Thursday, April 30, 2015

Culpeper's Orchard - 1972 - Second Sight

Culpeper's Orchard 
1972
Second Sight


01. Julia (3:17)
02. Keyboard Waltz (4:24)
03. Classified Adds (4:14)
04. Late Night Woman Blues (6:38)
05. Mind Pollusion / Weather Report (9:34)
06. Autumn Of It All (4:06)
07. Satisfied Mind (6:07)

- Cy Nicklin / vocals, guitars, mandolin
- Neils Henriksen / guitars
- Michael Friis / bass, organ, piano, sitar, vocals, acoustic guitar
- Roger Barker / drums, percussion



Second Sight is the second studio album from Danish band Culpeper´s Orchard. The album was released in 1972. Frontman and guitarist Cy Nicklin ( who is english and not Danish by the way) started Culpeper´s Orchard after leaving another experimental rock/ progressive rock band which he started in 1968 called Day of Phoenix. Before his days in Day of Phoenix he enjoyed moderate success with the Danish folk trio Cy, Maia and Robert which also hosted another one of the most prolific characters on the experimental Danish rock scene of the late sixties and early seventies namely Robert Lelievre ( who was French by the way). Robert was the mainman behind one of the most rare and expensive Danish releases ever: The original LP with Pan. I´ve seen that album a couple of times in second hand stores and it cost from 300£ to 350£. Robert sadly took his own life on the 26th of August 1973.

Well that aside Cy Nicklin and his companions in Culpeper´s Orchard released their debut album in 1971. It´s a pretty good album which reminds me a bit about the early Jethro Tull albums. It´s a mildly progressive album and it is clear from the start when you listen to that album that Culpeper´s Orchard isn´t the most innovative band in the world. It´s still a good rock album though.

The music on Second Sight hasn´t gotten anymore progressive than it was on the debut, but the quality is still high. The music is generally more mellow and there are lots of beautiful acoustic guitar playing, great singing and memorable melody lines. Like on the debut there is a considerable amount of blues rock influences but this time the folk tendencies are more obvious than before. The last song Satisfied Mind is even in country mode. The only slightly progressive song on Second Sight is Mind Pollusion / Weather Report that starts with a beautiful acoustic section while the second part of the song showcases the most hard blues rocking moments on the album. Great track that one. The rest of the songs are also good and because of the many folky acoustic moments I´m reminded a bit of Led Zeppelin III ( and maybe a bit of Wishbone Ash).

I enjoy this generally mellow and beautiful album but it´s not the most challenging album in this world. If you like bluesy and folksy rock music with a slight progressive touch this might be an enjoyable album for you.

Culpeper's Orchard - 1971 - Culpeper's Orchard

Culpeper's Orchard 
1971 
Culpeper's Orchard



01. Banjocul (0:46)
02. Mountain Music Part 1 (6:26)
03. Hey You Paople (1:29)
04. Teaparty for an Orchard (6:09)
05. Ode to Resistance (5:53)
06. Your Song & Mine (5:34)
07. Gideon's Trap (5:44)
08. Blue Day's Morning (2:12)
09. Mountain Music Part 2 (7:33)

- Cy Nicklin / lead vocals, rhythm & acoustic guitars, percussion
- Neils Hendrikson / lead guitar, piano, lead vocals, harpsichord
- Michael Friss / bass, organ, flute, two finger piano, percussion
- Rodger Barker / drums, percussion



A Danish rock band fronted by Englishman Cy Nicklin, this foursome produced three albums in the early 70's, before disbanding but recorded another one under the shorter name CULPEPER in 77, but it does not sound much like their former albums. The debut was particularly successful both commercially and artistically, a very entertaining and professional effort, somewhere stuck between ZEPPELIN, TULL and BEATLES. The second album was more folky but saw two members leave after its release, leaving Nicklin alone at the helm and recording the third album, sometimes bordering country music.

This is arguably one of the top 10 70s European (non-British) albums in any sub-genre of rock music. I am personally amazed by al its virtues (solid songwriting, energy and power without ever being too heavy or pompous, excellent vocals in English) and it gives me a very euphoric feel whenever I listen to it (especially flowing, fresh tracks like the excellent "Teaparty for an Orchard"), despite the fact that it also contains a few great somber tracks like "Gideon's Trap". It culminates with the high-energy, amazingly climaxing "Mountain Music Part 2". The album is vaguely "prog", more reminiscent of 1969-71 Vertigo British albums. Elements of Procol Harum, Jethro Tull or even CSNY are present, but the sound is original and very very pleasant.

The Old Man And The Sea - 2005 - 1972-75

The Old Man And The Sea 
2005 
1972-75


01. Setting back the time
02. Lady Nasty
03. Elvira (the night rider)
04. Sadness
05. Through your hair
06. The sea of green - part 1
07. The sea of green - part 2
08. Nasty backbone
09. Old man shing
10. Roll the dice
11. White collar worker
12. Down by the sea
13. Love 77
14. The jam
15. Money

- Ole Wedel / lead vocals
- Benny Stanley / electric guitar
- Tommy Hansen / organ, piano, vocals
- Knud Lindhard / bass, vocals
- John Lundvig / drums
- Lasse Laursen / Guitar
- Erik R. Halager / Bass, vocals
- Roar Eskesen / drums (14)



 1972-75 is a collection of songs that should have been the second album from Danish progressive rock act The Old Man & the Sea plus a few archive gems. Sadly in 1975 The Old Man & the Sea was dropped by CBS even before releasing anything on that label and it meant the end of the band as they couldn´t get another deal. When you listen to this album it´s hard to understand why though as the compositions are well written and the the musicianship is excellent. Some of the songs on 1972-75 also appear on the bootleg album called the white album together with some unreleased live songs from when the band re-united for a short period in the nineties.

The music lies somewhere between the early symphonic prog of Yes and the more hardrock prog of Kansas ( add a bit of Deep Purple to the mix and you´re just about there). The music is a bit more simple than the music of both Yes and Kansas though. There are many hardrock guitar riffs on the album as well as some very dominant organ playing. One of the biggest assets besides Tommy Hansen´s excellent organ playing is the vocals from Ole Wedel who is a very strong singer with a great voice. Tommy Hansen and Knud Lindhard´s backing vocals are also very strong. All lyrics are sung in English.

All songs are really good but I have to mention the instrumental synth dominated Love 77 as it´s a really great song that I very much enjoy. The Sea of Green part 1 and 2 are also pretty special as it´s actually a reworking af a track from 1972 where Tommy Hansen has only used the original drum tracks. It´s one of the more progressive songs on the album. Nasty backbone is another favorite of mine.

The musicianship is really strong and they have to have been one of the best playing bands in Denmark back then.

The Old Man And The Sea - 1972 - The Old Man And The Sea

The Old Man And The Sea
1972
The Old Man And The Sea



01. Living Dead (7:51)
02. Princess (6:02)
03. Jingoism (6:54)
04. Prelude (1:12)
05. The Monk Song 1 (5:54)
06. The Monk Song 2 (3:36)
07. Going Blind (10:31)

Bonus

08. Circulation
09. Lady Nasty
10. Nasty Backbone
11. Roll The Dice
12. The Jam (Live)


Recorded at Ivar Rosenberg Sound Technic Copenhagen.
Tracks 8 to 12 are bonus tracks.
Tracks 9 to 12 recorded at Trævarehuset.

- Ole Wedel / lead vocals
- Benny Stanley / electric guitar
- Tommy Hansen / organ, piano, vocals
- Knud Lindhard / bass, vocals
- John Lundvig / drums



The Old Man and the Sea, taking their name from the novel of the same name, is another one-and-done band, a curse that often befell numerous prog bands of the 70's! Originally pressed in small numbers, frequently boot-legged and eventually reissued on CD, it's much easier now to track down their self-titled album and finally appreciate this terrific band. Probably playing interesting and adventurous hard rock instead of full-fledged prog, their sound was accessible and melodic yet still providing extended instrumental passages between exquisite vocal melodies. Think bands like Tonton Macoute, Skin Alley and Maelstrom for a lazy instant comparison, and maybe a touch of Atomic Rooster with the constant presence of the Hammond organ. Despite being very talented musicians overall, the band had two secret weapons in the confident and powerful vocals of Ole Wedel, and the searing electric guitar playing of Benny Stanley.

The deeply funky `Living Dead', the tale of a heroin junkie, is filled with thick rollicking upfront bass, spiraling Hammond runs and scorching hard electric guitar soloing in the extended middle instrumental section. `Princess' is a sweet country rocker with classy group harmonies before an extended instrumental break in the middle with a long extended guitar solo that highlights the heartfelt lyric. `Jingoism' is a wild and delirious rocker with lots of call-and-response vocal passages with a jazzy run of piano and loose drumming in the middle.

After the short organ solo `Prelude', several sections of the first part of `Monksong' have such beautiful lilting Jon Anderson-like sighed harmonies, dreamy acoustic strumming and chunky bass that it could easily have come from that wonderful first Yes album. The darting flute and Hammond duel in the final minute really goes off, while `Part 02' turns into a grooving heavy stomping rocker with spiky electric guitar and super-thick melting Hammond. Very foot-tapping and addictive, it could have easily been on any of the first three Atomic Rooster albums, if only the lyrics were a little darker and more occult themed! The dirty and brooding finale `Going Blind' is a serious slow-burner that lets all the players unwind and go out on a high. Lots of bluesy guitar soloing, hellfire Hammond, punishing bass and aggressive drumming, an uplifting and joyous piano-driven middle before the band literally goes into raucous meltdown attack mode in the final minutes.

Ache - 1977 - Blå Som Altid

Ache 
1977
Blå Som Altid




01. Den Mellemungende Tid
02. Kilometerstenen
03. Pantomime
04. Evig Søndag
05. Perafinn
06. Se dig omkring
07. Ingen returbillet

- Finn Olafsson / guitars, vocal
- Per Wium / keyboards, vocal
- Steen Toft Andersen / keyboards, harmonica, vocal
- Torsten Olafsson / bass, vocal, vibraphone, shakuhachi
- Gert Smedegaard / drums




The DNA profile of Ache is still very much present on this album. Excellent Hammond organ passages is scattered around this album. The symphonic prog elements has been replaced with a more jazzy type of pop rock though. I think this is called going commercial. Which is fair enough. The jazz elements here is a good replacement for the symphonic prog elements. There are even some good guitar solos here.

Despite of this, the stuff is pretty good, but nothing more. There are some interesting melody lines scattered around the album, though. This inbetween the dull run-of-the-mill stuff. The Hammond organs and the jazz elements saves this album from being another pop rock album from 1977.


Ache - 1976 - Pictures From Cyclus 7

Ache
1976 
Pictures From Cyclus 7


01. Cyclus 7, Introduction (3:20)
02. Roses (Registering) (6:17)
03. Still hungry (Vampyre song) (7:03)
04. What Can We Do? (0:47)
05. Still registering (2:53)
06. Our Lives (5:53)
07. Last Part 1 (1:02)
08. Outtroduction (4:07)
09. Last Part 2 (1:45)
10. Expectation (6:48)


- Stig Kreutzfeldt / vocals, percussion
- Johnnie Gellett / vocals, percussion, acoustic guitar
- Finn Olafsson / guitars
- Peter Mellin / keyboards, harmony vocals
- Steen Toft Andersen / bass
- Gert Smedegaard / drums



Released in 1976 5 years after their second album Green Man and with a completely revised line up, Pictures From Cyclus 7 was not only Ache's best album, but the best Danish prog album period. I have heard quite a few bands from Denmark, Norway, et all and been hugely let down trying to find something along this album's lines of melodic disciplined progressive pop/rock with no self indulgence whatsoever. Ache had made two high quality if inconsistent psychedelic/progressive records in the form of De Homine Urbano and Green Man, but this line up of 6 musicians + lyricist Bo Lillesoe made what is the unbeatable album from the Nordic Realm. The music is best described as "cosmic" progressive pop/rock- a cross hybrid of late 60s pop influences (the vocals), dark psychedelia (the guitars, lyrics, some vocals, some keyboards), and symphonic prog (Procol Harum/Genesis influence- particularly Procol H.) The lyrics are really sinister while the music is fairly subdued, extremely melodic, and one could even say lushly symphonic with liberal use of synthesizer, organ, and mellotron. The group were not aiming for an "Anglo" sound, but instead for something uniquelly dark and as freezing as a Danish winter, with some UK influences much in the background. Sung entirely in English, the two vocalists have extremely appealing voices and the dreamy melodic vocals could lead to comparisons with England's Deep Feeling (why don't you guys put this album up here- it's THE BEST!!!) and Kayak, while the heavily phased and distorted guitar takes on psychedelic overtones which makes this symphonic/psychedelic hybrid a unique record. So what makes this album so good you might ask? There is a lot of heart and a lot of warmth in this music, it is as uplifting as it is ominous, and the careful attention paid to songs instead of solos is very refreshing. Things are at their murkiest on "(Still Hungry) Vampire Song" which is pretty harrowing, creepy, and really, really abrasive lyrically and the exact opposite musically. The chorus is pure Salty Dog/Shine On Brightly period Procol Harum while the vocals sound seriously drugged in a natural rather than chemical induced way- although it may have been both. There is no track I wouldn't say is an absolute killer on this album, and the diversity helps a great deal. Here you have uptempo melodic pop laced rock in the Introduction, complex prog in "Roses," and a marriage of pop, prog, and heavy psychedelia in the closing track. Everything any MUSIC fan could want is here- flawless musicianship, great vocals, a fab production, and most importantly great songs. The music is not aimless like on some of Ache's earlier works which are still good, and also there is no "experimental" or "free jazz" yammering like so much of these overrated Danish bands (Burnin Red Ivanhoe etc). If you are looking for the best Danish record for progressive rock this is the album to do it, and it blows hyper expensive doggerell like Old Man And The Sea out of the water! I would even go so far as to say that at this point in time Ache were a world class band who could stand up to anybody from anywhere. Unfortunately, the line up that recorded this album fell apart, leaving behind but one masterpiece much coveted by me and I hope a few others.

Ache - 1971 - Green Man

Ache 
1971
Green Man


01. Equatorial rain (6:59)
02. Sweet Jolly Joyce (3:47)
03. The Invasion (5:58)
04. Shadow Of A Gypsy (4:38)
05. Green Man (4:38)
06. Accheron (4:47)
07. We Can Work It Out (8:43)


- Torsten Olafsson / vocals, bass, spinet
- Peter Mellin / Hammond organ, grand piano, vibraphone, vocals
- Finn Olafsson / electric & acoustic guitars, vocals, percussion
- Glenn Fischer / drums, percussion
- Johnny Reimar / backing vocals



The lineup includes a bunch of unknowns: then seventeen-year old guitarist Finn Olafsson on a warm Rickenbacker as well as acoustic and 12-string; Peter Mellin on his fat Hammond and chortling out well-timed vocal harmonies, not to mention vibraphone and overlaid piano tracks throughout; percussionist Glenn Fischer; and bassist/vocalist Torsten Olafsson. There are also lots of “special effects”, mostly toward the first half of the album and mostly what appear to be pre-recorded sounds mixed back on tracks during the post-production process.

The album cover shows what appears to be a boogey man, or maybe just some creepy guy in a Halloween costume (do Danes recognize Halloween?). Anyway the lyrics for most of the tracks are typical late-sixties combination fantasy with vaguely social overtones, and partly psychedelic. The title track by the way kicks off sounding like some sort of early Manfred Mann ditty with a simple tempo, very little percussion beyond simple snare, and acoustic guitar. But the Rickenbacker kicks in shortly, and by the time the Hammond wades into the mix its clear this isn’t something from a 1965 playlist.

Back to the beginning though, “Equatorial Rain” starts off with some of those goofy sound effects, but these quickly give way to a Hammond/vocal dirge that could pass for Ray Manzarek and Jim Morrison in a b-side of the Doors 1967 classic “The End”. In fact Torsten Olafsson shows an uncanny ability to sound like Morrison at several points of this album. This stuff isn’t quite as powerful as what the Doors were doing at the same time, but from what I’ve read these guys were better showmen in that they didn’t no-show half the time or have their lead singer puke and expose himself when they did make it to the stage. So in those two ways they weren’t like the Doors at all. Selah.

The more I listen to “Sweet Jolly Joyce” the more it makes me picture David Bowie trying to do punk while on acid. Hey, I’m all about word pictures, and that one works for me.

You can tell this wasn’t recorded in a single session (and maybe not even at a single studio). “The Invasion” is much more muddled and flat-sounding than the rest of the album, and is basically a slow, hypnotic psych number with long Hammond passages that culminate in a nice guitar/drum finish. This is a multi-part and rather abstract story of some sort that probably made a lot more sense in 1970 than it does today.

The band’s one-hit claim to fame must have been “Shadow of a Gypsy” since it still features on their web site (both the lyrics and the music). This is a very Procol Harum-sounding tune, mysterious, Hammond heavy, mystical lyrics, and deep harmonic backing vocals from what sounds like the whole rest of the band. I can easily see this being a hit any time between 1968 and 1973.

“Acheron” is another tune whose keyboards and guitar remind me a lot of the late-sixties Doors, but maybe with a little more of a jazz texture than what those guys ever displayed.

Finally the album ends with the most unexpected and original version of the Beatles “We Can Work it Out” I’ve ever heard. Basically this is an organ and drum dirge that progresses into a highly rhythmic and very psychedelic extended instrumental/ chanting passages and vocals that sound more like a stoned Londoner than some Nordic dude. Hard to describe, but if you can find this it’s a very original rendition that most prog fans will probably enjoy. Best guitar work on the album as well.

According to the band’s web site these guys seem to still be making music in some fashion or another, although it doesn’t appear they put any albums out in about thirty years. This seems a bit obscure to me but the CD has only been out for about eight years so there must be many more well-informed proggers than I as the demand must have been there to reissue it on CD. A great find, one of those rare examples of excellent very early prog that didn’t end up on the overexposed, overplayed list like most of the huge prog bands of that day. Highly recommended to pretty much any prog music fan.

Ache - 1970 - De Homine Urbano

Ache 
1970 
De Homine Urbano



01. De Homine Urbano (19:01)
  01) Overture
  02) Soldier theme
  03) Ballerina theme
  04) Pas de deux
  05) Ogre theme
  06) Awakening
  07) The dance of the demons
  08) Pas de trois
  09) The last attempt
  10) Finale
02. Little Things (18:37)


- Torsten Olafsson / bass, vocals, harpsichord
- Finn Olafsson / guitars, vocals
- Peter Mellin / Hammond organ, piano, vibraphone, vocals
- Glenn Fischer / drums, percussion


The seeds for ACHE were sown in the early 60's via the Danish beat group THE HARLOWS. When HARLOWS Torsten Olafsson (bass), Peter Mellin (organ) and Glenn Fischer (drums) were joined by former MCKENZIE SET guitarist Finn Olafsson in 1968, ACHE was born.

They spent the next two years working on an extended piece called "De Homine Urbano", which was released as programme music to an experimental "rock ballet" in 1970. Released on the Philips label the same year with an accompanying single of non-album tracks, it netted positive reviews in the Danish press. ACHE's "rock theater" created something of a sensation in the rock underground, and "Green Man" followed in 1971. The next major ACHE project, by a revised six-piece version of the band, was a conceptual work called "Pictures From Cyclus 7", written in collaboration with lyricist Bo Lillesöe in 1975 and released one year later.

Ache have remained active on and off, albeit sporadically, ever since. Their only other major work (i.e.: not counting singles and compilations) has been "Blå som altid", a folk-oriented album released in 1978.

 `De Homine Urbano' is the debut work from vintage progressive rock related band Ache, hailing from Denmark. Originally recorded as a soundtrack to an experimental rock-opera in 1970, it should come as no surprise that the music here has numerous lengthy flowing instrumental sections, as well as little in the way of vocals to distract from that. Split into two side long pieces, the band present a rough-around-the-edges take on symphonic prog, somewhat along the lines of early classical influenced bands such as The Nice, but never as fancy or sophisticated. Instead the band charges through a frequently heavy, wild and more reckless extended work, with just a slightly sloppier and dirtier edge to the sound, and it's all the more addictive for it. With plenty of fuzzy organ workouts, delicate piano moments and varied ragged percussion, it's a fascinating work that reveals its strengths over repeated plays.

Considered a ten-part suite, the eighteen plus minute title-track offers a colourful range of instrumental passages with just a few vocal moments thrown in as well. Spiralling organ that grows and retreats back and forth in urgency, delicate bass, snapping drumming and dirty distorted lead guitar introduces the piece. Admittedly the band let themselves down a little when one of their main repeated guitar/vocal melodies throughout this piece is ripped straight off the Beatles track `Every Little Thing', or more accurately the Yes cover take that appeared on their debut album, but it only shows up in one or two spots, with other brief nonsensical lyrics taking on a freeform rambling quality. Piano is gentle one second, jagged and psychedelic the next, the cascading electric guitar driving and bluesy one moment, jazzy guitar licks soon after. The Hammond organ is constantly deliciously scratchy, sometimes along the lines of the early Eloy and ELP albums, and the drumming is always sprightly and full of spontaneity. All of these are worked through a range of tempo changes back and forth, with an effective use of grandious reprises for dramatic build. Especially nice is the subdued finale with tinkling ambient chimes, droning organ and soft hand percussion with a victorious electric guitar solo (sounding very much along the lines of early Genesis!) is especially pretty.

The nineteen minute flip-side `Little Things' might just be even better! Full of confidence and tasteful playing, it constrasts beautiful passages with more intense and suspensful emotional moments. There's a darkness and creeping unease throughout the piece that makes for even more of a statement of intent and a display of the band's abilities. It opens with marching drums over prancing organ that brings some lovely fanfare pomp, with some lovely fleeting blissful acoustic guitar moments too. The piece suddenly heads in a darker direction, with unexpected nightmarish stalking piano and somber organ drones, the bass thicker and more menacing throughout. Fiery jazz fusion electric guitar runs spliced with hypnotic middle-eastern ambience burst forth, the entire band playing with rambuctious and thrashing power, but listen carefully to the expertly executed build with creeping piano, punching repetitive bass and chiming guitars over rising and falling Hammond crescendos in the final minutes. Powerful drumming drives the melodic and more upbeat finale home, the band breaking in and out of a tornado of swirling noise.

Initially somewhat underwhelming on first impression, the debut Ache album quickly wins over listeners with it's energetic playing and ambitious arrangements. Although a rarer LP, it can now be easily purchased on an affordable CD backed with the also superb second album `Green Man'. Fans of early Hammond heavy albums by bands like Eloy, Grobshcnitt and Jane, as well as those curious of a dirtier take on music similar to The Nice and Emerson, Lake and Palmer should investigate this one right away. It's an addictive album in need of a little more exposure and more listeners to enjoy it!
This Danish band was founded in '68 and featured Torsten Olafsson (bass and vocals), Finn Olafsson (guitar and vocals), Peter Mellin (organ and keyboards) and Glen Fisher (drums and pecussion). They made two albums: "De hombre urbano ('70) and "Green man" ('71). The music is similar to the Early British Progressive Rock Movement (JULIAN'S TREATMENT, RARE BIRD, BEGGAR'S OPERA, ATOMIC ROOSTER), the German Krautrock (early JANE, ELOY, RAMSES, TRIUMVIRAT) and Dutch masters EARTH & FIRE (their early, con-commercial era). In 2000 both albums were released on 1 CD entitled "Ache: De hombre urbano + Green man". The music is based upon splendid keyboardplay (many floods of Hammond organ) and some fiery electric guitar. The first album contains two 'side-long tracks', the atmosphere is typically end Sixties and early Seventies with lots of solos and long, exciting interplay between guitar and keyboards, like jams. The second album includes shorter songs but the climates are in the vein of the first LP. If you listen to this CD, it's incredible that the magnificent keyboardplay is delivered by an unknown Danish musician!

Blast Furnace - 1971 - Blast Furnace

Blast Furnace 
1971 
Blast Furnace



01. First and Last 4:06
02. Ginger Cake 5:30
03. Jaywalker 4:17
04. B-Major Blast 0:20
05. This Time of Year 4:15
06. Toytown 7:10
07. Man Bites Dog 2:07
08. Long Distance 4:00
09. Goodbye Mr. Bobo 2:40
10. Dr. Night 4:55
11. Bye Bye Bobo 1:27
12. Lister Du Omkring Hjorner - Bonus 4:24


Tom McEwan: drums, congas, percussion, lead vocals, piano, backing vocals
Arne Würgler: bass, cello, acoustic guitar, harmonica, lead vocals, backing vocals
Thor Backhausen: organ, piano, flute, backing vocals
Niels Vangkilde: acoustic guitar, electric guitar, backing vocals




A short-lived band from Copenhagen, Denmark, formed propably in 1971 by ex-Pan bassist Arne Wuergler (who also played the cello and sung), 18-years old guitarist Niels Vangkilde, keyboardist/flutist Thor Backhausen and British drummer and singer Tom McEwan, who had settled in the Danish capital.Blast Furnace recorded their only album at the Rosenberg Studios in October 1971 and the work was released by the Polydor management in Denmark.

Their debut and sole effort was a typical Danish Rock album of the early-70's with major psychedelic influenes and some minor progressive parts, apparently coming from the diverse instrumentation, which included flute, cello, piano and organ behind the standard instruments.Their sound swirled around playful rhythms, decent melodies, nice rockin' tunes and some instrumental flexibility, which was headed by the loose jams on flute, organ and guitar and the ability of the band to combine heavier with more smooth parts.Of course tracks like ''Toytown'' are quite proggy, even if no particular complexity is present, with nice climate changes in a psychedelic vein, led by the alternation between light piano lines, powerful organ grooves and the discreet cello scratching.Vocals are great, very expressive and clean, the rhythm parts and the guitar leads are also very good and the tracks feature lots of isolated solos with a rockin' background, no matter if we talking about flutes, keyboards or guitars.On the other hand the progressive value is limited to this principles, structurally speaking most pieces are pretty song-oriented with the aforementioned jamming showing a mood for a more intricate sound, which never reached at its peak.

Low sales and musicians contributing in other groups led to the disbanding of Blast Furnace in 1972.McEwan and Vangkilde would later play with Culpeper's Orchard (McEwan became a comedy actor afterwards), Wuergler released no less than 5 solo albums within the next 25 years and Backhausen made also a solo attempt of his own in 1998 with ''Universe''.

Heavy/Psych Rock with low prog interest.The jamming parts, some good instrumental solos and the superb vocals are the best things this album has to offer. Enough for a warm recommendation.

Musikpatruljen - 1972 - Musikpatruljen

Musikpatruljen
1972
Musikpatruljen



01. Den Fremmede 06:29
02. Du Kan Enten Vare Ligeglad 03:32
03. Stenlose 04:46
04. Far, Far Krigsmand 03:35
05. EEC 01:24
06. Bondens Klage 07:37
07. Jeg Tankte 01:54
08. Nar Livet Ta'r Afsted 04:52
09. Skoven 04:32
10. Motorvejen 02:34

Bjorn Uglebjerg – Drums
Knud Bjorno – Flute, Saxophone
Peter Ingemann – Vocals, Bass, Violin
Tomrer Claus – Vocals, Electric Guitar
Niels Skousen – Vocals, Guitar




Danish hippieband featuring Nils Skousen, Tömerclaus and Björn Ugleberg (orignal drummer of GASOLIN) with freaking rocking hippie musik ranging from more guitar dominated songs to more jazzy flower power tunes. Songs like "Stenlöse" just never dies..