Thursday, November 27, 2014

Banzai - 1974 - Hora Nata

Hora Nata

01. You always like an Entree – 2:12
02. Try – 7:45
03. Obelisk – 11:08
04. Hattrick – 7:33
05. Three Magicians – 12:14
06. Hora Nata (Bonus) – 2:59
07. Good Morning Life (Bonus) – 3:45
08. We’re Sorry (Bonus) – 3:07
09. Be Careful Now (Bonus) – 3:27
10. Talking About My Love (Bonus) – 3:08
11. On The Rocks (Bonus) – 3:00

- Peter Torfs / keyboards, vocals
- John MC O / guitars
- Ludwig Kemat / percussion, alto saxophone
- Evert Verhees / bass, vocals
- Erry Foix / drums, percussion

Banzai were a Belgian quintet from the mid 1970s who disbanded after only one album. This reissue contains not only their original album, but also six bonus tracks.

Their only album consisted of complex 70's symphonic progressive rock as typical and traditional as it possibly can get. It is mainly instrumental, with only two tracks containing any vocals. The instrumental sections are equally divided between jams and more thoroughly composed pieces, sometimes with strings added.

After a jazzy opening instrumental track; the musical introduction of “Try” is rather complex, the complete opposite of the vocal part which is rather simple and Yes’ Jon Anderson-like. If Yes is one source of inspiration while vocals are concerned, Camel is the other one for most of the instrumental parts. “Obelisk” is probably the closest Camel-like song here. Beautiful symphonic music almost all the way through (there will be a minute of improv though). A sweet moment, except during the finale which is quite hard actually. Solid guitar solo and great rhytmic section to back it up.

“Hat Trick” is jazzier. Sax and drumming reminds more King Crimson than anything else but great guitar breaks and soft keyboards will revert the mood to a less aggressive style. Very nice and fully Camel although the keys during the finale seriously remind of the ones from Jon Lord. The longest song features great melodies (guitar and keys) and is truely grandiose. Very intense piece of music. Symphonic progressive fans will be transported to heaven while listening to it. The second half offers more diversity (violins, percussions) and more personal vocals.

As for the bonus tracks , they are the singles the band released in those years, the first being the title track of the album redone with a string section. Most of the singles are of good quality but they are somewhat different than the album itself. On those singles Banzai manages to sound more like Caravan (circa New Symphonia era) and is rather pleasant.

“Hora Nata” is derivative and not very original in any way, but it’s still quite solid stuff if you can’t get enough of that classic 70's symphonic progressive rock sound.

4 Levels of Existence - 1976 - 4 Levels of Existence

4 Levels of Existence
4 Levels of Existence 

01. Metamorphic
02. When The Snow Melts
03. The Village Postman
04. Wilderness
05. The Fool’s Trumpet
06. Our Fight
07. Disappointment
08. Child’s Song
09. Untitled
10. Someday In Athens

- Athanasios Alatas / rhythm guitar, acoustic guitar
- Christos Vlahakis / drums, percussion
- Marios Yamalakis / bass, voices
- Nick Grapsas / lead guitar, voices

THE 4 LEVELS OF EXISTENCE (TA 4 ΕΠΙΠΕΔΑ ΤΗΣ ΥΠΑΡΞΗΣ) were formed in 1974, just under the political change in Greece.

Athanasios ALATAS (rhythm guitar, acoustic guitar) and Christos VLAHAKIS (drums, percussion), formally two members of Frog's Eye (a local rock band in Agios Fanouris), moved to Sepolia with Marios YAMALAKIS (bass, voices) and Nick DOUNAVIS (lead guitar) and made a decision to play their original rock different from other pop bands in Greece. At the big concert for Cyprus they could make a great success and later won third place in the big musical competition by EIRT TV.

In the following year, as a new lead guitarist, Nick GRAPSAS took the place of the previous Nick and THE 4 LEVELS OF EXISTENCE came to perfection. They created new psychedelic sounds with their sensitivity and dynamism, and lyrics all in Greek.

1976 became the greatest (and simultaneously the saddest) year for them - THE 4 LEVELS OF EXISTENCE could sign a Greek record label Venus and surprisingly they could complete the eponymous album for only ten hours. They gave their one and only concert shortly after the release of this album, and became a legend anytime soons

Placebo - 1974 - Placebo


01. N. W.
02. Plotselling
03. Bosso
04. Dag Madam Merci
05. Hop Hop
06. Tanga
07. Stomp
08. S. U. S.

- Marc Moulin / keyboards, synthesizers
- Nick Fissette / trumpet
- Richard Rousselet / trumpet, other horns
- Alex Scorier / saxes, flute
- Frans Van Dijk / trombone
- Johnny Dover / bass clarinet, saxophone, flute
- Francis Weyer / guitars bass
- Nick Kletchkovski / bass
- Freddy Rottier / drums, percussions
- Garcia Morales / drums
- Yvan de Souter / bass
- Philip Catherine / guitar

The third album is rather disappointing in its goal to achieve what the previous album had promised, even if it came out on the "progressive" label Harvest, was probably the album showing that Marc Moulin was getting too restricted in the formula he had set himself.

The lenghty Stomp is a little too repetitive, but still a great moment, but it does have an end-of-era feel, while N W, also rather lenghty is a real reflective moment, the brassy funky Dag Madam is great change of pace, the closing S U S is again delving in Moulin's search for new electronic sounds (here almost a sonar), Plotselling being the main attraction the first side of the vinyl with its lenghty Rhodes lines (a little Ratledge- sounding here) while the winds induce a great added tension even if a drum solo comes in to ruin it a bit. Bosso is a Novo (I know;-) so typical of years to come.

Although Placebo will only disband at the end of 76, this will be their last album, and by giving an attentive ear to it (they do seem a little short of ideas), it seems that they stopped before making one more album, that would've been "l'album de trop". Luckily they did not!! However , before their eventual demise , Marc Moulin had put out a "solo group" effort called SAM SUFFY which is quite astounding, adventurous, eclectic and the perfect expression of what he wanted to do: expand from an octet to a trio: Grandiose!!!

He then will go on for an extensive and then extended career including a political and very satirical press-writing twist, an acid-jazz career, production of Cos and Philip Catherine albums and fronting electro-pop outfit Telex (ZZ Top's Billy Gibbons's preferred band) etc..

Placebo - 1973 - 1973


01. Bolkwush
02. Temse
03. Phalène
04. Balek
05. Polk
06. Only Nineteen
07. Red Net
08. Re-union

- Marc Moulin / keyboards, synthesizer
- Nick Fissette / trumpet
- Richard Rousselet / trumpet, other horns
- Alex Scorier / saxes, flute
- Frans Van Dijk / trombone
- Johnny Dover / bass clarinet, saxophone, flute
- Francis Weyer / guitars, bass
- Nick Kletchkovski / bass
- Freddy Rottier / drums, percussions

 As you might guess, this album is named after the year it came out (this does not mean that all tracks taken after Orwell's theme of 1984 were recorded that year;-), Placebo is taking the beat were it left it at the end of their debut album. With a relatively unchanged line-up but with a few guests that appear also in the next album, Moulin is going a step further with his research into electronic sounds induced by KB, although leaving all the room for the horn section to move. Unlike the debut, on this album, Moulin is definitely taking the forefront and really shines all the way through, while still providing a great backtrack for the horn section.

Balek starts out with a then-revolutionary loop dominating the background and the group just surfs throughout the track's 4 min while Moulin switches from Moogs to Rhodes and back, great stuff. Only Nineteen is another track where Moulin shows us his savoir-faire and here the horn section plays the faire-valoir. Phalene (recorded live) is a rather lenghty piece (a relative 8 min) that takes great pride in being slowly developing itself, content on following Rottier's great drumming and the brass clearly influenced by Nucleus's Ian Carr. Temse is also the occasion for Moulin to extend his electronic KBs to the max, while remaining at the service of the song - un très grand monsieur - meanwhile the funky horns and no less enthralling rhythm section just take you to hell and back. Polk is another sizzling funky jazz-rock track induced by a great guitar, which makes you love every second of its short life.

Maybe their better albums and certainly the most even, this gatefold album (the debut was too) is one of those seminal albums for the Belgian jazz scene, and it is rather hard to understand how and why it never got a Cd release (outside the compilation) because this album was much sampled for acid-jazz and techno.

Placebo - 1971 - Ball Of Eyes

Ball Of Eyes

01. Inner City Blues
02. Planes
03. You Got Me Hummin'
04. Humpty Dumpty
05. Aria
06. Showbiz Suite
07. Balls Of Eyes
08. Oh La La

- Marc Moulin / keyboards, synthesizers
- Nick Fissette / trumpet
- Richard Rousselet / trumpet, other horns
- Alex Scorier / saxes, flute
- Frans Van Dijk / trombone
- Johnny Dover / bass clarinet, saxophone, flute
- Francis Weyer / guitars bass
- Nick Kletchkovski / bass
- Freddy Rottier / drums, percussions

Hot on the heels of Miles Davis and Nucleus, PLACEBO was the first Belgian group to advance in jazz-rock territories. Leader Marc Moulin (already a veteran by the early 70's since he started in 63 with saxman Scorier) was the main composer of this rather large group (they had a four-man brass section) somewhere between Nucleus and a funky Chicago Transit Authority but with that bizarre and sometimes weird/silly Belgian spirit/absurdism.

Their three albums (from 71 to 74) were widely played on the alternative scene in the early 70's, so much so, that they appeared in concert on National TV (still to be released commercially but aired two years ago). Their debut "Balls Of Eyes" is maybe their better one (it won a prize at 1972's Montreux Jazz Festival), but the 1973 album is not far behind. After a rather disappointing eponymous album (on the Harvest label), they slowly disbanded, giving their last concert in 76. Marc Moulin will then have a long solo career (his best album being Sam Suffy in 75), diddle in Eurovision spoof-group Telex, work with great Belgian group Cos (see their entry), produced many artist (Philip Catherine a.o.), host his own radio show, had his own record label and for the last 15 years has been a precursor in acid-jazz.

Actually their records gained back some interest since they were sampled a few times for Trip-hop records. Marc Moulin left us on Sept 26, 2008 at the age of 66

The first album of Placebo was a real shock in Belgium, and nobody was really prepared for it. All that had come about before was a few proto-prog groups such as Waterloo, Wallace Collection (actually a pop outfit) and a few others. So 71 saw Arkham (who never released an album per se) and Placebo (Lagger Blues Machine was to follow the year after). Leader Marc Moulin was already a veteran by the time of this album, but this was his first project.

The sound on this album oscillates between Bitches Brew and Nucleus's debut on one side and Chicago Transit Authority on the other. If there are some really superb tracks on this album, it is also somewhat uneven with some rather surprising (and clumsy) covers of Marvin Gaye and Isaac Hayes, but clearly the highlights are the self-penned tracks. From the superb Aria with an infectious groove greatly underlined by Moulin's electric piano, to Planes with its superb semi-free jazz intro and impeccable crescendo, and Humpty Dumpty's haunting slow pace, this album is a slap in the face to most historians not knowing of this group. Showbiz Suite being another highlight, it is clear that Moulin was a bandleader in the jazz style, providing a great platform for the other musicians - the four-man horn section is plenty of frontman - so he stays content of providing the solid base (rarely taking the spotlight to himself at this point), but he is the chief composer and pulls of some real stunts in making his role quite interesting.

Polyphony - 1972 - Without Introduction

Without Introduction

01. Juggernaut (14:04)
02. 40 Second Thing In 39 Seconds (1:07)
03. Ariel's Flight (15:15)
04. Crimson Dagger (7:05)

- Martin Ruddy / bass, vocals
- Christopher Spong / drums
- Craig Massey / vocals, organ, moog
- Glenn Howard / vocals, guitars
- Chatty Cooper / percussion

POLYPHONY was a short-lived US outfit active in the early 70's. The band; consisting of Martin Ruddy (bass, vocals), Christopher Spong (drums), Craig Massey (vocals, organ, moog), Glenn Howard (vocals, guitars) and Chatty Cooper (percussion); recorded the album Without Introduction which was released in 1971. On this creation they fused vintage symphonic prog with psychedelic tendencies.

It is thought that the band disbanded soon after the release of this album; which was the only one made by this act.

For many years an obscurity sought after by collectors, the album has been available on CD for some time now; after a surge of interest and curiosity about this creation came at the start of the internet age.

This is one of those mythical releases that you think you'll never hear because it's been out of print for so long and there seems to be no intention of re-issuing it. A huge thankyou to Todd for allowing me to finally hear this album. I first heard about it when I received Greg Walker's legendary list of his top Prog albums. I had never heard of this American band who are from Virginia Beach,Virginia. Glenn Howard came up with the name POLYPHONY after seeing this term used by some of the great Classical composers.They used this word to describe "The many voiced textures in movements designed to excite and capture the attention of their listeners". Man that so describes this music. A five piece band with a drummer, percussionist, guitar, keyboard and bass player. And vocals too although the extended instrumental excursions are the focus. The cover art was done by this woman who worked for Sun Records. She would listen to the master tape then meditate over it waiting for the vision of what the cover art should look like. That was how she always did it. This art work won several awards. It's a picture of the "Four elements of the universe subsiding toward an energy force which was "polyphony"." Released in 1972 this really doesn't sound like any particular band or album. And it's originality certainly is not forgotten when it comes to my rating here.

"Juggernaut" opens with outbursts of sound until it stays. Some intersting spacey sounds after a minute as percussion and drums support. Synths and heavier sound follows. Solo organ before 4 minutes then drums and bass return followed by the guitar which proceeds to rip it up. Vocals for the first time after 9 1/2 minutes. So good. Guitar and organ lead when the vocals stop. "40 Second Thing in 39 Seconds" is a mini-moog extravaganza.Very experimental but short.

"Ariel's Flight" features these angular sounds early on with some raw sounding guitar. It changes a minute in as the organ and drums start to lead. Chunky bass 3 minutes in and vocals follow. Man this is so good. The bass is ground-shaking. A change 5 1/2 minutes in as the organ comes to the fore.This is actually ANGLAGARD-like. Amazing. Vocals come and go. A calm with vocals 11 1/2 minutes in then it gets fuller again with pulsating organ and vocals. Hello ! "Crimson Dagger" opens with organ and drums as guitar and bass join in. A spacey vibe comes in before 3 minutes. A relaxing soundscape follows then the vocals join in. Backing vocals too on this one.

The hype is justified here. This suits my tastes perfectly.

Poliphony - 1973 - Poliphony


01. Underdog
02. Cameo
03. Monday's Race
04. Leaf
05. Mirror 1
06. Mirror 2
07. Decision For Gillan
08. Gagged And Bound
09. Richard's Raga

Richard Bremner : guitar
Bob Boucher : bass
David Fear : percussion
Dave Bristow : piano & flute

Very nice instrumental jazz psych record. Not too far from some of the Italian film library bands like Fourth Sensation or Psycheground or even the UK group Hungry Wolf. Some nice fuzz leads and flute. Also some jazz-tone guitar and plenty of Rhodes.

Kanguru - 1976 - Dreaming


01. Ras Lila
02. Waves of Aquarius
03. Kanara Prakar
04. Invitation to Dance

Ashia White (vocals),
Guy Madigan [aka Koalananda] (phakawaj, tanpura),
Paul Gibson [aka Sri Wombat] (electric sarde, vocals, 14-string guitar, didgiridu),
Cleis Pearce [aka Clear Light] (electric viola),
Keith Manning [aka Professor] (tabla, flute, percussion)

Kanguru are an Australian hippy band from around the early to mid seventies. They were based in Northern New South Wales in Nimbin and Byron Bay. Most of the musos still play music locally in other bands.

Four mainly instrumental tracks are featured on this very rare Aussie album,the only known product from this band. From the artwork through to the music this looks and sounds like something produced by a bunch of guru worshipping hippies, and it well might be. However on colder inspection it is possible that this was produced by a group of guys who made it with their tongues firmly implanted in their cheeks. Firstly it is released on Larrikin records, a small Aussie label better known for Aussie blues and bush bands. Secondly, the members of the band offer some amusing alias’s:
future Sirocco member Guy Madigan is 'Koalananda'; Paul Gibson is 'Sri Wombat', former MacKenzie Theory violinist Cleis Peace is 'Clear light' and Keith Manning is 'Professor'.
Not the typical alias's that you would expect. Thirdly the label shows that it was produced in 1980, although sounding like it was recorded in the late 60 or early 70s. Fourthly, it seems more than a coincidence that Guru Guru released an album called Kanguru years earlier (also four long tracks). Notwithstanding, the quality of musicianship is excellent. This album is part meditative, part ambient and heavily Indian influenced.

Companyia Electrica Dharma - 1978 - L'angel de la dansa

Companyia Electrica Dharma
L'angel de la dansa

01. Batalladora
02. Ball del follet foll de lluna
03. Marxaràbiga
04. Dalt les onades
05. Alegres desesperats
06. Parida saltimbanki
07. Barna natal, Barna mortal
08. Sants impotents!
09. Cançó de bressol (bruta i trista)
10. L'àngel de la dansa
11. Dansa

Pep Fortuny - drums, percussion, vocals
Joan Fortuny - soprano saxophone, vocals
Carles Vidal - bass, guitars
Jordi Soley - keyboards
Esteve Fortuny - guitars
Lluís Fortuny - keyboards, accordion, trumpet, vocals

Companyia Electrica Dharma - 1977 - Tramuntana

Companyia Electrica Dharma

01. Tiru-Tiru-Ritu (Marxa)
02. Focs de Sant Joan
03. Moixeranga del Diable
04. La Mediterrània se'ns mor...
05. Tramuntana
06. Les bruixes del Maresme
07. Festejada (de timbals)

Pep Fortuny - drums, percussion, vocals
Joan Fortuny - soprano saxophone, vocals
Carles Vidal - bass, guitars
Jordi Soley - keyboards
Esteve Fortuny - guitars
Lluís Fortuny - keyboards, accordion, trumpet, vocals

After the beautiful debut album "Diumenge", Companyia Elèctrica Dharma headed for a more solidified exploration of their fusion-oriented interests and augmented drastically the presence of Catalonian folk elements into their musical ideas and arrangements: one of the most noticeable factors was the utilization of the soprano sax as an emulator of the Catalonian pipe. This tendency led CED to deliver a series of 3 studio albums (from the second to the fourth) that eventually were and continue to be regarded as fundamental for the installation of a Catalonian trend of progressive rock. IMHO, "Tramuntana" is the most accomplished one of these 3 albums. It bears an enhanced colorfulness in comparison to the previous album "L'oucomballa', which is made obvious by the presence of more instruments (flute, xylophone, trumpet) besides the usual array of guitar, bass, keyboard, soprano sax and drums/percussion. The opener is a speedy rocking version of a traditional tune called 'Tiru-tiru-ritu'; actually, this very tune was also used as the closing track to the previous album, but in that case the band used a "marching band"-style arrangement, while on this one this is pure rock-fusion on a frenzy, celebratory speed. This brief intro provides enough stamina as to prepare the listener for the more elaborated and dense moods explored in 'Focs de Sant Joan'. It develops a cohesive transition from soft to extroverted passages, with the former being folk-centered and the latter jazz-tinged. Esteve Fortuny's soaring guitar lines are just lovely, finding a proper accomplice in the playful moods drawn in by Joan Fortuny's soprano sax. Almost 5 ½ minutes of beautiful music, and then comes 'Moixeranga del Diable' to bring a 10+ minute long delivery of sonic mysticism. Its initial section is languid, eerie and slightly somber: the addition of trumpet helps to reinforce the overall grayish atmosphere, which lasts 6 minutes. A more playful motif settles in consequently, with the dueling sax and guitar harmonizing the melodic aspect while the drum kit, bass and electric piano fulfill the track's rhythmic scheme and cadence. A highlight, indeed! 'La Mediterrània sens Mor'' finalizes the album's first half with melancholic moods provided by the acoustic guitar's concise phrases, xylophone tender drops, subtle organ layers and a subtler chorale. An expression of serene beauty on a chiaroscuro background. The namesake track starts the album's second half: it lasts 10 ¾ minutes and it's mostly based on a jamming exercise that the CED guys master so cleverly. As usual, the soprano and the guitar alternate their lead roles while the keyboard delivers additional colors and the rhythm section creates a structure permeable to the tempo and mood variations that take place along the road. The calmer interlude is really lovely. Another highlight! 'Les Bruixes del Maresme' starts with a rfined crescendo of several winds - flute, tenor saxes, trumpet - before the main jam settles in. it should have been longer than its 3 ½ minute span, but well, that's how it is... The closer 'Festejada' reiterates the playful mood that has already been present in the most extroverted passages of the preceding repertoire, featuring an exciting drum solo and ending with a homage to Catalonian popular dances: this is a properly exquisite ending to an exquisite album. I just love it and grade it as a very important item for any good prog rock collection.

Companyia Electrica Dharma - 1976 - L'Oucomballa

Companyia Electrica Dharma

01. Adéu, estrella del dia
02. Ones nones
03. Mitjanit
04. Ball lunàtic-Toc
05. Mater marítima
06. Els pardals de la Rambla
07. L'Oucomballa
08. Tiru-Tiru-Ritu

Pep Fortuny (drums, percussion, vocals)
Joan Fortuny (soprano saxophone, vocals)
Carles Vidal (bass, guitars)

L'Ou Com Balla (The Dancing Egg) is an old catalan tradition by which on the day of Corpus Christi an emptied egg is placed on the water jet of the fountain in monastery cloisters and the egg stays "dancing on the water" without falling down. Nowadays it can be seen mainly in the cloister of the cathedral in Barcelona city, you can Google images "l'ou com balla" to see it. It has no special meaning, it was meant to be a sign of festivity and to attract people to the monasteries on that sacred day for christians.

This was the 2nd album from La Dharma and the one which started to shape their sound. La Dhama's debut Diumenge was an excellent Fusion record but not too personal apart from the dominant soprano sax. As from this sophomore album the band started crafting what would become their unique trademark style integrating more catalan traditional influences in their music, a process which would mature as from their 3rd album Tramuntana.

Following the way of albums such as Queen II, vinyl side A has the title Balls De Nit (Night Dances) while side B has the title Tocs De Festa (Festive Sounds) although in this case the musical style is not noticeably different between the 2 sides.

The music is still excellent Fusion dominated by the melodies and solos of the soprano sax, with plenty of Rhodes as well. The guitar does not take much leading role which is good because Esteve Fortuny was stronger as a rhythm guitar player than as a lead soloist. The melodies have often that special feel of coming from traditional mediterranean music rather than from the standard scales found in classic Jazz-Rock / Fusion, which gives this music a very distinctive and interesting sound, often with a festive mood.

The strongest features of this album are on one hand how dynamical it is, the songs visit multitude of tempos and intensities and nothing feels like dragging, and on the other hand the great drumming by Pep Fortuny.

I will not make a song by song review but just a couple of comments on some of the ones which are most different from the album average sound.

The opener Adeu, Estrella Del Dia is a short lullaby with a sweet melancholic mood. Mitjanit is a very good song on acoustic guitar and soprano saxo melody which also explores several dynamics even if it's just over 2 minutes long.

Ball LlunaTic-Toc would become one of the band's classics thanks to its catchy melody hook. The closer Titu-Tiru-Ritu is a very short rendition of a catalan traditional tune which in the next album Tramuntana would be revisited in a much more electrified and fast arrangement, becoming also a classic of the band despite of it's short length.

All the other tracks follow a similar style of dynamic blend of standard Fusion with tradional catalan floklore music, and they are all great. Really recommended for those who like Fusion but want something different and personal.

Companyia Electrica Dharma - 1975 - Diumenge

Companyia Electrica Dharma

01. Fesomies urbanes
02. Lila
03. Capità Trueno
04. Lalila
05. Eufòria
06. L'harmoniosa simfonia d'un cos. Part 1
07. L'harmoniosa simfonia d'un cos. Part 2
08. El "bailaor" còsmic
09. Tema dels carrers radioactius

Pep Fortuny - drums, percussion, vocals
Joan Fortuny - soprano saxophone, vocals
Carles Vidal - bass, guitars
Jordi Soley - keyboards
Esteve Fortuny - guitars
Lluís Fortuny - keyboards, accordion, trumpet, vocals

COMPANIYA ELECTRICA DHARMA are one of the forefathers of Catalan Prog Folk. They were formed in Barcelona in 1974, by Fortuny brothers - Joan (soprano saxophone), Josep (drums) and Esteve (guitar), along with Carles Vidal on bass and Jordi Soley on keyboards.

The band fused many aspects of Catalan folk music (emphasizing it on the saxophone)with jazz/rock/fuision, as well as other types of Mediterranean-based root music. They're music is festive, light-heartened and toe-tapping, but also complex and not banal at all.

The band's line-up changed (or better, widened) several times, once evene with a tragedy: Esteve Fortuny died of cerebral haemorrhage in 1986, during their live performance.

Later, Maria and Lluis Fortuny joined the band on keyboards and trumpet, respectively. Pep Rius as guitarist and Tiana Tra Bi on djember percussions are new members as well.

 "Diumenge", the debut album by the pioneers of Catalonian rock-fusion Companyia Eléctrica Dharma, was at the time a great impulse for the development of the avant-garde rock and jazz scenarios; nowadays, it can be truly appreciated as an unforgettable gem of Catalonian jazz-prog that served the band's purpose to boost their own musical voice by exorcising their jazz-dominated influences (akin to Weather Report and early RtF, and also coincidental with Perigeo). First and last, "Diumenge" is a lovely jazz-prog album, and so CED reveal that they have plenty of good ideas to offer to whoever may stop and listen to them. 'Fesomies urbanes' opens up the album with a free-form intro and then deliveres a warm, joyful main body. The overall mood is soaring and thereral, but the colorfulness is petnetly there to be noticed immediately. 'Lila' is a whole different thing: a soft piece led by the acoustic guitar and filled with electric piano washes and soprano sax lines, it delicately brings an array of successively free-jazz, bossanova and Flamenco textures. So beautiful... probably many listeners have taken the time to listen to this piece twice in a row before getting at the next track, and quite rightly so. Again, this album must go on and so we come to 'Capitán Trueno', which actually happens to be a constant CED staple. With its 10+ minute span, it brings back the fusion ambience and works on it with amazing intensity. Esteve Fortuny's guitar solo is one of his best moments ever; additionally, there are no words for me to express the solid power that the rhythm duo provides to the whole sonic scheme. The fact that the sax solo is the last one helps the track to contain itself in its own vibrant colorfulness rght up to the end, which in turn makes sense with the reprise of 'Lila' entitled 'Lalila'. 'Eufória' has a very convenient title: it is an euphoric piece, full of enthusiastic moods and optimistic sensations that will surely affect the listener's mind in a good way. Next are the two parts of 'L'armoniosa simfonia d'un cos': part 1 is mysterious and reflective, part 2 is stated on a funky mid-tempo that partially echoes the cosmic mood of part 1. It's like part 1 portrayed the foggy shades of late afternoon and part 2 focused on the stable blackness of the night - I wouldn't have minded if the fade-out of part 2 had come in later on, but in general, 'L'armoniosa simfonia d'un cos' generates a particular climax for the whole album's framework. 'El "Bailaor" cósmic' starts with an agile grand piano intro, then an introspective electric piano interlude follows, and by the 1 1/2 minute mark the main body is set to express a constrained mode of energetic extrovertiveness. Ultimately, the closer 'Tema dels carrers radioactius' dellivers a fuller extroverted aura, humorous indeed: it is a proper closure for such a colorful album. This CED debut is highly recommended to all prog rock collectors sensitive to the jazzier side of experimental rock.

Silver Apples - 1968 - Contact

Silver Apples

01. You and I
02. Water
03. Ruby
04. Gypsy Love
05. You're Not Foolin' Me
06. I Have Known Love
07. A Pox on You
08. Confusion
09. Fantasies

- Simeon / synth, Banjo, Vocals
- Danny Taylor / Drums

“The amazing thing is they make absolutely mind shattering music with all this junky equipment” – The East Village Other, 1968

This NY duet's second album, released in 69, is much in the artistic continuity of their s/t debut, but there is a notable difference, with leader Simeon also adding some banjo to their soundscapes, even if the said-instrument was often played separately from the rest of the instruments.
Opening on an electronically-simulated jet-airplane take-off, Contact presents a slightly different and more varied nature than its predecessor, including some two or three tracks that feature solo or mostly the banjo, which stick out like a sore thumb. The vocals can take on a Robert Wyatt-like feel, some other soundscapes reminiscent of the early Soft Machine, but for the most part, it remains much life their debut album.

With no support from their moribund label, Kapp, for their May 1968 debut LP, electronics wizard Simeon Coxe and ace drummer Danny Taylor chose to embark on a gruelling coast-to-coast promo tour, co-ordinated by their manager Barry Bryant. They played prestigious gigs at the Fillmore West and Andy Warhol’s Factory, but Cox’s homemade assortment of soldered-together oscillators (‘the simeon’) made gigging a complicated affair. Exhausted but still enthused, towards the end of 1968 they began taping material for a second album in Decca’s LA studio. Work continued back in New York, and in December they released their second 45, Confusion / You And I. It wasn’t a hit, but sessions carried on into the New Year, their work-rate sharpened by rumours of Kapp’s impending collapse.

Having agreed on the title Contact, Kapp’s ad agency put Bryant in touch with Pan-Am, who jumped at the chance to have one of their planes featured on a hip album jacket. The duo duly posed in the cockpit of a passenger plane, with drug paraphernalia scattered about them for comic effect. For the rear sleeve they obtained a photo of a Swedish air crash, over which was superimposed a shot of Coxe and Taylor posing with banjos. The LP appeared in the late spring of 1969. Rawer and more despairing in tone than their debut, it still displayed a strong pop sensibility that could have spelt a commercial breakthrough if only the label had been better organised. As it was, Contact was barely shipped. Adding to their woes, when Pan-Am saw the sleeve they instantly sued - but it was futile. Kapp was almost broke as it was.

In July, New York mayor John Lindsay invited the duo to play in Central Park as Apollo 11 landed on the moon, an event covered by Rolling Stone, who described Simeon as ‘the leading exponent of hippy technology’. Such high profile coverage was of little use in the face of their label difficulties, though. A third album was recorded at NYC’s Record Plant (with encouragement from Jimi Hendrix), but another deal never materialised and debts meant that their equipment was impounded. Having composed and played live music for an avant-garde theatre production entitled Cockstrong, in the summer of 1970 Silver Apples split, too worn down by poverty to continue. In the mid-90s, however, learning with astonishment of the interest their music had generated in the intervening decades, Coxe and Taylor reunited for some rapturously-received shows and further recordings, as well as finally issuing their ‘lost’ third album as The Garden in 1998. Misfortune intervened again, however, when Coxe broke his neck in a car accident on the way back from a gig in 1999 (he has since largely recovered), and tragedy struck when Taylor suffered a fatal heart attack in New York in March 2005. Yet the music the duo made is certain to outlast them both, and many of their contemporaries’ too, standing as it does as the most radical fusion of electronics and rock and roll ever recorded

Rough Diamond - 1977 - Rough Diamond

Rough Diamond
Rough Diamond

01. Rock And Roll
02. Looking For You
03. Lock And Key
04. Sea-Song
05. By The Horn
06. Scared
07. Hobo
08. The Link
09. End Of The Line

David Byron: Lead Vocals
Clem Clempson: Guitars
Willie Bath: Bass Guitar
Damon Butcher: Keyboards
Geoff Britton: Drums

"At the end of June 1976 David Byron ended what had been a six and one half year association with Uriah Heep. While this termination with that band seemed outwardly abrupt, it had been brewing within his own mind for some months
Several days later Geoff Britton, an old friend who had been a member of wings,called to ask Byron about his immediate plans. At this point they were somewhat vague,but Geoff convinced the singer that forming a new band was the right thing to do.
The decision made ,David called upon Stephen Barnett,an old friend,to guide them through the transition and become the bands manager.
Geoff and Dave had long admired Clem Clempson's guitar prowess as exhibited in Colosseum and Humble Pie,and decided to approach him.Clem,in the meantime,had just finished an American tour with the Steve Marriott All-Stars together with Damon Butcher, an extremely adept and unheralded keyboard player. The two of them were apparently going to form a band in Los Angles,but decided to return to London in search of a vocalist.
When they got back,the four of them got together and after several Vodkas and an hour of blowing,decided that what they had was a very interesting cross current of musical concept sand individual ideas of portraying them,which were diverse and yet highly compatible and frequently entertaining.The identity was already beginning to come through.
Their search for the fifth member was the longest and most frustrating;they tried out virtually every bass Guitarist you might have heard of and several you haven't. But it was Willie Bath, a freind of Geoff's and a highly experienced and respected musician who fitted in immediately.
Rough Diamond has enjoyed every minute of making this music and hope you do too."

Kicking off with the exuberant "Rock 'N' Roll", in which Byron seems to refer to his time with Uriah Heep when he sings , "I've given my life to a band on the road, I made my mistakes and maybe they showed, but I live for today, cause tomorrow's far away", he and the band seem absolutely upbeat and positive and quite frankly it's infectious and you kinda feel upbeat and positive yourself. Nice (but short) sax solo too. I think that when another reviewer suggests that these songs all start well but don't ever seem to build into anything is a fallacy. I mean maybe this guy was in a bad mood after being flipped off on his way home from work when he wrote that because each song here seems very well constructed and follows a natural progression to logical conclusions. No, there aren't any sudden rythmic Can freakouts on display but there are a lot of well produced mid tempo tracks and rockers deftly blended. "Seasong" is a real standout and shows how Byron could own any ballad he set his mind to. And that's the key here, Byron seems reinvigorated by his new bandmates and well he should be. Clem Clempson shows off an array of styles, powerful and rockin' on "By The Horn" (which features some Beatlesesque 'cmon, c'mon' back up vocals) and offering up searing solos like that heard on "Scared" , which sounds like something from a more intense Lennon song of the early 70's. Keyboard player Damon Butcher is not someone you've ever heard of but he certainly SHOULD have been on the strength of his varied contributions on piano and Hammond organ heard here. His sometimes subtle contributions add another layer of depth to an already thick sound. He was talented beyond his years and I'm surprised he never did anything of note after this. His solo piano piece, "The Link", is impressive indeed. The final song, "End of the Line" is a smoldering slow burn groove (with much thanks to Clempson's dark chords) and features some slightly ironic lines like, "But I've served my time and now it's past, there ain't no no no no way I'm going back to that line." Sorry David but you would right after the tour for this album.
Unlike many albums this one holds together and has a nice feeling of cohesiveness. This record was made by a bunch of guys who cared about the final product and a good listen will show it is a well polished and well produced slice of later 70's rock. It's not as heavy as a Led Zeppelin or Black Sabbath album of the era but then Byron, Clempson and Britton (not to mention Butcher and bassist Willie Bath) were not into playing that type of music in the first place. Byron's solo album from one year before this (Take No Prisoners) showed his love of old time rockers with a bit of the mystical and storyteller thrown in. That's basically what you get here with a cleaner sound and a set that is just more consistent.

Pinguin - 1971 - Der Grosse Rote Vogel

Der Grosse Rote Vogel

01. Der Grosse Rote Vogel
02. Die Angst
03. Der Frosch in der Kehle
04. Der Blaue Wind
05. Die Nachtmusik
06. Der Traum

Volker Plitz keyboards, persussions
Markus Schaub guitar, persussions
Joe Voggenthales guitar, persussions
Elmar Kast sax, flute
Klaus Gebauer vocal
Tom Wohlert bass, bongos
K.D. Blahak drums

One of the first bands on Achim Reichel's Zebra imprint for Polydor.

The seeds of Pinguin begin in mid-60's. when guitarist Markus Schaub, bassist Tom Wohlert, sax player Elmar Kast and drummer Klaus-Dieter Blahak all played together in the Beat group The Jay Five.After its dissolution they formed Talix along with singer Klaus Gebauer and guitarists Markus Schaub and Joe Voggenthaler.Talix released one album, ''Spuren'' at the dawn of1971, coming as a mix of Psych/Pop with Kraut Rock, and later in they year the band changed its name to Pinguin, signed by Metronome's prog-inclined branch label Zebra.The seven musicians recorded the album ''Der grosse rote vogel'' between September and November 71' at the Love Studios in Cologne and released at the end of the year.

Another great example of innovative and dark Kraut/Prog Rock, ''Der grosse rote vogel'' follows the lines of more well-known Kraut Rock bands such as EULENSPYGEL, EILIFF and TOMMOROW'S GIFT, incorporating influences from Jazz, Heavy/Psych Rock and Classical Music, delivering long and rich tracks full of impressive twists and convincing breaks and keeping a balance between complex, symph-oriented arrangements and loose executions.With seven musicians onboard, the music is extremely dense with extended instrumental passages, mixing the Classical side of Rock Music with more abstract themes, based on powerful sax soloing and edgy electric guitars, sometimes sounding like KRAAN having met with early ELOY on stage.There are also some beautiful, melancholic organ parts among the most furious ideas, supported by romantic flute drives, having an atmosphere somewhere between Psychedelic and Symphonic Rock.The closest Brtish comparison would be VAN DER GRAAF GENERATOR minus the acoustic underlines, as Pinguin's style heavily relies on scratching saxes, deep Hammond organ and a semi-Jazz attitude with Classical overtones, resulting a rather haunting and dark-sounding album.All lyrics come in German and the vocals are the only part of the album escaping its deep, sinister guideline.

Reputedly Pinguin disbanded around 1973.A trully obscure German group, the only member of which to appear in yet another studio project was Elmar Kast, who was part of the light Jazz band Ocean Orchestra, a group of musicians that recorded a self-titled album in 1979 (including members of Kaarst, Association P.C., Release Music Orchestra and Key).

The album was reissued only some 35 years later by the bootleg Minority label, a good reason why the band was not among the Prog fans' priorities.Great, pounding and rich Kraut Rock with long and progressive tracks.Strongly recommended.

Peter Kelley - 1969 - Path of the Wave

Peter Kelley
Path of the Wave

01. Apricot Brandy
02. High Flyin' Mama
03. Christine I
04. All I Needed Was Time
05. Childhood's Hour
06. The Man Is Dead
07. Christine II
08. In My Own & Secret Way
09. Path Of The Wave

Peter Kelley - guitar, vocals


David Budin (guitar, piano, bass, saxophone)
Rusti Clark (viola)
Chuck Colin (trumpet)
Danny Federici (organ)
Richard Gottehrer (viola)
Ed Guzman (drums)
Harriet Jacoff (piano)
Jon Lehr (guitar)
Walton Mendelson (flute)
Jack Nallon (bass)
Roy Nievelt (electric guitar)

Produced by Barton Friedman and David Budin
Arranged by David Budin
Engineered by Richard Husson and Warren Slaten
Remix engineer – Stanley Weiss

Original cover photos and design by Jack Ellis and Hanne Newman

East Coast singer-songwriter Peter Kelley made two superb albums, of which this is the first. An atmospheric blend of bluesy downer folk and psychedelia, it features eerie vocals and deft touches of violin and fuzz guitar. First released in 1969, it makes its CD debut here, and is sure to appeal to fans of artists such as Sandy Bull, Michael Hurley and Gary Higgins.

For what is effectively a major-label release, information on this little beauty is remarkably difficult to find. The only way to get your hands on the nine-track album these days is via the 2008 CD reissue by controversial semi-bootleg Radioactive offshoot Fallout. It’s up to you.

Suffice to say, it’s worth hunting down. Biographical details about its creator are starting to seep through thanks to the efforts of his niece, Ali Boyd, who is putting together a documentary about the man she met only once. In the mid-1960s, Kelley was wanted by the FBI for selling acid on the University of Rhode Island campus, so he abandoned his family and fled to New York. He began to write and perform his songs, and was considered a contender in the music scene by Seymour Stein and Richard Gottehrer, who signed him to the fledgling Sire Records. Some claim Kelley’s debut album, 1969’s Path Of The Wave, is notable as the first release on the now-global record empire – it was certainly amongst the first, and features contributions from Rare Earth’s Eddie Guzman and the E Street Band’s Danny Federici. Problem was, Kelley had simultaneously established himself as the head of a huge hash-smuggling empire, selling to some of the most influential music acts of the time. His only other release, in 1971, was ominously titled Dealin’ Blues – over the years, he became haunted by guilt about abandoning his daughter in Rhode Island. He developed crippling stage fright and anxiety, became an addict and lost everything, including his career in music. He returned to Rhode Island, and began work as a fish cutter. He apparently died in a car crash in 1983.
Path Of The Wave is stark, eerie, intense, and utterly compelling. Broadly speaking, it’s typical of the late-60s downer-folk sound – blues-based, with psych flourishes – but the songs are beautifully and unusually constructed, while Kelley’s extraordinary vocals demand attention. Paranoid, haunted lyrics are mainly delivered in a forceful whisper – somehow what you might expect from a man fighting his demons while on the run from the law. Occasionally songs are coloured with touches of haunting violin or flute, but otherwise the backing is sparse and mainly acoustic; only ‘All I Needed Was Time’ and ‘The Man Is Dead’ feature muffled drums and fuzz guitar. The latter is the album’s atypical centrepiece, a seven-minute jam built around a rollicking garage beat, psyche organ and Kelley’s most overtly circumstance-led words: “Look out the window, there’s cops in the trees / Nobody knows but my business and me / Don’t give a damn if it’s the narcos or feds / Listen to me brother, the man is dead”.
Elsewhere, the mood is one of quiet confession, a gentle yet disturbed glimpse into the shadows of a troubled mind. ‘In My Own Secret Way’ could (potentially) be interpreted as an address to his lost daughter: “In my own secret way / In lonely nights and empty days / I often dream of you and then of all the many people I’ve been”; while the sing-song melody of ‘Christine I’ sweetens a fragmented, poetic narrative: “Time was always paint to me / The canvas was my life”. The title track is a rolling folk shanty that closes the album on a musically upbeat note, but which hides another painfully personal tale: “I will never delight / In your being uptight / Or that the best I can tell you is ‘So long’”.
There’s little doubt that fans of Pearls Before Swine will find plenty to love here, as will anyone who appreciates the idiosyncratic outsider charms of Jandek. Here’s hoping the upcoming documentary prompts a proper reissue, and a reappraisal of Peter Kelley’s rare talent.

Pat & Lolly Vegas 
At The Haunted House

01. In The Midnight Hour
02. Walk On (Right Out Of My Life)
03. Papa’s Got A Brand New Bag
04. Under You
05. Let’s Get It On
06. Baby, I Need Your Loving
07. Here I Go (Falling In Love Again)
08. (I Can’t Get No) Satisfaction
09. Keep Me Up Tight
10. Good Lovin’
11. Any Old Time
12. High Blood Pressure

“Produced by Leon Russell, this album is a mix of garage and pop and contains renditions of Satisfaction, In The Midnight Hour and others, as well as six original songs” – Fuzz, Acid & Flowers

“Garage soul covers with lounge action” – Underground Sounds

This highly enjoyable 1966 set showcases the talents of the brothers who would go on to form million-selling Cajun-funk favourites Redbone. Produced by Leon Russell (who went on to work with Bob Dylan, the Rolling Stones and countless others), it’s an engaging combination of snappy originals and uptempo cover versions that blends blue-eyed soul and garage rock to memorable effect, and makes its CD debut here.

In the best traditions of showbiz, brothers Lolly (b. 1939) and Pat (b. 1941) Vegas had been slogging away for years before achieving million-selling success with Redbone in the early 1970s. Of mixed Yaqui / Shoshone and Mexican descent, they grew up in Fresno, California and allegedly began their professional musical careers aged only 13 and 14 respectively, backing 50s crooner Jimmy Clanton. When his work began to dry up at the start of the 60s, the brothers relocated to Los Angeles, where – in addition to 1961 solo 45s recorded for the tiny Audio International (Lolly) and Unity (Pat) label – they began a long apprenticeship in a dizzying number of peripheral musical jobs. A steady trickle of obscure 45s (by them but credited to the Individuals, the Sharks, the Avantis and the Routers) appeared on labels such as Astra, Spear, Chancellor, Regency, Apogee, Sapien and even Reprise, and they cut a 1963 LP as the Deuce Coupes entitled Horodders’ Choice for Del-Fi label.

In this period they toured as part of the Beach Boys band, and with the Marketts, and eventually attracted the attention of manager Bumps Blackwell, best known for his involvement with Little Richard and Sam Cooke. Under his supervision they amended their names from Vasquez to Vegas (allegedly to avoid racism stemming from their heritage) and by expanded their palette to include TV and film. By 1965 they were not only part of house band The Shindogs on the hit TV show Shindig (alongside Delaney Bramlett and Leon Russell), but also playing sessions for Glen Campbell, Johnny Rivers, Elvis Presley and Sonny and Cher, as well as appearing in timeless movie classics such as The Nasty Rabbit and It’s A Bikini World. In 1966 they had a regular gig at LA’s Haunted House club, a bizarre horror-themed establishment located at Hollywood and Vine, with a ‘chamber of horrors’ at its entrance and a stage resembling a monster’s head. According to this album’s absurd sleevenotes, its acoustics (supposedly amplified via the beast’s nostrils) even obviated the need for microphones.

With a deal with Mercury in place, Live At The Haunted House was allegedly ‘recorded live above the dance floor’. Not everyone is convinced that it is in fact live, but it certainly stands as an appealing blend of snappy originals and up-tempo soul and pop covers. Produced by their friend Leon Russell, it was barely promoted and didn’t sell well - but its release coincided with a general upturn in the brothers’ fortunes. Songs of theirs were being covered by Aretha Franklin, the Righteous Brothers, Bobbie Gentry, Dobie Gray and others, and in January 1967 PJ Proby peaked at number 23 on Billboard’s pop chart with their composition Niki Hoeky. The scene was fast-changing, and as 1967 progressed they increasingly began to share the Sunset Strip with bands like the Doors, Buffalo Springfield and the Byrds. As the counterculture edged ever closer to the mainstream, they decided on one last change of direction, adding Tony Bellamy on guitar and Pete de Poe on drums and renaming themselves Redbone. Their debut appeared in 1969, and by 1974 they were huge stars in Europe and had sold a million copies of Come And Get Your Love in the US. It was all a long way from this, their debut, which has languished in obscurity ever since, but deserves to be heard as a garage rock curio as well as a fascinating document of an important juncture in American popular music.

The National Gallery - 1968 - The National Gallery Performing Musical Interpretations of the Paintings of Paul Klee

The National Gallery
The National Gallery Performing Musical Interpretations of the Paintings of Paul Klee

01. Barbaric, Classical, Solemn
02. Diana In The Autumn Wind
03. Boy With Toys
04. Self Portrait
05. Fear Of Becoming Double
06. Pond With Swans
07. A Child’s Game
08. A Negro Child Does Not Understand The Snow
09. Fear Behind The Curtain
10. Long Hair Soulful

Bonus tracks

11. Long Hair Soulful (non-LP 45a)
12. Long Hair Soulful - instrumental (non-LP 45b)

 This superbly melodic and strange distillation of pop, folk, psych and jazz was inspired by the paintings of Paul Klee, and first appeared in 1968. Despite being credited to a proper band, it was in fact a studio recording overseen by the Cleveland-based team of jazz composer Chuck Mangione and local producer-arranger Roger Karshner, who called the songs ‘electronic paintings’. The album is presented here, complete with two rare bonus tracks from a pre-LP 45 credited to Bhagavad-Gita.

This mysterious album emanated from Cleveland, where producer Roger Karshner (who’d been involved with local hit-makers the Outsiders) and jazz musician Charles ‘Chuck’ Mangione decided to collaborate on a selection of so-called ‘electronic paintings’ based on the work of German-Swiss abstract painter Paul Klee (1879-1940). The first fruits of their labours emerged in 1967 – a single credited to Bhagavad-Gita (the Vedic Bible, translating as ‘song of the most holy’), featuring two takes on Long Hair Soulful, one vocal and one instrumental. Though it was no hit (making the original picture sleeve issues - Philips 40485 - highly sought-after today), they proceeded with an album the following year.

The Bhagavad-Gita promotional material made the lofty claim that Karshner had ‘reached a completely new plateau in the realm of pop contemporary music by putting the works of Klee to music,’ and the album is indeed highly unusual. Though credited to a band (who are pictured on the back cover), it is thought to have been a studio project overseen by the two men, and was issued with a glossy leaflet including lyrics and reproductions of various Klee pictures.

It must have been an expensive enterprise, and was not a successful one. Shortly afterwards, four of its tracks also appeared Diana In The Autumn Wind (GRC 9001), an instrumental jazz-pop LP recorded by Mangione’s brother Gap in August 1968, but conducted by him - Diana In The Autumn Wind, Boy With Toys, Pond With Swans and Long Hair Soulful. This fared even less well commercially, condemning the project to underserved obscurity, and putting a premature end to a nascent pop sub-genre.
CD Liner-notes

Literally an 'art-rock' concept album from Cleveland, inspired by the works of artist Paul Klee (1879-1940) and complete with a glossy leaflet with lyrics and pictures of some of his paintings.

A fusion of harmonious folk, pop and avant garde with some psychy touches, culminating in its most memorable track Long Hair Soulful with stoned vocals and acid-etched guitar. This had been released on 45 in 1967 in an abridged form and credited to Bhagavad Gita, backed by an instrumental version of the same (Philips 40485, with PS). The instrumental take can be heard on Beyond The Calico Wall CD (not on the LP version).

The musicians themselves don't get a name-check, just a picture - three guys and a gal.

Composers Roger Karshner and Charles Mangione were involved with several other Cleveland area acts and Karshner was manager of one of the city's more successful sixties bands, The Outsiders.

It's worth noting that several tracks on this album were also recorded, in jazzier versions, by the Gap Mangione Trio on the album Diana In The Autumn Wind(GRC 9001) 1968, with Charles Mangione, Steve Gadd and Tony Levin. Mangione kept on recording throughout the seventies, with at least three albums on A&M between 1976 and 1979. (Max Waller)

All music by Roger Karshner / Chuck Mangione, except track 8 by Roger Karshner