' To Denver – 3:51


William Villanueva- saxophone, percussion, vocals
Steve Verroca-percussion
Wolf- bass
Charlie- horns, vocals
Chino- guitar
Jesus- drums
Fernie- guitar
Eddie- percussion, vocals



Band members are Cuban and Puerto Rican born who grew up in the predominantly Italian and Hispanic towns of Union City and West New York, NJ. This group was a breakthrough for the Hispanic communities of the two towns, having the first LP marketed worldwide.
About half funk, half soul, Broth's 1970 output contained no less than three guitarists for occasionally nice riffing and fluid licks. Point of interest is the Can-reminiscent drumming.

Chrissy Zebby Tembo & Ngozi Family - 1974 - My Ancestors

Chrissy Zebby Tembo & Ngozi Family
1974
My Ancestors




01. My Ancestors 3:29
02. Trouble Maker 3:42
03. Lonely Night 3:26
04. Coffin Maker 3:47
05. Oh Yeh Yeh 3:04
06. Fisherman 3:31
07. I've Been Losing 3:18
08. Feeling Good 3:33
09. Gone Forever 3:13



Awesome afro-psych rock from Zambia released back in '74. Summer is almost here and what's better from a fuzzy rock storm like this one.
Maybe it sounds quite simplistic for the average western-music listener's tastes but hey this got it all. Groovy rhythms, thumbing beat, great fuzz guitar and creole vocals which fit perfectly. The production isn't good but we talking about Africa in 70's here..
Above all, the music here is played with heart and soul and that's what makes "My Ancestors" a goood record. As I said, a great company for the summer. Cheers!

This is the first of many LPs by Chrissy Zebby Tembo, originally released in 1974. Zambian records from this period are often characterized by their prodigious use of fuzz guitar.
Afro-psychedelic rock made in Zambia, Chrissy Zebby Tembo and his group Ngozi Family deliver a brutal set of fuzzed to the max psychedelic rock, with a slight African feel and English vocals. If you happen to own "Love, Peace & Poetry: African Psychedelic Music" compilation, you may remember the instrumental "Oh Yeh Yeh", which is also featured on this album.
The back cover says : "Chrissy Zebby Tembo was born in Chingola 27 years ago. He started his musical career as a drummer for The Scorpions, who became three years before and are now The Ngozi Family. And now Chrissy has recorded this solo album and hopes you'll enjoy listening to it." Tommy Mwale on bass and Paul Ngozi on guitar.

Camisasca - 1974 - La Finestra Dentro

Camisasca
1974
La Finestra Dentro





01. Un galantuomo (4:37)
02. Ho un grande vuoto nella testa (3:43)
03. Metamorfosi (4:03)
04. Scavando col badile (5:48)
05. John (6:35)
06. Un fiume di luce (2:12)
07. Il regno dell'Eden (9:28)

- Juri Camisasca / vocals, lyrics, guitars, music
- Franco Battiato / production, VCS3
- Pino Massara / production, keyboards
- Maurizio Petra / guitars
- Gianni Mocchetti / guitars, bass
- Mario Ellepi / guitars
- Gianfranco D'Adda / drums, percussion
- Lino Capra / percussion
- Marco Ravasio / violin
- Antonella Conz / backing vocals
- Rosella Conz / backing vocals



La Finestra Dentro really isn't what you'd call mainstream RPI, but rather a twisted, reclusive and mysterious offshoot from the generally more outgoing and flamboyant Italian scene.

The collection of songs carries elements of folk with strong acid tendencies, while never leaving well-known RPI sounds out of reach. They're quite a fascinating bunch, all cast in the same eerie, suggestive and hypnotizing mold. Listening to this album always distracts me from whatever I'm doing, only due to the power of its atmosphere. At times it may feel like a soundtrack from a dark and shabby medieval tavern, just as frightening as it is fascinating, and it's never light enough to break that spell.

Compositions are seemingly simple on the surface, featuring little more than acoustic guitar, stripped percussion and a simple bassline, with emphasis on patiently dragging you in to the aforementioned atmosphere rather than stun you with complexity and contagious melodies. The result is songs with relatively few rhythmical and structural changes, instead biased towards minute tweaks (often via guitars) - which makes you listen even more closely - and reinforcing feeling and imagery through bleak keyboard runs and effects.

When breaking out of the introvert folk 'rut', the bigger picture is immediately discernible. As soon as on the second track, a quite warm piano-driven track that contrasts nicely against the vocal and emotional onslaught of the first one, it's hinted that there is more than first meets the...ear on La Finestra Dentro. Symphonic qualities lurk behind every corner and are most notable towards the final songs Un Fiume Di Luce and Il Regno dell'Eden. However, they're never really dominant or up-front enough to really distract or take over the music. Absolutely there, but still not. Very tough to explain, but very neatly done. The producers must have done something right (amongst which you find Franco Battiato, who also plays VC3 synthesiser here). You'll never be hit by a colourful array of keys like from Le Orme or in-your-face virtuosity à la Banco, but rather learn to appreciate the subtle possibilities of these instruments.

Leaving difficult hair-splitting aside, this is first and foremost a vocal album. Juri Camisaca has a very distinct, very 'Italian' voice far from the angelic tones of the Jon Andersons of this world. It is often a little rough, and Un Galantuomo's angst-ridden effort may be successful in delivering emotion, but will need a couple of spins before you accept it for what it is. Other than that, it's a great pleasure hearing him. Gladly experimenting with tone, style and other vocal possibilities besides actually singing or speaking leaves a lasting impression more thrilling and rejuvenating than I would have thought after first judging on track one.

A solid, emotionally fractured effort, captivating just as much because of what is there as it is because of what's lacking. I'm torn between three and four stars, but because of La Finestra Dentro's peculiarity and limited appeal for a casual fan of the sub, I guess the first choice is more appropriate. This is not for everyone, but well worth the time I've invested so far.

Buon Vecchio Charlie - 1971 - Buon Vecchio Charlie

Buon Vecchio Charlie
1971
Buon Vecchio Charlie






01. Venite Giù Al Fiume (12:06)
02. Evviva La Contea Di Lane (6:35)
03. All'Uomo Che Raccoglie I Cartoni (15:01)
 a) Prima Stanza
 b) All'Uomo Che Raccoglie I Cartoni
 c) Terza Stanza
 d) Beffa
 e) Ripresa
Bonus Tracks :
04. Rosa (4:33)
05. Il Guardiano Della Valle (2:38)


- Richard Benson / lead vocals, guitar
- Luigi Calabrò / guitar, backing vocals
- Sandro Cesaroni / saxophone, flute
- Sandro Centofanti / keyboards
- Paolo Damiani / bass
- Rino Sangiorgio / drums



Edward Burke said "Those who don't know history are destined to repeat it", but we don't understand this message, people try to find new and original stuff in contemporary artists, but refuse to take a look to the past and research the unknown bands who made music so original that would make some self proclaimed innovators sound like copyists just because they never discovered this hidden gems.

This is the case of BUON VECCHIO CHARLIE, a pre PFM Italian band who released a fantastic self titled album in 1972 (recorded in 1971) with probably the most original adaptation of a classic. As a fact, I heard at least 5 or 6 versions of "In the Hall of the Mountain King" from the "Peer Gynt Suite" released years after by iconic Prog bands, but none of them so delicate and original as the one from this forgotten gem.

Last week I found this LP gathering dust in a box inside my deposit and decided to give them a chance, and what a surprise, whoever believes that PFM or Banco del Mutuo Soccorso were the pioneers of Italian Symphonic are wrong, this modest band, was there when the genre was in diapers.

Unlike most Italian bands who followed, BUON VECCHIO CHARLIE don't limit themselves to beautiful melodies and ´pristine Symphonic songs, they dared to be different, yes, they take "In The Hall of the Mountain King" as the cornerstone of their album as many Symphonic groups did later, but they add so many different elements that would be hard to catalogue them in a determined genre.

The beautiful lyric sections morph in a matter of seconds to Jazzy passages, acoustic tracks and even rock hard when it's required, the distorted guitars go hand by hand with sweet clear acoustic guitar tunes, the pastoral flute coexists perfectly with the tortured Hammond organ and the jazzy Sax. This may sound as a mess, but the arrangements are so strong and crafted with such good taste, that one blends with the other, no matter how contradictory their nature may seem.

And if this wasn't enough, the beautiful lyrics in Italian, sung by the beautiful voice of Richard Benson with Sandro Centofanti making incredibly beautiful backing vocals, there's not a single unnecessary or missing elements, everything fits perfectly as a 10,000 pieces puzzle.

Making a song by song review, may spoil the adventure of discovering the original proposal of BUON VECCHIO CHARLIE, but I recommend to listen the 15 minutes epic "All'Uomo Che Raccoglie I Cartoni" with special care, a Progressive Rock masterpiece that proves this band was capable of great things.

Brincos - 1970 - Mundo Demonio Carne

Brincos
1970
Mundo Demonio Carne




01 Mundo Demonio y Carne (World, Devil and Body) 12:21
02 Vive la realidad 3:14
03 Hermano Ismael 3:31
04 Esa mujer 5:05
05 Jenny, la Genio 3:26
06 Emancipacion 5:57
07 Carmen 3:16
08 Butterfly 3:03
09 Kama-Sutra 7:16
10 Emancipation 5:56
11 Where Is My Love 5:10
12 Jenny, Miss Genius 3:20
13 Keep On Loving Me 3:16
14 Misery & Pain 5:22
15 Too Cheap, Cheap 4:07
16 I Don't Know What to Do 4:38

Bass, Vocals – Manuel Gonzalez
Drums, Vocals – Fernando Arbex
Guitar, Vocals – Miguel Morales, Ricky Morales
Keyboards, Guitar – Oscar Lasprilla





The group was founded in 1964. Its members were Fernando Arbex (1941-2003), Manuel Gonzalez, Juan Pardo and Antonio Morales, “Junior”. They were known as "The Spanish Beatles''. It was initially thought to name the group “The Black Sheeps”. All singles of this first years were number one in the Spanish lists.
Juan Pardo and Antonio Morales split in 1967 to form the duo Juan & Junior. New Brincos were reassembled under the leadership of Arbex, with new members Ricky Morales and Vicente Jesus Martinez, from both band Shakers
In 1969 Vicente Martinez also left the band and was replaced by Miguel Morales, brother of Junior and Ricky, and Colombian Oscar Lasprilla on keyboards. At the request of Arbex, they decanted into a more psychedelic rock, which in those years was ousting of youth preferences to beat. So they recorded the concept album “Mundo, Demonio, Carne” (1970), also published in English as “World, Devil, Body”. Its discreet reception decided them to disband the group. Arbex founded Alacran and later on Barrabas.

There are three versions of this album and all are terrific. The BMG release is the Spanish lp with a bunch of bonus tracks, some of which are on the other two releases. The English version of World Devil and Body has a different cover and trades Butterfly, Kama-Sutra, Jenny, Miss Genuis, Carmen, Hermano Ismael, and Vive La Realidad for 4 different tracks – Promises & Dreams, If I Were You, Misery and Pain, and Body Money Love/Cheap, Cheap, Cheap. All four tracks are excellent, particularly the beatlesque power pop of Body Money Love and the hard charging raga rocker, If I Were You. Once again, this album is certainly mandatory listening for fans of psychedelia and progressive pop.

Afterglow - 1968 - Afterglow

Afterglow
1968
Afterglow





01. Morning - 2:05
02. Dream Away - 2:33
03. Susie's Gone - 2:29
04. Mend This Heart of Mine - 2:37
05. Afternoon - 1:59
06. Chasing Rainbows - 1:49
07. By My Side - 1:54
08. It's a Wonder - 2:28
09. Love - 3:02
10. Riding Home Again - 2:34
11. Meadowland of Love - 2:23
12. Susie's Gone (Mono)  - 2:32
13. Chasing Rainbows - 1:51
14. Afternoon - 1:48
15. Morning - 2:11


Afterglow
*Gene Resler - Vocals
*Roger Swanson - Keyboards
*Tony Tecumseh - Guitar
*Ron George - Bass
*Larry Alexander - Drums




Coming out of Oregon, this band doesn't have any particular innovations to offer, but they do have a groovy, listenable sound. They often skirt the boundaries of sunshine pop, all anchored by a wonderfully cheesy Farfisa organ sound. The band doesn't really have a ton of originality - much of this is aping more established acts like the Byrds and the Mamas and the Papas. Still, they were able to create a very consistent album that would swing at your retro-party.

None of the songs here are particularly bad, even if many of them do go sailing on the seas of cheese and nothing stands out to strongly. "Susie's Gone" is the most notable freak out on display here with acid-soaked vocals, and oddball beat and a melting, twangy guitar sound. "Chasing Rainbows" got stuck in my head for a few days, while "It's A Wonder' sports a pretty nice guitar riff alongside its sunshine vocals. I can't help but notice that "Mend This Heart of Mind" sounds suspiciously like the Byrds "Here Without You." It makes me think that Afterglow may be coming a little too close to some other songs that I'm just not catching at the moment.

There's nothing here that's going to blow your mind, but this is a pretty groovy slab of garage band sounding late sixties sunshine pop. While the date on this album is 1968, I think this music would have been a lot more at home about two years earlier. Still, most of this album will at least put you in a pretty good mood.

Sun Dragon - 1968 - Green Tambourine

Sun Dragon
1968
Green Tambourine





01. Green Tambourine
02. So You Wanna Be A Rock 'n' Roll Star
03. Seventeen
04. Peacock Dress
05. Five White Horses
06. Far Away Mountain
07. Blueberry Blue
08. Love Minus Zero
09. I Need All The Friends I Can Get
10. Windy
11. Empty Highway
12. Look At The Sun

Rob Freeman: Guitar and Vocals
Ian McLintock: Bass and Vocals





Sun Dragon was a group associated with producer Derek Lawrence, and their studio sides included accompaniment by Ritchie Blackmore, Jon Lord, and Ian Paice, in the time after the latter three had given up on Roundabout

Da Kingfish Band - 1975 - Tennessee Feeling

Da Kingfish Band
1975
Tennessee Feeling



01. Wasting My Time
02. Fall Off My Wall
03. It's Alright with Me
04. No Good Woman
05. It must be jelly (Cause Jam Don't Shake That way)
06. Surprise Surprise
07. Hillbilly Woman
08. Tennessee Feeling


Brian mcMahan: Bass
Kenny Kuhn: Guitar, Vocals
Phillip Nivens: Keyboards
Terry Manners: Drums



Here is my buddy's nice review from legendary "Acid Sanctuary" chat group in 2006. ..."A four piece band (keyboards, guitar, bass & drums) unleash a strange concoction of countrified rock with lethal doses of keyboard fueled vibes of "contrifried prog-rock." From the looks of these guys, it
appears to me that their favorite hobbies were staying stoned, making trouble, ducking buckshot from the 12 gauge shotgun of angry fathers and dodging John Law. With regard to their music, it's obvious by the second song on side one that the keyboard player is the leader of the band as his blend of organ (mostly B-3) and synthesizer usually lead the way on most songs. The guitarist shares a few leads with the keyboards but for the most part he's regulated to providing rhythm guitar. The bass & drums provide a solid bottom and their style reflects their rural roots. A couple songs have synthesizer overkill that was common during the mid seventies ala Styx sans the horrible vocals.

About 12 years ago (*note, now 17 years ago as he wrote this review in 2006), a rumor was floating around the Austin Record Show that Da Kingfish Band should be on the top of everyone's want list providing you could find a copy -- some suspected it was bullshit and the record didn't even exist. It remained a mystery for a couple of years until who else but Rich H. finds a copy, which is the one I have in my possession. Rich did contact band members for copies of the record but his efforts were fruitless. I've never seen another copy but heard one other collector does have a copy stashed away in his collection. It's definitely rare


Masters Of The Airwaves - 1974 - Masters Of The Airwaves

Masters Of The Airwaves
1974
Masters Of The Airwaves




01. In It for the Thrill (5:45)
02. I Believe in God (4:26)
03. Stay Away From Mirrors (3:23)
04. Light Up the Heavens (5:15)
05. Anna King Jamaica (3:40)
06. Back in '51 (3:35)
07. Squeeze Me Positive (2:35)
08. Highway to Hell (3:43)
09. Gettin' Tight (6:00)


- Jimmy Berick / guitars
- David Rada / drums
- Randy Schuchart / bass (credited as Randy Rand)
- Jonathon Fredrick Boring / vocals (credited as Jon Flak)




The short-lived Masters of the Airwaves was built around the talents of lead guitarist Jimmy Berick.  Berick had been kicking around the Northwest music scene playing in a number of local bands when his unique double-necked, 16 string, steel guitar caught the attention of Epic Records.  Signed to a contract in 1973, Berick turned around and recruited singer Jon Flak, who he'd previously worked with in the experimental band Acejet and Heatray.  At the time Flak was playing in the Oregon-based blues-rock band Silverhill.  Flak jumped at the opportunity, bringing Silverhill drummer David Rada and bassist Randy Rand along with him.

Settling on the hopeful name Masters of the Airwaves, the quartet went into Sausalito's Record Plant studios with producers Jorman Kurban and Michael Sunday (who was responsible for signing Berick to Epic).   Released in 1974, "Masters of the Airwaves" featured a set heavy on originals written or co-written by Berick (including two tracks with the infamous Kim Fowley's fingerprints on them).  On the surface this was a fairly conventional mixture of mid-1970s AOR with occasional progressive nods,.  The album mixed the usual formulaic young-horny-guys-suffering-from-an-overdose-of-lust rock songs ('In It for the Thrill') with a couple of pop-tinged numbers ('Highway To Hell').  Flak was certainly a decent lead singer who seemingly picked up most of his cues from listening to the likes of Paul Rodgers and Robert Plant, though he had a tendency to turn shrill (think John Waite) whenever he pushed himself too hard.  About all I can say is that in the lead vocalist department you've certainly heard worse and you've certainly heard better.  To his credit, most of Flak's performance grew on you after awhile.  The band's rhythm section was more than proficient with bassist Rand turning in some impressive moves (check out his work on 'Light Up the Heavens').  Still, the band's not-so secret weapon and major draw was guitarist Berick whose 'rocked-up' steel guitar made for some unique and entertaining material - imagine the sound of a Hawaiian slat-key guitar fed through the biggest fuzz guitar pedal you've ever heard.  It probably doesn't sound all that promising, but the man certainly generated some interesting sounds hat should readily appeal to any Jimmy Page fan out there.

Coyote - 1972 - Coyote

Coyote
1972
Coyote





01. Farmer Fetcher's 2:23
02. Cowboy & Indians 2:51
03. Horney Coyote 6:25
04. Jabberwocky 3:10
05. Flat Chested Woman 4:21
06. Ready to Ride 3:05
07. Silver Ring 5:08
08. Fly 4:50
09. People Funny 2:18
10. Musician 3:09

Rod Arment (keyboards, guitar, vocals)
Chuck Beaty (guitar, vocals)
Liz Hein (flute)
im Kestle (bass, vocals)
Tim Lloyd (drums)
Rusty Steele (keyboards, guitar, vocals)



I never would have guessed these guys were from Cockeysville, Maryland ...  Prior to coming together as Coyote, the various members had played in a host of Baltimore bands.  Showcasing the talents of keyboardist Rod Arment , lead guitarist Chuck Beaty, bassist Jim Kestle, drummer Tim Lloyd , and keyboardist Rusty Steele.   The group were regulars on the Maryland and Washington, D.C. club circuit, but in spite of their talent and enthusiasm, were unable to attract the attention of a major label.  As a result they formed their own Chariot label, releasing a debut 1971 single:

- 1973's 'Super Tuesday's Floozy Wheat Man' b/w 'Charles Charles (The Dancing Frog)' (Chariot catalog number 1126)

Later in the year the band got around to recording a self-financed LP - 1the cleverly-titled "Coyote".  Musically the album's always been somewhat of a curiosity to my ears.  There aren't a lot of online reviews, but a couple of them describe the set as a country-rock effort.  I'll tell you that's not a particularly accurate description.  With four of the members contributing to the writing chores, side one was quite eclectic, bouncing around between jazz-rock instrumental ('Cowboy & Indians'), Dead-influenced old-timey Americana ('Horney Coyote'), and conventional rock ('Jabberwocky').  Side one was also notable for displaying some of the era's strangest lyrics ('Farmer Fetcher's').  In contrast, exemplified by material like 'Ready to Ride' and 'Fly' side two reflected a more focused rock and progressive-leaning sound.  Blessed with four decent singers (drummer Lloyd was the only non-singer in the group), gave the album a nice sense of diversity and technically these guys were all quite impressive with Beaty and Steele deserving special notice.


There's no doubt these guys were talented and I'd be willing to bet they were a killer club act, but on record they were just too diverse and unfocused to consider this anything more than a cult LP.

Shortly after the album was released the hand underwent a major personnel shift that saw Beaty and Kestle joined by keyboardist Brian Boyd, lead singer David Gable, and drummer Dennis Meros.  The band seemingly continued to perform through 1976 and then called it quits with various members joining a host of local bands.

Twenty Sixty Six And Then - 1972 - Reflections On The Future

Twenty Sixty Six And Then
1972
Reflections On The Future





01. At my Home (5:12)
02. Autumn (9:24)
03. Butterking (7:24)
04. Reflections on the Future (16:17)
05. How do you feel (3:26)


- 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



2066 & THEN are: Geff Harrison on lead vocals, Gagey Mrozeck on guitars, Dieter Bauer on bass, Konstatin Bommarius on drums and Steve Robinson with Veit Marvos both sharing duties on organ, electric piano, vibes, synthesizer, mellotron and vocals (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.

Witch - 2012 - We Intend To Cause Havoc

Witch
2012
We Intend To Cause Havoc





101. Introduction
102. Home Town
103. You Better Know
104. Feeling High
105. Like a Chicken
106. See You Mama
107. That's What I Want
108. Try Me
109. No Time
110. Living in the Past
111. Young Lady
112. Chance
113. It's Alright
114. I've Been Away
115. I Like the Way I Am
116. The Only Way
117. Smiling Face
118. She Is Mine
119. Mashed Potato

201. Black Tears
202. Motherless Child
203. Tooth Factory
204. Strange Dream
205. Look Out
206. Havoc
207. October Night
208. Off My Boots
209. Lazy Bones
210. Little Clown
211. Talking Universe
212. Evil Woman
213. Sweet Sixteen
214. Toloka
215. 81st Crowd Confusion
216. Up the Sky

301. Thou Shalt Not Cry
302. Bleeding Thunder
303. Devil's Flight
304. Blood Donor
305. Nasauka
306. Evening of My Life
307. Kangalaitoito
308. See-Saw
309. Chifundo
310. Fool's Ride

401. Janet
402. As Days Go By
403. Ntedelakumbi
404. In Flight
405. Nazingwa
406. Silver Lady
407. Anyinamwana
408. Mama Feel Good
409. The Way I Feel

Chris Mbewe (lead guitar, vocals, acoustic guitar), John Muma (rhythm guitar, vocals), Gedeon Mulenga (bass), Boidi Sinkala (drums), Emanyeo Jagari Chanda (vocals, cowbells, marracas)



 A pioneering group from the nation of Zambia, Witch (the name was an acronym, standing for We Intend To Cause Havoc) were one of the defining acts of Zamrock, a fusion of Western rock and rhythm & blues with traditional African sounds; they were among Zambia's most popular and influential bands in the 1970s as a wave of psychedelic and hard rock gained an audience in Africa.

A landlocked nation in the South of Africa, Zambia was formerly Northern Rhodesia until gaining its independence in 1964, and as Zambia established its own national identity, local musicians began embracing the progressive influences of artists such as the Beatles, the Rolling Stones, and Jimi Hendrix, as well as the forward-thinking soul and funk sounds of James Brown.

By the mid-'70s, Zambia was falling into political chaos as the nation's once profitable mining industry ran dry, and many Zamrock bands reflected this with a darker, more psychedelic-influenced sound that suggested a familiarity with the likes of Deep Purple and Grand Funk Railroad.

Witch included vocalist Emanyeo "Jagari" Chanda, guitarists Chris Mbewe and John Muma, bassist Gedeon Mulenga, and drummer Boidi Sinkala, who were veterans of Zambian cover bands of the late '60s; Chanda (whose nickname "Jagari" came from his fascination with Mick Jagger, one of his strongest influences) had worked with the Red Balloons and the Boyfriends (the latter group would evolve into another key Zamrock outfit, Peace), while most of the other members were members of Kingston Market. In 1971, Chanda sang with Kingston Market at a school function, and he was soon invited to join the group; they soon changed their name to the Mighty Witch, and then simply Witch, using the acronym they'd coined as explanation. Fueled by marijuana and Western rock and soul, the group's debut album, Introduction, was released in 1972, and was among the first commercially released LPs issued in Zambia.

Witch's third album, 1975's Lazy Bones!!, is generally regarded as their finest work; while they were hampered by the primitive recording technology available in Africa, they developed a large following in Zambia and were playing stadium-sized shows throughout the continent.

After Witch toured as an opening act for Osibisa, the U.K.-based Afro-rock band, they began including more local influences on their final two albums, Lukombo Vibes and Including Janet (Single), but in 1977 the group began to splinter when Chanda left the band to return to school and become a teacher, and the rise of disco and loss of venues for live music did the rest.

Chanda also became a born-again Christian, which he cites as one of the reason he avoided the fate that befell his bandmates; as the AIDS epidemic swept through Africa, the Zambian musical community was hit especially hard, and like most key Zamrock musicians of the 1970s, Mbewe, Muma, Mulenga, and Sinkala all succumbed to the disease.

In the 21st century, crate diggers interested in idiosyncratic rock sounds from around the world rediscovered Witch, and the German reissue label Shadoks brought out new CD editions of Introduction and Lazy Bones!! In 2012 the American label Now Again Records released a comprehensive Witch box set that featured their five studio albums plus a bonus collection of single tracks and unreleased material.

By the mid 1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times: self-imposed, single party rule; a decline in prices for the country's largest natural resource, copper; conflict in other countries on Zambia's borders. This is the environment in which the Zamrock scene that flourished throughout that decade emerged. As we showed in this label's previous investigation into the genre (Rikki Ililonga and Musi-O-Tunya s Dark Sunrise NA 5067) fuzz guitars were commonplace, driving rhythms as influenced by James Brown's funk as Jimi Hendrix's rock predominated, musical themes were often bleak and bands largely sang in the country s constitutional language, English. Although WITCH is the best known Zamrock ensemble and although they succeeded in releasing five albums in Zamrock's golden years they never made an impact on the global scale in, say, the way afro-beat maestro Fela Kuti did. Travel to and within Zambia is expensive, and the markers for the Zamrock scene are now few. Only a small number of the original Zamrock godfathers survived the AIDS epidemic that decimated this country. WITCH's musical arc is contained to a five year span: The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown; their third album, Lazy Bones!!, is the band s masterpiece a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk; the band's last two albums recorded after the band toured with Osibisa make use of traditional Zambian rhythms and folk melodies and are the most "afro-rock" of WITCH's oeuvre. We ve grouped together WITCH's albums stylistically. Thus, the band's first two, self-produced albums appear on Disc One; Lazy Bones!! and its related 7" single tracks appear on Disc Two, Lukombo Vibes and its 7" single tracks appear on Disc Three and Including Janet (Hit Single) appears on Disc Four.

The complete works of Zambia’s legendary garage-, psych-, prog-, funk-,afro-rock ensemble. 1972-1977: WITCH’s five albums and rare 7” tracks presented as a 4 CD and 6LP box set. Restored and remastered from the original tapes. Out NOW.

WITCH is the best known Zamrock ensemble – they succeeded in releasing five albums in Zamrock’s 70s heyday. Although there have been two previous WITCH reissues by the Shadoks company, this 4 CD/6LP box set marks the first time that their entire catalog – including rare, 7?-only tracks, all restored and remastered from the original tapes – has been available outside of Zambia.

WITCH’s first two, self-produced albums – Introduction and In The Past, released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Their third album, Lazy Bones!!, is the band’s masterpiece – a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk. The band’s last two albums – Lukombo Vibes and Including Janet, recorded after the band toured with Osibisa – make use of traditional Zambian rhythms and folk melodies. They are the most “afro-rock” of WITCH’s oeuvre.

These 54 rare and unreleased songs are presented as a 10? x 6? hardbound 4 CD box set with a 24 page booklet and as 6 LPs – each with the original cover art – housed in a slipcase box with a 16 page booklet. The 6 LP box set is limited to 1000 pieces.

Schtung - 1977 - Schtung

Schtung
1977
Schtung





01. Soldier (4:22)
02. Love Song (6:37)
03. Tree Song (5:20)
04. Doon the Dunny (4:16)
05. Schooldays (4:03)
06. National Scandal (4:35)
07. Unknown Instrumental (6:30)
08. Au Revoir (4:03)

- David Bowater / sax, flutes
- Geoff Bowdler / percussion
- Andrew Hagen / keyboards; vocals (tracks 4-6); guitars (tracks 1, 8)
- Paul Jeffery / keyboards; vocals (track 2)
- Rob Sinclair / bass; vocals (track 3)
- Morton Wilson / guitars; vocals (track 1)



New Zealand act SCHTUNG was formed by Andrew Hagen and Morton Wilson sometime around the mid 70's, and their self-titled album from 1977 is the only production from this band while still exploring art rock territories.

While their album is something of an obscurity these days, the band made an impact when active, but in a peculiar area: They were asked to make scores on the strength of their sole production.

As a direct result of this branching out, Hagen and Wilson would go on to form Schtung Music in 1982, a still ongoing concern based in Santa Monica, California with regional offices in Hong Kong, Singapore, and Shanghai. This company specializes in scoring original music and sound design for commercials, promos, show opens, television series, movie trailers and films.

Hannibal - 1970 - Hannibal

Hannibal
1970
Hannibal





01. Look Upon Me - 6:38
02. Winds Of Change - 7:29
03. Bend For A Friend - 10:29
04. 1066 - 6:31
05. Wet Legs - 4:47
06. Winter - 8:22

All songs by Adrian Ingram

Hannibal
*Alex Boyce - Vocals
*Jack Griffiths - Bass
*Bill Hunt - Keyboards, Horns
*Adrian Ingram - Guitar
*John Parker - Drums




 Hannibal came together, from a band called Bakerloo around Birmingham that featured a guitarist called Clem Clemson, Clem Clemson was a brilliant young musician who went on to work with John Highsman in Coliseum and became a big session guitarist, with his manager Jim Simpson from Birmingham, Jim had funded an album for Bakerloo and shortly after, virtually at the same time, Clem Clemson left to do other things so Jim Simpson had got this album that he wanted promoting in Germany so they actually did a tour of Germany under that name - Bakerloo, before changed the name to Hannibal.

With some member changes the band found the spot to record an album that was  based around the guitarist Adrian Ingram, who -before Hannibal- had a three piece blues band that were known locally, a fantastic guitarist and although he hadn’t got any education or musical qualifications then, but  did get a load, and went on Guitar Chair at the Leeds School of Music for Jazz he's a brilliant jazz guitarist, he does Jazz gigs now over here and the states and has written books on Wes Montgomery and various guitarists so a very accomplished musician, Adrian Ingram was the main feature of the band, all the tracks were written by him. Their horn player and keyboardist Bill Hunt was a member of Breakthrou and later joined Jeff Lynne’s Move.

As a seminal and jazzy prog-rock band from the late '60s, Hannibal shared stages with Free, Black Sabbath, Pato, ELO and Johnny Winter.  Their album is jam packed with early cutting-edge examples of Jazz-rock fusion guitar playing together with Adrian Ingram's quirky Zappaesque compositions. Hannibal was ahead of its time and eventually became a much sought-after prog, collectors item.


Bow Street Runners - 1970 - Bow Street Runners

Bow Street Runners
1970
Bow Street Runners





01. Electric Star - 2:35
02. Watch - 2:12
03. American Talking Blues - 3:48
04. Leaving Grit America - 2:49
05. Another Face - 5:11
06. Eating from a Plastic Hand - 4:06
07. Rock Fish Blues - 2:13
08. Push It Through - 2:04
09. Spunky Monkey - 3:15
10.Steve's Jam - 4:05

The Bow Street Runners
*Steve Darling - Guitar, Vocals
*David Guy - Keyboards, Vocals
*George Graham - Drums, Percussion
*William Simkiss - Bass, Guitar, Vocals
*Frank Hardwick - Bass
*Mike Dees - Guitar




 Sounding like a blend of Jefferson Airplane and the Doors, Bow Street Runners was a Fayetteville, North Carolina-based psychedelic band who released one eponymous album in limited quantities on B.T. Puppy Records in 1970.

While the group was ignored at the time, Bow Street Runners became a collectible item among psychedelic aficionados during the '80s and '90s. Flushed from Fayetteville, North Carolina-where they thought they could remain comfortably obscure-by our release of their only album, the Runners have recently re-surfaced.

Issued in ultra-limited quantity by B.T. Puppy in 1970-and now changing hands for sums more familiar to NASDAQ-this is an other-worldly blend of sweet female blotter acid harmonies, hypnotic Farfisa and high-octane fuzz guitar histrionics.

Hideki Ishima - 1973 - One Day

Hideki Ishima
1973
One Day





01. We're Just Tryin' My Way 6:35
02. Artificial Flowers 3:46
03. Lady Bird 3:32
04. Night Mare 3:37
05. Unbalance 3:47
06. Depending by the Time 6:52
07. Trash Blues 3:06



Hideki Ishima (born 21 March 1944 in Sapporo, Hokkaido, Japan) is a Japanese musician, known primarily for his work with Flower Travellin' Band.

Rare album from Japan. He was member of Flower Travelling Band.He played bass with some japasesse bands like The Beavers, Yuya Uchida & the Flowers, Flower Travellin' Band, Kuni Kawachi to Kare no Tomodachi.When Flower Travellin' Band broke up in 1973, he recorded the solo album One Day. He then joined Trans Am.

Wlud - 1979 - Second

Wlud
1979
Second





01. Fire (6:15)
02. Rocky (6:42)
03. Nemausus (4:06)
04. Ay (4:05)
05. Sismique (5:30)
06. Le tigre (6:58)

- Philippe Wendling - synthesizer, electric piano, organ
- Bernard Labroche - electric guitar
- Gigi Untersinger - bass
- Gianni Drago - drums



This one is the second as implies the ttitle of the album, released in 1979 ans reissued by Musea in 1998. The music Wlud offers is keybord dominated album, but not in ELP style, only minor parts are alike, they sounds more like Rick Wakeman solo or they remind me of Carnegie or Miklagard, and I mean blistering key passages but good melted with some jazzy moments here and there. I like how this guys play and interlude to each other, only problem on this album is the production, the sound, very flat for this kind of music, the drums for ex sounds empty without that solid and full beat as a drum must sound. Anyway, good towards great in places, quite unnoticed band then like now, all pieces stands as good with a plus on Ay or Rocky, the rest arealso good.3.5 , some fine moments even some of them are as other reviewers observed little naive, but not bad at all. Nice to be discovered but many prog listners

Wlud - 1979 - Carrycroch'

Wlud
1979
Carrycroch'





01. Amazone - 5:22
02. Carrycroch' - 8:12
03. Holiday Maker - 5:12
04. Remember Song - 6:15
05. Sweet Bridge - 9:55
06. Spitfire (bonus) - 7:39

- Philippe Wendling - synthesizer, electric piano, organ
- Bernard Labroche - electric guitar
- Gigi Untersinger - bass
- Gianni Drago - drums



Short-lived French prog band,found in 1978 in the beautiful city of Colmar near the French- German borders.They consisted of Phillipe Wendling on keys,Bernard Labroche on guitars,Gigi Untersinger on bass and Gianni Drago on drums,reportedly they were all highly educated musicians.Actually the name of the band comes from the initial letters of the members' surnames.Theur debut ''Carrycroch'' came out in 1979 on Omega Studio.

Wlud played all instrumental jazzy progressive rock in their first effort with often a symphonic flavor.Their style recalls CAMEL and GENTLE GIANT in moments due to the melodic guitar playing of Labroche and the light interplays with Wendling's organ and electric piano.There are also plenty of jazzy guitar chops to be found along with long organ passages and electric piano virtuosic solos (RETURN TO FOREVER-styled),the rhythm section is decent but far from anything trully adventuruous,while the sound is very old-fashioned,resembling more to a band from early-70's.

Overall ''Carrycroch'' didn't break any new grounds,but it was definitely quite an achievement for a band back in 1979 to play such a non-commercial style of music and moreover in such a professional and inspiring way.Warmly recommended.

January Tyme - 1970 - First Time From Memphis

January Tyme
1970
First Time From Memphis





01.Rainy Day Feeling
02.The Music
03.Sleepy Time Baby
04.Ancient Babylon
05.Hold Me Up To The Light
06.Love Is Blind
07.Are You Laughing
08.Down To The River
09.I Could Never Love You
10.Take This Time
11.Love Surrounds Me


January Tyme - lead vocals, keyboards, percussion
Anthony Mony Izzo - guitar, vocals
William Brancaccio - guitar, keyboards, vocals
Steve Ciantro - bass
Alan Cooley - drums, vocals



January Tyme was a New York band formed around the in-your-face vocal work of Janis Joplin-wannabe January Tyme. The band consisted of Tyme on lead vocals, keyboards, and percussion; Anthony Izzo on vocals and lead guitar; William Brancaccio on rhythm guitar, vocals, and keyboards; Steve Ciantro on bass; and Allen Cooley on drums and vocals. In 1969 the band released their only album for the Enterprise label, titled First Time from Memphis. Falling somewhere between Jefferson Airplane and Big Brother and the Holding Company style of music, the band failed to establish their own identity. Despite their songwriting competence and energetic performance on the 11 songs on this album, January Tyme faded into rock obscurity.

Naranja Mecanica - 1977 - Revive El Sentimiento

Naranja Mecanica
1977
Revive El Sentimiento






01. Dios te Salve Maria (3:06)
02. Fragil Ave Cristal (3:12)
03. Revive el Sentimiento (3:54)
04. Carta para un Amigo (2:51)
05. Claro de Estrellas (4:15)
06. Polizon de Chocolate (2:07)
07. No Dire (2:36)
08. Como Retratos sin Macros (4:34)
09. De Celafan y de Saten (1:17)
10. Un Lugar, un Ayer, y un Amor para Olvidar (4:04)
11. Vuelve a Mi, Vuelve ya Otra Vez (3:35)
12. !Stop Corredor! (2:31)


- Haydeé Holgado / vocals, guitars
- Omar Constanzo / bass
- Juan Libster / keyboards
- Augusto Milhardic / drums



This outfit released a single and a symphonic album. Omar Constanzo (ex-Materia Gris) played bass. Songs like "Un lugar, un ayer y un amor para olvidar" and "Claro de estrellas" (based on Beethoven's Moon Light Sonata) were included.

Join In - 1974 - Kentalope Island

Join In
1974
Kentalope Island





01. Illusions (6:37)
02. Do It Yourself (4:41)
03. Dreams (3:00)
04. Kentalope Island (6:44)
05. Used To Play (3:45)
06. Fliwatüüt (3:45)

Bonustracks (CD-Reissue)
07. Bridge Street (7:54)
08. I Wanna Be A Bird (4:40)
09. Chicago Train (5:04)
10. Listen To The Story (7:22)
11. Airport Entrance (7:49)
12. Friday Evening (3:31)
13. Higher And Higher (2:26)
14. Circus (3:53)


- Werner Bleck / bass
- Udo Custodis / saxophone
- Edward "Eddy" Friedrich / drums
- Wilfried Jens / keyboards, guitar
- Jörg Radeck / guitar
with
- Udo Dobrzanski / bass
- Walter Biermann / bass
- Rodrigo Ramor / vocals
- Joschka Balint / bass
- Janosch Balint / piano
- Ricky Ramor / bass
- Frank Voigt / flute, vocals
- Robert Schulte-Hemming / trumpet
- Markus Budniok / keyboards
- Udo Preckel / acoustic guitar
- Wolfgang Baumann / saxophone
- Jürgen "Karl" Struck / saxophone, vocals
- Rick Schleicher / bass




They were founded in 1968 and changed their style of music quite often. They began with playing blues-rock, then changed to playing hard rock and ended up by playing jazz-rock in the seventies, each style containing progressive elements. Their only LP "Kentalope Island" was released in 1974 (Menga 3302).

Associates of Think, whose Ricky Ramor and Frank Voigt were amongst the many that passed through their ranks, Join In recorded their album at the same studio, with Eroc as engineer.KENTALOPE ISLAND is a pleasant record, with some slight Think references, but much more fusion, mixing jazzy musics with soft rock and prog elements typical of the era, comparable to many others: Guru Guru circa GLOBETROTTER, Cry Freedom, or Dutch acts like Alquin or Solution. For those that like such things, it's a good example of the genre, and all the better on the CD which includes some much stronger (if of not brilliant recording quality) material, where they live up to the band name much more, with some tasty jamming instrumental work.

Mount Rushmore - 1969 - Mount Rushmore '69

Mount Rushmore
1969
Mount Rushmore '69





01. It's Just the Way I Feel 4:35
02. 10:09 Blues 5:53
03. Toe Jam 5:45
04. V-8 Ford Blues 2:35
05. Love Is the Reason 3:55
06. I'm Coming Home 7:35
07. King of Earrings 4:00
08. Somebody Else's Games 4:35

A clear step in the right direction, and by most accounts, an improvement over their already solid debut. It's more blues driven hard rock and heavy metal, in a similar vein as the first, with fuzz guitar and mild psych influences.

Mount Rushmore - 1968 - High On Mount Rushmore

Mount Rushmore
1968
High On Mount Rushmore





01. Stone Free 3:57
02. Without No Smog 5:27
03. Ocean 4:07
04. I Don't Believe in Statues 4:08
05. Looking Back 9:40
06. ('Cause) She's so Good to Me 3:35
07. Medley: 7:23
 a. Fannie Mae
 b. Dope Song

 Mike Bolan "Bull" - guitar
 Glenn Smith "Smitty" - vocals, guitar
 Travis Fullerton - drums, percussion
 Terry Kimball - bass



Great early hard rock with roots (and parts of the stem) in psychedelia. The sparseness of the sound coupled with brilliantly performed vocals makes for perhaps the finest american hard rock album of the late sixties. It contains great rock tracks such as "I Don't Believe In Statues", and more experimental pieces like "Looking Back", with its' shifting meters and proto kraut parts. A "lost" classic.