Wednesday, May 20, 2015

Svanfridur - 1972 - What's Hidden There

Svanfridur
1972
What's Hidden There



01. The Woman of Our Day (3:12)
02. The Mug (4:50)
03. Please Bend (4:47)
04. What's Hidden There? (4:06)
05. Did You Find It? (2:08)
06. What Now You People Standing By (7:58)
07. Give Me Some Gas (5:12)
08. My Dummy (4:15)
09. Finido (3:44)

- Birgit Hrafnsson / electric & acoustic guitars, back vocals (2 & 4)
- Gunnar Hermannsson / bass guitar, back vocals (2)
- Sigurdur Karlsson / drums & percussion
- Petur Kristjansson / lead vocals

With:
- Sigurdur Johnsson / piano & Moog, violin, flute, vocals (2 & 6)



Hailing from Iceland, SVANFRIDUR were a four-piece who in the summer of 1972 recorded a single album, titled "What's Hidden There?". The album, recorded in London and released at the time only in a few dozen copies, can be considered one of the most interesting examples of heavy progressive rock mixed with influences from local folk music. SVANFRIDUR's compositions feature complex vocal harmonies and an original, inventive use of violin and Moog synthesizers, courtesy of guest musician and arranger Sigurdur Johnsson.
One year of life and a collectable album was what this Icelandict act left behind.Svanfridur were formed in 1972 by ex-Náttúra singer/keyboardist Petur Wigelund Kristjansson, guitarist Birgir Hrafnsson, bassist Gunnar Hermannsson and drummer Sigurdur Karlsson.They toured around Iceland for numerous live shows, including also two trips to the Faroe Islands, but they were unable to get a contract on a proper label.Still they travelled to London and record their only album ''What's hidden there?'' at the Majestic Studios.The album was pressed there, but released only in Iceland in late-72'.
Swirling around as a rare Psych/Prog release, this is actually a Hippy/Psychedelic Rock album sung in English with minor progressive touches and a pretty versatile sound.They were heavily influenced by British Psych Rock and their sound was more into a late-60's mood than into a reputed progressive spirit.Lots of impressive vocals, balanced guitar solos and leads and a steady rhythm section are the elements characterizing most pieces towards a rather melodic and laid-back atmosphere.Some tracks contain a few rural vibes performed on strings and flute, while the use of piano and Moog synthesizer are the only true connections with Prog Rock, pretty limited and not very pronounced to say the truth.Leave any expectations for intricate material aside and the album ends up to be a trully enjoyable listening with memorable parts and occasional instrumental flashes with jazzy, bluesy and folky touches.Certain parts with a neurotic synth edge do sound quasi-progressive, but the dominance here is the nice use of guitars, sometimes with a heavier sound, and the clean vocals.

The album sold only a few hundred copies, leading the band to a decision for dissolution in mid-73', even if veteran guitarist Bjorrgvin Gislason (also from Náttúra) appeared to have join them.Kristjansson and Gislason went on to form Pelican and two years later Kristjansson rejoined forces with bassist Gunnar Hermannsson on Paradis.Birgir Hrafnsson and Sigurdur Karlsson formed the Rock band Change.

Very good Psychedelic Rock with discreet signs of proggy textures.Well-played, full of nice melodies but also secure arrangements, propably a great addition for fans of the style.Recommended anyway.

Pelican - 1974 - Uppteknir

Pelican
1974
Uppteknir




01. Theme [1.15]
02. A Sprengisandi [3.10]
03. My Glasses [2.00]
04. Sunrise to Sunset [7.16]
05. Roll Down the Rock [3.26]
06. Golden Pomises [5.37]
07. Living Alone [3.19]
08. Picture [1.40]
09. Jenny Darling [3.12]
10. Come My Way [2.41]
11. How Do I Get Out of Nyc [2.01]
12. Amnesia [9.18]
13. Lady Rose [2.32]
14. Instrumental Love Song [2.48]
15. Time [2.42]

Björgvin Gíslason - electric guitar, piano, minimoog
Ómar Óskarsson - electric guitar, minimoog
Ásgeir Óskarsson - drums, percussion
Jón Ólafsson - bass



 A decade before the Sugarcubes took on the world, two before Sigur Rós made waves and four before Of Monsters and Men conquered America, Iceland’s Pelican blazed the trail for all that followed for their fellow country folk.
Pelican recorded in and played America in 1974 and 1975, and issued two albums.

Ódmenn - 1970 - Ódmenn

Ódmenn
1970
Ódmenn




01. Einn Ég Ræ    3:52
02. It Takes Love    3:46
03. Betri Heimur    3:36
04. Þær Sviku...    2:45
05. Er Mengun Hverfur    3:22
06. Minningar    3:42
07. Dans    3:13
08. Það Kallast Að Koma Sér Áfram    4:45
09. Ég Vil Þig    4:07
10. Stund    2:34
11. Saga Þjóðar    6:18
12. Upphafsstef Úr Pop-Leiknum Óla    1:47
13. Orð - Morð    4:06
14. Kærleikur    4:40
15. Frelsi    20:09


Bass, Jew's Harp, Vocals – Jóhann G. Jóhannsson
Drums, Tambourine, Gong, Vocals – Reynir Harðarson
Guitar, Triangle, Vocals – Finnur Torfi Stefánsson
Organ – Tommy Seebach
Voice [Little Voice] – Ágúst Jónsson




Óðmenn was a short-lived, four-piece Icelandic rock band. Two brothers founded the group in 1966 and it broke up a few years later when one of them went to university to study law. The group played clubs in Reykjavik and recorded a single album in Copenhagen. This is that album. The music is a local take on British blues-rock, merging into psyche-rock. It sits not only on the cusp of two decades, but also on the cusp of two sounds, the first a younger, grubbier percussive style and the second a more expansive guitar-rooted sound. Musically, it’s less incendiary than its foreign forebears. The liner notes explain that the Icelandic lyrics deal with socially divisive themes “like anti-war protest”, but the one English-language song is an affably-worded bit of uplift that asks all of us, “both black and white,” to “[live] together and not to fight.” How often did they get to exercise this interracial sentiment in 1960s Reykjavik, I wonder. Óðmenn features solid playing and songwriting all the way through, ending with a 20-minute zooming jam of a climax.

Great article HERE

Náttúra - 1972 - Magic Key

Náttúra 
1972 
Magic Key





01. Could it Be Found 5:11
02. Out of the Darkness 5:36
03. Gethsemane Garden 4:44
04. Butterfly 6:47
05. My Magic Key 2:39
06. Tiger 3:12
07. Confusion 2:44
08. Since I Found You 5:59
09. A Little Hymn for Love and Peace 3:09

Bass – Sigurður Árnason
Drums – Ólafur Garðarsson
Guitar, Flute – Björgvin Gíslason
Keyboards, Vocals, Backing Vocals – Karl J. Sighvatsson
Vocals, Backing Vocals – Shady Owens

Recorded at Orange Studio in London October 1972. Thanks to: Helga Bergs, Egill Eðvarðsson, J. P. G. and "Uncle Julius".



Seminal Prog band from Iceland, led by its founding members guitarist Bjorgvin Gislason and bassist Sigurdur Arnason.They came together in late-60's with Rafn Haraldsson on drums and later Jonas Jonsson, Sigurdur Runar Jonsson and Petur Kristjansson (future Svanfríður) on flute, violin/keyboards and vocals respectively.They became very popular, playing in local clubs, but this core lasted only until 1971.Gislason and Arnason remained the only members and a new formation was gathered with drummer Olafur Gardarsson, guitarist Johann Johansson and percussionist Askell Masson.In 1972 a couple of more line-up changes occured, Masson and Johansson were out and female singer Shady Owens as well as keyboardist Karl Sighvatsson joined Nattura.They traveled to London and in October 72' they recorded their debut ''Magic key'' at the Orange Studios, released independently later in the year.

Nattura played the typical cross-styled Psychedelic Rock many acts in the country at the time loved to play, they added some complex instrumental tricks, poppy sensibilities and a few harder edges and eventually came up with an interesting sound, which was fairly rooted in a typical guitar/organ-driven model, yet bursts some mood for personal ideas and more emphatic arrangements.You can hear influences from DEEP PURPLE, CURVED AIR and CZAR in the process, that means electrified riffs, lots of organ instrumentals, psychedelic tunes and superb female vocals are all present in a tasteful music full of solos and light jams, starting from sharp and energetic rhythms and pyrotechnics and ending up in more harmonic or soft textures.The album is a bit incosistent despite some fine ideas and decent songwriting, some pieces are standard Heavy/Hard Rock with unsurprising moments and do not sit very well next to the refined or more demanding compositions.Love the short and almost GENESIS-sounding title track with its lyrical and naughty atmosphere, while ''Butterfly'' is a magnificent instrumental with dramatic keyboard developments, excellent KAIPA-styled guitars and soft piano lines, very Scandinavian sounding regarding its progressive content.The more hard-rockin' tunes are still enjoyable, but fail to deliver some sort of originality, a few electric explosions along with the unexpected organ and synth leaks are some of the better moments of these pieces.

Nattura kept it going until 1973.Gislason rejoined forces with Petur Kristjansson in 1974 with Pelican.Karl Sighvatsson became a leading figure of Hinn íslenski þursaflokkur in late-70's.

Quirky Psych/Prog with standard interruptions for more straightforward or lyrical passages.Great keyboard work, a neurotic execution level and several dives into harder, blazing riffs.Good and recommended music.

Mánar - 1971 - Mánar

Mánar 
1971 
Mánar




01. Líf Þitt 2:21
02. Hvers vegna? 3:08
03. Söngur Satans 3:21
04. Litli fuglinn 2:19
05. Ég horfi Á brimið 2:28
06. Leikur að vonum 2:55
07. Haustregn 3:47
08. Villi verkamaður 2:49
09. Sandkorn 3:14
10. Prelúdía Í a moll 2:11
11. Þriðja heimstyrjöldin 4:31

Ólafur Þórarinsson (vocals, guitar, flute)
Björn Þórarinsson (organ)
Guðmundur Benediktsson (vocals, piano)
Smári Kristjánsson (bass)
Ragnar Sigurjónsson (drums)



Group from Iceland, combining in his album heavy blues - rock (Songur Satans and Eg Horfi A Brimid), hard (Lif Pitt) and heavy prog. There is also a ballad Litli Fuglinn and symphonic instrumental Preludia I A-Moll with violins and flutes . Top tracks are at the end of the album - heavy prog Sandkorn Pridja Heimsstyrjoldin. Manar were one of the groups that followed Trubrot, but the self-titled album Manar surpassed any albums of Trubrot. 11 songs cover a wide range of northern senses, offering powerful electric guitars gashes and melancholic vocals and Hammond. Some tracks are  closer to folk-rock with their vocals, acoustic guitar, flute and piano ("Litli Fuglinn"). This classic album is recommended to fans of Old Man & The Sea and Junipher Greene.

Jonas Og Einar - 1972 - Gypsy Queen

Jonas Og Einar
1972
Gypsy Queen


01. On A Riverboat   
02. Sweet Lady   
03. I Just Want Your Love   
04. A Song For Christine   
05. Gypsy Queen   
06. Look At All Those People   
07. Freedom For Our Lovin'   
08. See The Sun   
09. Music-Forest   
10. How Can We Know God Is Real?   
11. Lucky Day   
12. Gypsy Queen

Jónas R. Jónasson (vocals, flute, accordion, percussion)
Einar Vilberg Hjartarson (vocals, guitars)
Timmy Donald (drums, congas)
Sigurdur Arnason (bass)



Einar Vilberg started in the music business quit early, born in Reykjavik Iceland 1950. He started writing songs at the age of 14. Einars first appearance as a musician was as a singer in a school band called the "Beatnicks", (note the take off on the Beatles!!) In 1969 he flew to London England to cut his first record, (there where no recording studios in Iceland at that time) playing the role of songwriter and guitar player on a single called Insane world, an anti war project sung by one of Iceland’s most popular singer at that time.

Next year Einar provided songs and guitar playing on two more singles sung by prominent Icelandic artists. In 1972 after playing in different groups and doing some television shows Einar made the LP Gypsy Queen writing the lyrics and the songs.

Icecross - 1973 - Icecross

Icecross 
1973
Icecross



01. Wandering Around   
02. Solution   
03. A Sad Mans Story   
04. Jesus Freaks   
05. 1999   
06. Scared   
07. Nightmare   
08. The End

Axel Einarsson (guitar, vocals)
Ómar Óskarsson (bass, vocals)
Ásgeir Óskarsson (drums, vocals)




Copenhagen in the autumn of 1972, the crucible for Icelandic hippies, where the Free State of Kristiania held the promise of a better world where everyone was equal, providing according to available resources, partaking as needed. We celebrated the one year anniversary of Kristiania gathered around a great bonfire and promised to turn the Free State into a model of cooperation, togetherness and solidarity – a sort of primal Christianity.
The club Revolution in Copenhagen was the place to listen to live music, all the latest and freshest. Usually it was rather bland stuff, I found, but the there appeared this amazing rock band, so amazing that we were left gaping and staring – Icecross – hard as nails and supertight. When the boys had finished playing they mingled with the audience, having a beer or perhaps lighting up a pipe. It turned out they were Icelanders living in Kristiania with big dreams – fully justified judging from their performance that night.
For several reasons Icecross never made it. My understanding was that they got tired of the struggle abroad and wanted to go back home. They did, however manage to cut a record bearing the name of the group. A superb record I listened to a lot, until it gave way to newer music – lying in the stack but enjoying short-lived revivals off and on over the next few years until it suffered the inevitable fate: too scratched and contaminated with booze to be playable.
Decades later, searching for old music, I started to come accross the record here and there on collectors' lists and for no small change – one wanted to buy it for $200 and another to sell it for $500. People were starting to talk about “the legendary and mysterious Icecross” but there were far fewer sellers than potential buyers.
As time went more and more copies started cropping up and further investigation revealed that the record had been reissued in various places. One owner offered for sale a record which had been published in Holland, another had a copy from Italy, and suddenlty someone was advertising a CD made in Korea. Everything strictly illegal but showing the widespread call for this marvelllous recording.
The Internet revitalized the sale of Icecross. At the time of this writing, a simple Google search reveals at least five different bootleg publishers which bears witness to the place accorded to Icecross in the history of rock music.

_“I lost my love yesterday. She made up her mind and went away. Left me with pain in my heart. No she will never come back to me…never…I’m so lonely.”_

Not even 300,000 people live in Iceland, so remarking about the lack of bands from this island would be quite asinine, though compared to their immense neighbor Greenland, Iceland was a veritable hotbed. The foursome is one of the more well-known bands from this area, which really isn’t saying much ‘cause their sole release will still run you around $400 in the end. Musically, Icecross play heavy rock that one reviewer compared to Black Sabbath, but this judgment is so off the mark I almost think the guy impossibly never heard the British quartet. Moreover, the frigid three-piece’s style is more anomalous in its simplicity; heavy, bordering on wild at times, yet very lightly progressive for a musically untight band, and the malnourished production really does nothing to aid the cause.

Despite the aid of three reputable sources, a discrepancy of the year (1972-73) this lp was originally released still remains, but what’s one year (or even two months: Dec-Jan.). I don’t think the extra time would’ve improved on this much. Kicking off the lp is the strange “Solution”, a vocally-repetitive and somewhat downtrodden episode with some of the weirdest and discordant soloing I can remember, to the point where I can’t quite tell yet if guitarist Axel Einarsson is any good. “A Sad Man’s Story” is the loneliness and melancholy which borne the lyrics under the title; a heartfelt tale lightly strummed and tinkling sadly with piano while the dejected vocals of either Axel or Omar Oskarsson complete the wounded undertow. An absolute antipode to the woe is the follow-up “Jesus Freaks”, perhaps the most prominent and heaviest on the album. Harking solos cry over semi-doomy riffs that are infiltrated by feral drum work that plays like a jigsaw puzzle launched into the air, making way for lungs now severe and wailing compared to the initial tracks. If there’s one thing you’ll remember about this lp, it’s the chorus “We believe in Jesus, we believe in us, we believe in ourselves…” “Wandering Around” has a definite Zeppelin “Rock and Roll” zing to it up to and including the short psychedelic drum solo at the song’s core and sounds like something the Stray Cats would cover in the future. The lightly echoed vocals are at their zenith here. From there, “1999” inharmoniously blasts to life with a keening solo, very dissonant riffs, and some pretty awful singing. Becoming more impressed with the percussion of Asgeir Oskarsson, I began looking forward to his next barbaric drum rant, which would take place about six seconds into the subjugated, yet oddly vibrant “Scared”. A straightforward punk riff opens the hasty “Nightmare”. An untight drum, solo, and riff ensemble runs chaotically rampant here, sounding more like a bunch of session musicians going bonkers, but reigning it in is “The End”, the rolling-paced finale with perhaps the most fitting vocals of the lp. Lyrically, there’s lots to be desired, but since I can only write lyrics in, oh, one language, who am I to talk?

The highlights: the sudden changes in musical mood that is owed greatly to song placement. The untamed sticks of Asgeir that can wilt nearby vegetation. The solos that solidified as time passed. The lowlights: the unpredictable vox that sound impressive one minute and like they dragged someone in off the street the next. The musicians individually (save the vocals) can hold their own to the point of impression, but as a group seem unhinged. The production is quite flimsy, if not transparent. All in all, not a bad album; maybe a tad above-average, but nothing one is going to parade around town with.

Geysir - 1973 - Hljomsveitin

Geysir
1973
Hljomsveitin




01. To My Little Lady   
02. Children   
03. Ocean Waves   
04. The Messenger   
05. A Candle Weeps   
06. Shine   
07. Thoughts   
08. Warrior Child   
09. It Is All Up To People   
10. Memories   
11. Fantasy Of Reality

Bass, Drums – Len Davidson
Flute, Vocals – Judy Niblock
Liner Notes – Svavar Gests
Guitar, Vocals – Gordon Kidd, Gísla Gissurarson




Geysir is yet another mysterious band from the 70's.Apparently they consisted mainly of American natives, which had settled down in Iceland in early-70's.Bassist/percussionist Len Davidson, singer/flutist Judy Niblock and guitarist/singer Gordon Kidd met with guitarist/singer Gisli Gissurarson, stabilizing a band, that recorded one obscure LP, entitled ''Hljomsveitin'',  for the local Hljomploetur label.The year of release appears to be either 1973 or 1974.

''Hljomsveitin'' is a pleasant and smooth Psychedelic Rock album with notable folky touches and minor progressive undertones, but I am afraid that it has not much more to offer than some outdated music.Basically the Americans seems to have been influenced by the local tradition and the vast majority of the album's pieces contain relaxed flute passages and lots of percussion in a rural enviroment, surrounded by the calm voices of three out of the four members.A few of these tracks contain some JETHRO TULL inspirations during their most Folk-tinged early material, lacking though the energy of the British band.In the sweet ''A candle weeps'' there is seeminlgly some (Mellotron?) strings included, but no credits are contained in the liner notes, while ''Warrior child'' has a certain string-section opening the track.The rest of the album is mellow Psychedelic Rock with some good lead guitars and decent vocals, but the music tends to be unoriginal and pretty standard, like having played a thousand times in the past.However the combination of flutes, acoustic lines and sensitive vocal chords are destined to please fans of Psychedelic Folk.

Eik - 1977 - Hrislan og Straumurinn

Eik
1977
Hrislan og Straumurinn



01. Hríslan og straumurinn (14:23)
02. Eitthvað almennilegt (4:05)
03. Diskósnúðurinn (2:01)
04. Í dvala (2:23)
05. Átthagar (3:17)
06. Fúnk (4:16)
07. Fjöll (4:27)
08. Í stuttu máli (0:48)

- Magnus Finnur Johannsson / vocals, flute
- Thorsteinn Magnusson / guitar, Mini Moog, vocals
- Petur Hjaltested / keyboards
- Asgeir Oskarsson / drums
- Haraldur Thorsteinsson / bass, percussion, vocals
- Tryggvi Julius Hubner / guitar, percussion, vocals



"Hrislan Og Straumurinn" was released in 1977 with a new line-up, and probably (I say probably because I have not heard their first album) with a different sound. Stealing Tryggvi Hubner's words, this is "a very progressive album, complicated polyrhythms and at times unbelievable virtuosic playing." What better than the word of a guy who was member of this band.

Since I discovered this album I felt enthusiastic because I actually didn't know any progressive band from Iceland, so it was like a new experience to me. Though I don't really know if they incorporated some folk or traditional elements from their country, I can say that their sound is very peculiar.

This record features eight songs and a total time of 35 minutes. It kicks off with the title track which is also the longest one. A 14-minute track that serves as a fantastic introduction to the band's sound. The first moments have some nervous and even dark atmosphere created by piano and keyboard noises. At minute three, percussion appears and gives a new direction to the song. Now the sound is totally from a progressive rock band. It has an excellent bass sound, along with cool guitar and keyboard solos and pretty nice drumming. There is also a beautiful flute appearing in some periods which adds beauty to the song.

After minute six, vocals appear, but since the language is unknown to me I cannot judge lyrics. However, I like the way they put the vocals after that sensational first part of the song. Here the sound is more melodic and soft, there is a lead vocal but also backing ones, and sounds good. The song keeps this structure for a few minutes, and later it suddenly changes to an instrumental song whose passages are spectacularly well composed and played. I really live the bass sound on this track. Later there is another stop and another change, again to the soft part with vocals.

"Eitthvad Almennilegt" starts with weird vocals, but a few seconds later it becomes pretty interesting. The music and rhythm reminds me a bit of Gentle Giant, there are a great guitar and an awesome bass sound. Some short stops and tempo changes. Also notice the keyboard sound which adds a special flavor.

"Diskosnudurinn" is a short track, like an interlude which has some Zappa/Beefheart vocals style. The music has that same style as the previous ones, though this time the song is pretty short to show up their qualities. "I Dvala" has acoustic guitar, some seconds later bass and another guitar join and make a pretty folkish sound. And later electric guitar appears along with vocals. In moments it also reminds me of some 70s Italian bands, they have a similar style in moments. The acoustic guitar riffs are great, worth mentioning.

"Atthagar" starts again with acoustic guitar, but with a different mood. Calm and soft is the first part of this track, while the second one turns faster and provoking, with again a superb bass sound. "Funk" is an interesting instrumental track that has some cool guitars that remind me of Jan Akkerman, the bass lines are splendid along with the drums. The final part is also interesting due to the keyboard sound and those nice guitars.

"Fjoll" opens with Spanish-like acoustic guitar, but immediately after it turns into a nice soft melody. A warm flute sound at half the song which makes it better. And the album finishes with the shortest one "I Stuttu Mali" which is just a one minute outro with nice bass sound as the main character, accompanied with some acoustic guitar as background.

This is a wonderful album which I highly recommend to anyone who wants to explore music from different parts of the world, and for those who simply like progressive rock.

Eik - 1976 - Speglun

Eik 
1976
Speglun



01. Stormy Monday
02. Memories
03. Funky Beat
04. Lullaby
05. Hugssin
06. Speglun

Line-up/Musicians
- Magnus Finnur Johannsson / vocals, flute
- Thorsteinn Magnusson / guitar, Mini Moog, vocals
- Petur Hjaltested / keyboards
- Asgeir Oskarsson / drums
- Haraldur Thorsteinsson / bass, percussion, vocals
- Tryggvi Julius Hubner / guitar, percussion, vocals





One of the highest regarded symphonic bands from Iceland. Surprisingly, there is little information available about them.

The membership was consistent with Magnus Finnur Johannsson on flute and vocals, Thorsteinn Magnusson on guitar, mini moog and vocals, Petur Hjaltested on keyboards, Asgeir Oskarsson on drums, Haraldur Thorsteinsson on bass, percussion and vocals, and ryggvi Julius Hubner on guitar, percussion and vocals.

Their career started in 1971, and lasted till 1978. In that time they only managed to release two albums, 1976's "Spelgun" and 1977's "Hrislan Og Straumurinn"

They have a predominantly symphonic style, with elements of rock, blues, jazz, and even a bit of funk. Very much in the school of their '70's contemporaries, but infused with the essence of Iceland.

Their closest relative would probably be Finland's Wigwam. Other influences are the usual suspects, Yes, Camel, and some Kansas.


Axel - 1976 - Acting Like A Fool

Axel 
1976 
Acting Like A Fool



01. Marty
02. I Wanna See
03. Pussycat
04. No Time to Loose
06. Mary, Anny and Sue
07. Acting Like a Fool
08. Wandering Around
09. Daylight of My Love



Axel Einarsson made his only solo album in 1976 Called it Acting Like a Fool. He later joined a (Comic band) Called Deildarbúngubræður. (Not for translation). They made two records. Saga til næsta bæjar and Enn á jörðinni. He had played with different groups when he moved to USA and started a new Icecross band. As he is a qualified Carpenter he also worked as one during his stay in the States. For many years now he has been running a Professional Studio named Stöðin. (The Station). And for some years he has been puplishing CD´s and DVD´s with music for young children.

Andrew - 1973 - Woops

Andrew 
1973 
Woops



01 Rockin and Rollin
02 Himalaya
03 I Love You (Yes I Do)
04 Look
05 Dawning
06 Sweetest Girl
07 Heathens
08 Ballad of Herby Jenkins
09 Purple Personality
10 Age

Ásgeir Óskarsson (drums)
Júlíus Agnarsson (guitar, Moog)
Ómar Óskarsson (bass)
Andri Clausen (vocals, 12-string guitar)
Egill Ólafsson (piano, harpsichord, fiddle, vocals)
Björgvin Gíslason (Moog)



Woops is the only album by Andrew, the Icecross related band from Iceland. This is heavy psych rock from 1973 with wild acid guitar runs and English lyrics. The album ranges from weird heavy funk guitar psych to outer space jams. It`s ripped from the recent reissue, or maybe it was a bootleg reissue, I`m not sure. I haven’t seen it for sale anywhere recently, so I`m guessing the re-release is out of print now. The original LP sells for up to 600 $, which is a tad bit pricey for any album imho. Anyway man, this is a very good album that will appeal a lot of all fans`ish type of rock, and to all fans of good music.Issued in a tiny edition of 500 copies. Including the marvelous doomy-psychedelic jewel "Himalaya".

Hansson & Karlsson - 1969 - Man At The Moon

Hansson & Karlsson 
1969
Man At The Moon



01. Pick-up (2:24)
02. Lift-off (3:52)
03. Space (2:38)
04. Time (0:48)
05. Brain (2:56)
06. Discovering (0:50)
07. In the beginning (1:50)
08. Peace on earth (3:49)
09. Cosmos (2:54)
10. Space within (6:03)
11. Life (2:26)
12. Cordially yours (0:45)

- Bo Hansson / organ
- Janne Carlsson / drums