101. Mechelwind Suite 1
102. Mechelwind Suite 2
103. Mechelwind Suite 3
104. Mechelwind Suite 4
105. Mechelwind Suite 5
203. Papa Doing
204. Klaus With The Birds
Recorded At – Studio Nuremberg Symphonic Orchestra
Recorded At – SWF Studio
Recorded At – Stadthalle Erlangen
Bass – Dieter Bauer (tracks: 2-01 to 2-04), Paolo Grobben (tracks: 1-06, 1-07), Peter Malinowski (tracks: 1-01 to 1-05)
Drums, Percussion – Sidhatta Gautama Schwitzki
Guitar – Muck Groh
Organ [Hammond M3], Piano, Mellotron, Synthesizer [Mini Moog] – Steve Robinson (Rainer Geyer)
Saxophone [Saxes], Flute – Klaus Kreuzeder
01 - 05 recorded at Studio Nuremberg Symphonic Orchestra, Summer 1973, Germany
06, 07 recorded 22.10.1973 at SWF-Studio, Baden-Baden, Germany
Recorded live 23.12.1973, Stadthalle Erlangen, Germany
This double CD unites absolute rarities of famous German band era. AERA founded by in 1972 'your kids' guitarist Muck Groh and 2066 & Then keyboard player Steve Robinson were in Their very beginnings, When They recorded Their special extended version (26 minutes) 'Mechelwind Suite' of Their later classic title 'Mechelwind' ( on album 'hand and foot', LHC 44, vinyl edition). The suite is divided into Mechelwind 5 parts and is rather different from the later album version, not only Because of Steve Robinson's excellent keyboard playing but so Because of Muck Groh's fine guitar playing and Klaus Kreuzeder's Pleasant sax tunes. CD 1 finishes with two SWF Recordings 'Hodibbel' and 'Mechelwind' from October 1973 again with 2066 & Then keyboardist Steve Robinson. CD 2 contains a live performance of AERA from 12/23/1973 with the same line up as on CD 1. Highlights are the 15-minutes-version of 'Hodibbel' and 12-minutes-version of 'Papa Doing'. The recordings show AERA At Their Very Best during Their First Decade. Both CDs are digitally remastered from the original tapes. Double CD Comes With comprehensive booklet with a lot of unseen photos and band history told by founder-member Steve Robinson. A must have.
This is how it all began: Steve Robinson tells us about the band’s early history until he left in February 1974.
In spring 1972 I left 2066 & Then. The management planned to make the band more commercial and move to Munich, but Conny Bommarius (drums) and myself didn’t like the idea.
In June 1972 I got a phone call asking me to come to Nuremberg to meet “Ihre Kinder” guitarist Muck Groh. Thinking that “Ihre Kinder” were going to regroup I met him but he told me about his plan to form a new band. We quickly came to terms.
Meanwhile we had the chance to go on a Lake Constance tour with “Wind”, who were also managed by Jonas Porst. I asked Davy Crocket and Martin Roscoe, who were playing with 2066 & Then in Munich at that time, whether they wanted to join us. They agreed right away, since they weren’t very happy any more in Munich. Muck then arranged for Klaus Peter Schweizer (Professor Wolf) to join us as vocalist.
We only had ten days for rehearsals before the tour started, but still no band name, so we quickly agreed on “Name”. The Lake Constance tour lasted about 14 days and we played successfully in Kempten, Radolfzell, Singen and Waldshut.
Line-up: K.P. Schweizer: vocals, guitar Muck Groh: guitar Steve Robinson: keyboards Davy Crocket: bass Martin Roscoe: drums
At that time money was tight, so we used to ask the audience for a place to sleep for the night before the last songs were played. Most times we were lucky, and the fans parents’ reserve of (soft) drinks would decrease rapidly.
Our last concert was in Waldshut. Fortunately one fan took us with him to his flat on the top floor of a high rise. For space reasons, a couple of us had to sleep in the band bus. It was 6.30 a.m. when all of a sudden I heard a terrible noise. Helicopters landed, dogs were barking, the apartment doors were broken open and police with levelled machine guns stormed into the room. We could clearly feel the young policemen’s agitation. Opposite of me was Steve Leistner, the singer of Wind, in his sleeping bag. I knew he hated being woken up at the wrong time. He always freaked out then. When he opened his eyes I instantly signalled him to stay quiet, and – thank God – he remained calm. Afterwards we realized that the situation had been dangerous as hell and could have easily gone out of hand. We were marched off to the Waldshut police station and found out that the caretaker of the high rise had done observations at night and had mistaken us for the Baader-Meinhoff terror group. With all likeliness the Waldshut police station had never been as full as on that night, and many newspapers reported about the incident. “Name” didn’t last longer than four weeks, since K.P. Schweizer wanted to sing in German, but we didn’t. In mid-September 1972 Muck agreed to my proposal to call the band AERA. We became the fathers of a band that ate masses of excellent musicians over 10 years. The first ones to join the band were Heinz Schmitt, guitar and vocals, - a very well known musician from the Stuttgart region, who had formerly played with Zero - and Ditch Cassidy, vocals, who had an excellent name in Ireland and passed (and still does so) as the Irish equivalent of Joe Cocker and James Brown.
Ditch’s first single was released on Decca Records, produced by John Paul Jones. In 1970/1971 he had been member of Thin Lizzy for a short time. Today, he is still a star in Dublin and has gigs with famous musicians.
In the fall of 1972 we moved to an old farmhouse in Mechelwind near Erlangen. This is where we did our rehearsals, surrounded by fantastic and tolerant farmers and many carp ponds.
At that time the band consisted of: Ditch Cassidy: lead singer Muck Groh: guitar Heinz Schmitt: guitar and vocals Steve Robinson: keyboards and vocals Davy Crocket: bass Martin Roscoe: drums
The music back then was a mixture of rhythm & blues and rock; it was polyrhythmic, jazzy and keen to experiment. We played in Erlangen, Nuremberg, Augsburg, Mannheim, Hanover and other places. The band was fantastic and stood out by the diverse guitar play of Muck, which was rather bluesy, and Heinz, which was more rocky, as well as Ditch’s extraordinary voice. Bass and drums were working together so well as only the Brits could do it at that time. The winter of 1972/1973 had been unusually hard (up to -30°), but we survived undamaged. Then we lost Davy to the sect “God’s children”. He had been recruited in a café in Erlangen in early 1973. We tried hard to free him from their claws, but failed. No one was able to come near him. It took us quite a bit of effort to keep him from selling our entire music equipment along with our instruments and giving the money to his sect. He even sold his unique bass, which he had manufactured by a luthier in London, who had worked for Pete Townshend from the Who. It was the “high time” of sects. Even Ditch and his wife Mia were in an Indian “sect of light” and constantly tried to convert us, which was well and truly getting on our nerves. In Davy’s place Karl Mutschlechner, an Austrian (ex Nine Days Winder) joined the band. Ray Goode, a good friend of Davy’s, operated the mixing desk. He was the seventh band member. Unfortunately no recordings remain from that time. Although we were in Dieter Dierks studio in Stommeln, the recordings done there disappeared, as did the recordings we had done for the Südwestfunk. It’s a crying shame!
In March 1973 we had the chance to go on a tour in Ireland. Ditch had pulled strings with two concert managers he knew in Ireland, and, starting 1st March 1973, we were supposed to play about 20-30 gigs as, I believe, the first German rock band in Ireland. Contracts were sent to Nuremberg and signed. Shortly before we had done a gig in Nuremberg. We took our pay and went straight to Dover, from there on to Liverpool, then eight hours on the ferry, and arrived Dublin at around 7 a.m. Martin was driving the whole time. Once we got there Ditch called the managers, who told us that, now that we had arrived, we could start organizing the gigs. Not a single gig had been arranged so far. After spending the first night together in a hotel, the musicians were spread all over Dublin. Only Ditch knew where everybody else was staying. Before our first gig we had to survive for 10 days without money, relying on the hospitality of our guest families. One successful gig was in a famous club in Dublin (Zero). The warm-up act was David Coverdale with his band, who later became famous with Deep Purple. The last of the roughly 10 gigs was in Sligo. We sensed that Ditch wanted to stay in Ireland and had just about enough money to pay for the trip back home. So in April 1973 we decided to break off the tour and went back home without Ditch.
We had a couple more gigs in this line-up, without Ditch. But once again a tour of about 30 gigs was called off, in spite of the contracts that had been closed, all due to the criminal energy of a so called concert agent. After that Heinz and Karl went to the USA, while Martin returned to Mannheim. Our mixer, Ray Goode, who was just brilliant on the mixing desk, stayed on for another 2-3 months. Then he went back to England and joined Rod Stewart.
In the end of May 1973 Muck brought a saxophone player along to Mechelwind, whom he had heard at a concert in Erlangen. We played a couple of songs with him, Martin was still with us at that time, and the new saxophonist - Klaus Kreuzeder - became a permanent band member. At that time Muck and myself decided to play as many gigs as would come our way. We became a band that did only improvisations. Usually, we would simply call good musicians and ask them if they had time. So it wasn’t unusual to have two drummers at a gig, like Walter “Kippe” Helbig from Mannheim and Dada Schwitzki from Wuppertal, who later became a permanent band member.
In the summer of 1973 we played with the following musicians, among others:
Bassists: Peter Malinowski / Poland, Paolo Grobben / Holland, Dieter Bauer / Mannheim Drummer: Carsten Bohn, Walter Helbig / Mannheim ( Minus Two, et. al.), Lucky Schmidt (ex Wind), Dada Gautama Schwitzki Permanent musicians: Klaus Kreuzeder: saxophone (ex Ovo Pro) Muck Groh: guitar Steve Robinson: keyboards
Before starting a piece we would merely agree on the key. Most times we found a high musical level for our communication, otherwise things would have gone awry. The most difficult thing was to finish together, and invariably one of the musicians didn’t realize that the others wanted to end the piece. But Ray Goode’s artistry on the mixing desk bailed everybody out.
We chose our musical styles at random and were therefore difficult to pinpoint from a musical point of view. In the summer of 1973 we played on three open air festivals, with bands like Manfred Mann’s Earthband, Ufo, Status Quo etc. The first big gig was near Frankfurt. Buddy Miles, who was quite a drawing act at that time, was the main act. As it turned out later, the festival organizer was shady. After the first band had finished he went on stage and said, to our horror, that instead of Buddy Miles, AERA from Nuremberg were now going to play. All sorts of things were thrown on stage, and we worried about Klaus Kreuzeder, who couldn’t dodge in his wheelchair. There was barracking and tumultuous shouting. But in the end we did get a bit of applause. Even Manfred Mann and Status Quo, who had been listening backstage, were impressed. The next day, Manfred Mann even provided us with his mixer in Wetzlar. We played before an audience of many Americans on the open-air stage. In a quiet moment Peter Malinowski said to me: “Why don’t you play the Bonanza tune, the Yanks will be delighted.” The concert was a huge success. The fans hardly let us leave the stage. Later on Manfred Mann asked me whether our program had been different from the night before. When I told him we were improvising, he was amazed and delighted at the same time and said he wouldn’t have the guts to do that. After a concert people would frequently ask us how long we rehearsed to play like this. I believe it was back then when AERA’s special reputation was established.
The summer of 1973 had been successful and we believed we had found a more permanent line-up. We did our first demos in the Nuremberg Symphony Orchestra’s 4-track studio. All live recordings, of course. We recorded animal-, tractor and environment sounds near our home in Mechelwind, and gave the piece that name, too.
Shortly after a bicycle and bassist Peter Malinowski went missing - he had returned to Poland. He was replaced by Paolo Grobben from Holland. Together with him we recorded the two pieces at the Südwestfunk in Baden-Baden. Afterwards we tried to get a record deal. EMI in Munich told Klaus and me that there already was a saxophonist, Klaus Doldinger, and therefore we didn’t have a chance to get on the German market. Soon after Paolo had a serious car crash, and Dieter Bauer ( ex 2066 and Then) stepped in for our Christmas concert on 23.12.1973 in the Erlangen City Hall. Paolo could do the mixing and recorded the concert. These recordings disappeared and only surfaced again in summer 2009. In January 1974 I got an offer from Nine Days Wonder and left AERA on 23.2.1974. Looking back, playing with Klaus and Muck was perhaps the most valuable time musically speaking. It’s a pity that the recordings from the original line-up have disappeared, because both band and music were extraordinary. Steve Robinson, October 2009
Even the arts pages editor of the local Nürnberger Nachrichten was impressed by the recordings for the Mechelwind-Suite done in the studio of the Nuremberg Symphonic Orchestra. Together with AERA’s forthcoming gig at the old town festival of the Nuremberg main market they prompted him to muse about the band under the heading: “Rock in the mansion, a portrait of the new group AERA: pastoral pop-sound from a Franconian village.”
On their Ireland tour they made headlines:”AERA-latest super band to emerge from Germany”, but over here, AERA, the super band to emerge from Germany, is not very well known. AERA are from Franconia: the 5 musicians lived in Mechelwind, a small township in the county of Neustadt/Aisch, that is best counted in souls rather than inhabitants. The transitional phase, where musicians from numerous pop-bands, from “Frumpy” to English session-musicians who had got caught in Germany, played with the core musicians Muck Groh and Steve Robinson, has now been overcome. AERA has started to make a name for themselves with their own style, experimental searching has given way to a firm concept. After many exploratory trips in the Franconian administrative districts, Muck Groh found the right domicile for the group: a wonderfully spacious old mansion, where the musicians and a couple of friends could live and work without being exposed to repression or having to worry about paying horrendous rent for rehearsal rooms. Now that the first rehearsal tapes have been recorded in the Nuremberg Symphonic Orchestra studio, the excellent AERA musicians are planning to go professional. For months they work in all sorts of jobs, from countryside postman to building labourer, to come up with money for the equipment and the daily living expenses. The two pickups transport cheese and parcels during the day and the musicians and their equipment at night. Getting to know them you’ll be surprised how unusually (for rock musicians) straightforward, level headed and full of humour they are, and these characteristics are also expressed in their style. With a wink of the eye they call it “symphonic jazz rock”, jazz rock being the stylistic elements and “symphonic” the large dimension and full sound.
The first recording is a wonderful pastoral, the musical description of their countryside. They went to their friendly farmer next door and recorded all kinds of sounds on tape: grunting pigs, clattering milk buckets and a duet of tractors, where two farmers drove around the area for hours until the stereo effect was right. Their intention was to present individual situations that the listener was supposed to put together and form his own image. The audience should have the freedom to do their own thinking and not be pressed into the group’s concept with a punched sound. This is certainly one way to make the technicized rock scene more humane and individual.
After Steve Robinson left, AERA continued on as a 4-man formation, worked on the already existing titles, and guitarist Muck Groh came up with new compositions. In November 1974, after many months of gigs, the recordings for the first album “humanum est” were on the agenda. For more information please see the LP insert, which has been re-released on Long Hair (LHC 43). More information about AERA is also available on the insert of the reissue of the second album, “Hand und Fuss” (LHC 44).
Manfred Steinheuer, October 2009 Translation: Dr. Martina Häusler
All thanks go to Kosmos for providing the losless copy...
Pat Patrick & The Baritone Saxophone Retinue 1977 Sound Advice
01. Stablemates (Intro) 02. Funny Time 03. Uptighttedness 04. Eastern Vibrations 05. Sabia 06. East Of Uz 07. The Waltz 08. Stablemates
Baritone Saxophone – Charles Davis, James Ware, Kenny Rogers, Mario Rivera Baritone Saxophone, Flute – George Barrow, Pat Patrick, Rene McLean Bass – Jon Hart Congas – Babafemi Humphreys Drums – Steve Solder Piano – Hilton Ruiz
As I have said before... WE DO REQUESTS. If I have them I will post them, and otherwise at least post a friendly request to the rest of the visitors, I also love it when people request some obscure or not so obscure album, because more than once it has led me to discover music that I did not know before... so keep them coming!
Originally released on the El Saturn record label in 1977. Limited to 1000 copies. Heavy gatefold sleeve. 12 page fold-out booklet with photos and liner notes.
Pat Patrick, like John Gilmore, spent virtually his entire career with Sun Ra's Arkestra, leading to him being somewhat underrated. Patrick had a particularly appealing sound on baritone and, although he did not lead any record sessions of his own, he was one of the better baritonists of the 1950s and '60s. As a child he studied piano, drums, and trumpet before switching to saxophones. At Du Sable High School in Chicago he first met John Gilmore. Patrick did record with John Coltrane (Africa Brass), play briefly with Duke Ellington, was a member of a little-known version of Thelonious Monk's quartet (1970), and in 1974 he recorded with the Jazz Composer's Orchestra. But otherwise, Pat Patrick from 1954 on and off until his death was closely associated with Sun Ra, where he was a reliable sideman.
One of the rarest albums ever issued by Sun Ra's Saturn Records label – and one of the few dates to ever feature baritone saxophonist Pat Patrick as a leader – Sun Ra's longtime partner in the Arkestra, and a hell of a player on his own! The record is a heavy baritone date – with Rene McLean, Charles Davis, James Ware, Reynold Scott, and George Barrow joining Patrick on the lead instrument, plus a bit of flute – blowing at a level that makes the whole thing feel like one of the best creative ensemble projects on Strata East from the period – very jazzy, but also reaching for lots of new ideas too! The music is a lot more soulful than Ra's usual work – less outside overall, but in a good way – and the group also features a young Hilton Ruiz on piano, plus Jon Hart on bass, Steve Solder on drums, and Babafemi Humphreys on congas.
"Of all the saxophones, it is our opinion that the one with the most distinctive sound, warmth and range that can reach into that of other saxophones, is the baritone sax." As composer, bandleader, and full-time member of the Sun Ra Arkestra, Pat Patrick was a visionary musician whose singular contribution to the jazz tradition has not yet been fully recognized. As well as holding down the baritone spot in the Arkestra for 35 years, Patrick played flute and alto, composed in both jazz and popular idioms, and was a widely respected musician, playing with Duke Ellington, Eric Dolphy, Thelonious Monk, and John Coltrane, with whom he appeared on Africa/Brass (1961). But he is best known for his crucial contributions to key Sun Ra recordings including Angels and Demons at Play (1967), Jazz in Silhouette (1959), and The Nubians of Plutonia (1967), among dozens of others. But as a bandleader, Patrick only released one LP -- the almost-mythical Sound Advice, recorded with his Baritone Saxophone Retinue, a unique gathering of baritone saxophone masters including Charles Davis and René McLean. First issued in 1977 on Sun Ra's legendary Saturn Records imprint, Sound Advice is a deep-hued exploration of this special instrument, a lost masterpiece of Arkestrally-minded Ellingtonia on which higher adepts of the lower cosmic tones are heard in rare conference.
- Urs Ritter / drums - Erich Kuster / vocals, guitars, organ - Walter Rothmund / bass, keyboards - Werner Kuster / piano, keyboards, guitars, flute
Recorded at Agamemnon Studio, Schweiz (1980-1981).
AGAMEMNON was a German band that recorded their only release back in 1980. There is some speculation that the band is actually from Switzerland, as that is where the original LP was privately released. Either way, AGAMEMNON S/T is keyboard dominated space/psych/prog music. The lyrics are in German. It is reminiscent of Minotaurus, Epidaurus and in some parts Kyrie Eleison. This album features the first two stories from the mythologic Greek hero. It is divided into 2 main tracks as Parts I and II .
This mysterious 1980's album haunted my inspiration, and luckily I eventually found the Greek mythology inspired funny record. It is also a mythic heroic deed to carry the crown of 1970's progressive rock's crown trough the eighties, an era which is yet strongly present in the sound, especially in synths. Overall aural flavor resembles slighlty the tonal textures of CAROL OF HARVEST's first record without the vocals, and also the albums of STREETMARK. Lady vocals are not though used in this record, excluding some background parts. Mentioned synths support strongly this folky soundrealm, and slightly clumsy but pleasant male vocals describe the epic tale in English. Flow of music is logical, relating to European musical heritage in classical and traditional folk music leanings, performed trough post-psychedelic art rock philosophies. The duration of time used for studying the musical themes is quite amazing, as the dual parts are constructed from minimal basics. For example the first ten minutes concist from sole phasing between two key notes, which carry multiple layers of instrumental variations and innovations, giving birth to very stimulating and pleasant voyage. Also the cleverness in arrangements is evident, an factor not always coupling hypnotic underground music. The soothing vortex of symphatetic underground rock flow has cosmic and bucolic levels, where symphonic and psychelic traditional elements merge together as good willing, mellow entity. I think this record could fit as basis of animated movie for the legend, or maybe coul work for vintage gaming background music to early 1980's "Ulysses" PC game, or reading the Gilgamesh epic. So, "We were amused by this warmhearted artifact".
The group was produced in May 1968, in Bienne, by Pierre-Alain Kessi (Pakman) (guitar and vocal) and André (Dédé) Pascal (drums), reinforced by Bruno Zuest (vocal) (future father of “QL”s bassist) and by “Noldi” (bass guitar). One of its first gig consisted in the featuring, in Spring 68, into a pop contest organized by a Zurich magazine. Disqualified without glory with this commentary : “the group might be good if the guitarist did not use so much distortion…”. Nevertheless, the group carried on playing the blues out of the repertoires of Cream, Hendrix, Mayall, Led Zeppelin and Deep Purple. A first single was recorded but never marketed (Look for a woman), because the group had run out of money. After different changes of line up, the group consisted in a trio in 1970, following the withdrawal of lead singer and bass guitarist, this last one being replaced by Jean-Claude Fontana (Cacou). With this new formation, the group won the famous first price in Golf Drouot in Paris in November 1970. In December 1970, Dédé decided to quit the group and was replaced by the late and regretted Rodolphe (Jötu) Baumgartner. Between 1971 and 1974 After Shave became famous, creating their own legend and repertoire. They begun touring in Switzerland, France and Germany, and experienced their first LP called “Skin Deep”. This album is now being gloriously praised in “Hard rock anthology 1968-1980” by Denis Meyer, Editions Enfer Magazine, as well as in the “Encyclopédie du hard rock des seventies” of Denis Protat, Editions Alternatives. Those two specialists repertory more than one thousand groups and records. After Shave also produced two singles. The group took on a new English singer named Barry James Brown, and a new bass guitarist, Silvano “Gugus” Paroni replaced Cacou. At that time, Pierre-Alain Kessi and his drummer Jötu had the great honour to accompany Champion Jack Dupree on his last Swiss tour. After Shave recorded in 1974 a new LP called “Strange Feelings”, accompanied by a second guirarist, Peter “Misteli” Mischler, in a studio proposed by the producers in Antibes. Unfortunately, the producers not having ever paid the bill, the tapes were impounded and reappeared at the beginning of the 90’s with an Italian pirater edition, mentioning other name and titles of the pieces. Copies of the original mixing still being in Pierre-Alain Kessi’s possession, a new production can still be envisaged. At the beginning of 1975, After Shave recorded a demo with two titles : “So you’r gone away” and “Ain’t ready for you yet” that draw EMI’s attention, in England, who was ready to sign the group, as long as they changed their name. So After Shave became Slick. The contract would nevertheless not being signed, being cancelled by EMI’s directors who had just hit the jackpot with Ten CC’s “I’m not in love”, this last piece sounding like “So you gona way”. It seems not to be such a good idea to compete with oneself! Exit After Shave, exit Slick! Everybody was back again to its first occupations (from www.aftershave.ch).
01. Jointhouse Blues 4:06 02. You've Got to Move Me 5:19 03. I'm Here 3:35 04. Someday 4:08 05. Let's Come All Together 5:52 06. Trial / Punishment / The End 24:58
*Ferry Lever (guitar, vocals) *Polle Eduard (bass, guitar, vocals) *Ilja Gort (drums) *Uly Grün (keyboards)
After Tea was founded in 1967 by Hans van Eyck and Polle Eduard, both ex-members of the Tee Set. The group produced three moderate hits in 1967-1968: "Not Just A Flower In Your Hair", "We Will Be There After Tea" and "Snowflakes on Amsterdam". The most important composer Hans van Eyck left shortly after the recordings of the first LP, "National Disaster" and subsequently rejoined the Tee Set. Martin Hage was next to leave, replaced firstly by Pierre van der Linden (later to Focus, Trace), and later by Ilja Gort. In 1969, German keyboard player Uly Grun joined the group. That same year, Ray Fenwick departed for a solo career. He later returned to England to rejoin his 60s bandmates the Spencer Davis Group. He was replaced by ex-Baroques guitarist Ferry Lever. In 1971, the group finally split up. However, just four years later, Polle Eduard, Ferry Lever and Ilja Gort reunited once again to record the single, "Mexico", under the After Tea monicker. Polle Eduard continued his career as songwriter by penning a few for Nico Haak, and subsequently recorded an album of Dutch songs one year later, in 1976. Ilja Gort worked as a producer for Basart.
02. Really Love You
04. The Old Man
05. Rolling Down
06. Bible 1
07. Try People Try
08. (Le Secret De) La Viellle Dame
09. Your Mother
11. Things Of The Life
Bass – Xavier Dubois
Drums – Jose Munoz
Guitar – Ralph Benatar
Harmonica – (Roddy) R. Julienne
Published in 1975 on Discophon (Spain).
Limited edition of 500 Copies.
After Life are one of those insane rarities, so obscure that it’s just now surfacing to the collector market. They were a French group whose only album gained a release in Spain. Turns out someone was digging through an old farmhouse in Aragon and found a stash under the hay, behind the pitchforks....or something. As for the music, it’s one of the most baffling releases I’ve heard in years. On the plus half, there’s a haunting progressive laced sound, with that doomy vibe only the French seem to conjure up. Recalls first album East of Eden or The Visitors, and the vocalist has that gruff voice which is very similar to the guy from Alusa Fallax. Most of these are sung, whispered, or narrated in French. The Visitors influence is not that surprising when one learns that the master of all things obscure is involved: J.P. Massiera. On the downside, and I mean really down, there’s these godawful rock-n-roll tracks, like Bad Company playing the most insipid Bachman Turner Overdrive tunes. Complete with honky-tonk piano, harmonica and badly accented English vocals. It’s not a good A-side, bad B-side situation, but rather they are intertwined for an entirely frustrating listen. Obtain a cheap copy, but don’t spend too much time digging for it – at a record show or in the barns of the Spanish landscape...
Christmas Ball, December 1965 01. She's Not There - (2:32) 02. I Feel Fine - (3:02) 03. It's Good News Week - (3:03) 04. Mr. Tambourine Man - (3:25) 05. I Saw Her Standing There - (2:31) 06. Hallelulah I Love Her So - (2:32) 07. Freight Train - (2:09) 08. Love Potion No.9 - (2:02) 09. You Like Me Too Much - (2:40) 10. Day Tripper - (2:57) 11. We Can Work It Out - (2:10) 12. Peggy Sue Got Married - (2:28) 13. I Can't Get No Satisfaction - (3:46) 14. Yesterday - (2:13) 15. Bumble Bee - (2:19) 16. Perfidia - (2:16) 17. Another Girl - (2:12) 18. Summertime Blues - (2:32) 19. We Wish You a Merry Christmas - (1:37) 20. Get Off My Cloud - (1:39) 21. Sweets For My Sweet - (0:38) 22. Hang on Sloopy - (0:42) 23. Get Off My Cloud - (1:43)
Bonus Tracks Rehearsal, January 1965 24. Mr Tambourine Man - (3:27) 25. Always Something There to Remind Me - (2:37) 26. You Like Me Too Much - (2:50)
Rehearsal, June 1965 27. Perfidia - (2:18) 28. Trains and Boats and Planes - (3:06) 29. Last Time, The - (3:22)
Chemistry Society Party, December 1965 30. Hey You've Got to Hide Your Love Away - (2:24) 31. Take Five - (3:06) 32. We Wish You a Merry Christmas - (1:01)
The Baskervilles: Andy Brentnall - Vocals Kris Johnson - Guitars Brian Davis - Guitars Mo Foster - Drums John Carter - Background Vocals
Additional personnel Helen Wright - Tambourine
At first glance this doesn’t look a very promising release; for starters, the only future Affinity member within is Mo Foster, and he’s playing drums. Besides, the Baskervilles were no more than a short-lived college covers band, and the bulk of the group members left music swiftly behind once they gained their degrees. However the band appear to be astonishingly accomplished — even Foster, who learned drums while playing them here. As was the fashion in those days, the Baskervilles faithfully echoed as closely as possible the original style and feel of the songs, yet their repertoire was diverse enough to showcase their jazz, blues, surf, and R&B influences. Their steaming “Freight Train,” scorching “Summertime Blues,” thundering “Peggy Sue Got Married,” and exuberant “Hallelujah I Love Her So” show where their real sympathies lay. The group’s take on “Get Off of My Cloud” comes close to rivaling the Rolling Stones, whom they promptly snookered by using the song as the opening of a medley comprising more saccharine fare. Just as amusing is the Baskervilles’ recorder-led stab at “Take Five,” or Foster exuberantly battering about on his kit on “I Feel Fine.” More telling is the slight surf twist Kris Johnson gives “She’s Not There,” a trick he successfully employs elsewhere on the set, and reaches an apotheosis on the rehearsal version of “Perfidia.” The bulk of this album was recorded live at two school functions and the Baskervilles never attempted any original numbers, happy just to reproduce others’ hits in the band’s own indomitable manner.
01. Autumn Leaves (4:49) 02. Django (3:30) 03. My Funny Valentine (3:16) 04. I Got Plenty of Nothing (4:54) 05. Date Dere (6:21) 06. Lover Man (5:23) 07. Blues Etude (1:49) 08. Some Day My Prince Will Come (2:28) 09. Cubano Chant (2:35) 10. Jordu (0:58) 11. My Funny Valentine (5:00) 12. Autumn Leaves (5:31) 13. You Look Good to Me (6:17) 14. The Preacher (5:34) 15. My Funny Valentine (2:13)
- Mo Foster / Drums - Lynton Naiff / Piano - Nick Nichols / Double bass
After Baskervilles, drummer Mo Foster joins future Affinity pianist Lynton Naiff. Alongside double-bassist Nick Nicholas, the pair formed the succinctly and so accurately named Jazz Trio. This trio’s recordings make up this set, a clutch of songs recorded in sundry locations around their university base: a rudimentary studio, the debating chamber, and various noisy bars; spanning over three years. It’s fairly straightforward stuff; the repertoire is locked into light jazz arrangements of sundry pop and torch classics. However, one definite treat on board, as the final track, a reprise of “My Funny Valentine,” reunites Nicholas and Foster at a 1980 party, then adds Linda Hoyle’s so distinctive vocals to the brew. It isn’t brilliant, it isn’t especially well-recorded. But it does lend a neat circularity to the collection.
01. Jive Samba (4:50) 02. Dis Here (5:48) 03. Comin' Home Baby (3:48) 04. Out of the Storm (7:25) 05. Fever (3:15) 06. 13 Death March (5:42) 07. All Blues (4:17) 08. 81 (4:01) 09. A Day in the Life (6:48) 10. All Blues (4:25) 11. 81 (4:36) 12. Mercy, Mercy, Mercy (4:47) 13. Jive Samba (3:45) 14. On Green Dolphin Street (4:28)
- Mo Foster / bass - Nick Nicholas / double bass - Lynton Naiff / piano, organ (Hammond) - Grant Serpell / drums
A magnificent piece of archive scouring, “Live Instrumentals” was recorded during the month or so that Affinity vocalist Linda Hoyle spent recuperating from an operation on her vocal chords, leaving bandmates to fill their time with a month-long residency at Ronnie Scott’s jazz club in London. Nine of the tracks here, including tumultuous jazz-rock versions of the Beatles’ “A Day in the Life” (a staple of the like-minded Brian Auger’s repertoire around the same time), and “Fever” were recorded there; four more were taken from a period-radio broadcast, and the album wraps up with the instrumental rampage “On Green Dolphin Street,” recorded by the University of Sussex Jazz Trio, from which the original Affinity ultimately arose.
01. Moira's Hand (5:21) 02. Grey Skies (8:42) 03. Cream on Your Face (5:23) 04. Sunshower (5:47) 05. All Along the Watchtower/It's About That... (7:45) 06. Rio (4:50) 07. Poor Man's Son (3:25) 08. Sarah's Wardrobe (4:17) 09. Highgate (3:56)
- Mo Foster / bass, percussion, organ (Hammond), double bass, Fender piano - Vivienne McAuliffe / vocals, vacuum cleaner - Grant Serpell / drums, vacuum cleaner - Dave Watts / piano, organ (Hammond), vacuum cleaner
Singer Linda Hoyle and organ player Lynton Naiff left Affinity in 1971. This set — aptly titled for the timespan it covers — not only documents the band’s further activities, it also suggests that their ultimate demise was far from timely. With Vivienne McAuliffe proving a more than ample replacement, Affinity continued both gigging and recording, and this collection of previously unreleased demos and outtakes finds the band in excellent form. One can only imagine how great they might have been, had they had a full studio (and a recording budget) at their disposal!
01. Eli's Coming [Single] (3:28) 02. United States of Mind [Single] (2:45) 03. Yes Man (7:22) 04. If You Live (3:12) 05. I Am the Walrus (4:04) 06. You Met Your Match (2:59) 07. Long Voyage (4:17) 08. Little Lonely Man (3:57)
- Mo Foster / percussion, guitar (bass), double bass - Linda Hoyle / vocals - Lynton Naiff / percussion, piano, harpsichord, organ, piano (electric), vibraphone, Wurlitzer - Grant Serpell / percussion, drums
Excellent early jazz-rock/blues/pop/psychedelic band recorded and released just one album during their existence. Really pity! This album is compilation of their singles, outtakes and unreleased materials. As often with such releases, you can't compare it with regular album, but sometimes such releases contain interesting material for fans. Same case is there - if you never heard Affinity's music, just start from their excellent debut/only album. But if you listened it and love their music, as I am, then try to find this release. You wouldn't be disappointed. Main thing which attracts on this album - even from such eclectic material you can hear how huge potency had this band! Linda Hoyle is great vocalist, a bit in a manner of Julie Driscoll, and compositions all are melodic, with fantastic atmosphere of their time. Being a eclectic compilation, no strange songs are too different to sound as regular album. But - you will find some brilliant moments here, between some average and raw songs. Stylistically, album's music is eclectic mix or r'n'b, early bluesy jazz rock, psychedelic pop and rock. Main difference with debut album is there are some great songs and some average songs. On their only studio album there are no fillers at all. But as rare possibility to hear some additional materials, this album is great release for band's fans.
01. I am and so are you (3:31) 02. Night flight (7:15) 03. I wonder if I care as much (3:20) 04. Mr. Joy (5:02) 05. Three sisters (4:57) 06. Cocoanut grove (2:35) 07. All along the watchtower (11:36)
Bonus tracks on Angel Air re-issue (2002): 08. Eli's coming (3:32) 09. United states of mind (2:49) 10. Yes Man (7:25) 11. If You Live (3:15) 12. I Am The Walrus (4:08) 13. You Met Your Match (3:03) 14. Long Voyage (4:18) 15. Little Lonely Man (3:58)
- Mo Foster / bass, bass (electric) - Linda Hoyle / vocals - Mike Jupp / guitar, guitar (electric), guitar (12 String) - Lynton Naiff / piano, harpsichord, piano (electric), vibraphone - Grant Serpell / percussion, drums
Like many bands riding on the crest of the jazz-rock wave in the early '70s, AFFINITY released one album and were just getting their footing when they decided to split up, despite the album being well received by the critics. They were fronted by Lynda Hoyle, a powerful vocalist who sounds like a cross between Carol King and Julie Driscoll. The other band members were Mo Foster (bass), Mike Jupp (electric and 12-string guitars), Lynton Naiff (keyboards) and Grant Serpell (drums and percussion). Basically, their music is an eclectic mixture of a blues-rock with jazz, pop and folk influences as well as some rudiments of early '70s psychedelia. Their sound is very brassy and the Hammond organ omnipresent, the overall product sounding very progressive for its day.
Issued in 1970, their only official (self-titled) album shows much variety as well as plenty of soloing. As the excellent sound, musicianship and production will attest, it is a superb achievement for the times. Their material has since been reissued on different cd's, some featuring studio demos and full-band rehearsals. One of them is made up entirely of live instrumentals, recorded at a time when vocalist Linda Hoyle was temporarily hospitalized for a vocal chord operation, leaving the rest of the band on their own.
With horn-based rock bands like Blood, Sweat and Tears, Chase and Chicago enjoying massive late-1960s commercial successes, it was only naturally that record companies all over the world would begin signing any group of folks holding brass instruments. If nothing else, statistics would dictate that on occasion someone with actual talent would get signed to a recording deal and in this instance the Vertigo label had the numbers on their side. (Paramount acquired US distribution rights.)
Affinity traces its roots back to the mid-1960s when Lynton Naiff, Nick Nicholas and Grant Serpell met while attending Sussex University. The three discovered a common interest in jazz, forming The US Jazz Trio. When Serpell graduated fellow student Mo Foster took over the drums. Graduating themselves, Naiff and Serpell recorded a pair of singles with the Sussex-based pop outfit Ice, before deciding to return to a more jazz-oriented sound. Auditions added English teacher/singer Linda Hoyle and former Tridents guitarist Mike Jopp to the fold (Jopp had previously replaced Jeff Beck in The Tridents). Jopp's addition had another benefit in that his father agreed to finance the purchase of instruments for the group.
With their line up in place the band spent several month rehearsing and settling on the name Affinity. They made their public debut at a October 1968 performance at Ronnie Scott's London Revolution Club. Scott signed them on as house band and quickly became their manager.
Showcasing the talents of bassist Mo Foster, singer Linda Hoyle, guitarist Mike Jopp, keyboard player Lynton Naiff and former Ice drummer Grant Serpell, 1970's John Anthony produced "Affinity" is actually pretty entertaining. It's far better than the critics careless 'jazz rock' label would have you expect and while the horns undoubtedly put off lots of potential listeners, they're kept largely under control throughout the seven tracks. Instead the primary focus was on the attractive and talent Ms. Hoyle and to a lesser degree Naiff's keyboards (betcha thought I was going to say 'Naiff's organ') and Jopp's tasty guitar (check out his work on 'Three Sisters'). That's not to say I don't understand where the critics were coming from. Musically the collection shared some common ground with the likes of Brian Auger and Julie Driscoll, though thankfully without the irritating jazz influences favored by the former. I've also read comparisons to Grace Slick and the Jefferson Airplane though I don't really hear it. Hoyle certainly had a nice voice that shared the same crystalline delivery, but anyone expecting to hear West Coast-styled psych would be grossly disappointed by these measured performances. So what are the highlights? Well, to my ears Hoyle and company were at their best on the more focused, rock-oriented tracks like 'I Am and So Are You' and 'Night Flight'. On the downside, they turn in one of the worst Hendrix-does-Dylan covers I've ever heard (a seemingly endless 'All Along the Watchtower'). Vertigo also tapped the album for a UK-only single: 1970's 'I Wonder If I Care As Much' b/w 'Three Sisters' (Vertigo catalog number 6059 007).
"Affinity" track listing: (side 1) 1.) I Am and So Are You (Alan Hull) - 3:30 2.) Night Flight (Mike Jopp - Linda Hoille) - 7:15 3.) I Wonder If I Care As Much (Don Everly - Phil Everly) - 3:19 4.) Mr. Joy (A. Peacock) - 5:03
(side 2) 1.) Three Sisters (Lynton Naiff -Linda Hoyle) - 4:56 2.) Cocoanut Grove (sic) (John Sebastian - Zal Yanovsky) - 2:45 3.) All Along the Watchtower (Bob Dylan) - 11:37
Credited to Linda Hoyle and Affinity, there's also a 1970 English non-LP single: 'Eli's Coming' b/w 'United States Of Mind' (Vertigo catalog number 6059 018).
Having begun sessions for a follow-on album and an American tour, in early 1971 Hoyle and Naiff both handing in their resignations.
The survivors subsequently recruited ex-Principal Edwards Magic Theatre singer Vivienne McAuliffe and former Tornados keyboardist Dave Watts as replacements. The new line recorded some demos and actively toured, but didn't release another effort until some thirty years later when the small Angel label reissued the original LP with the inclusion of the single and five previously unreleased tracks, including two new instrumentals recorded by Foster and Jupp ("Affinity 1971 - 1972" - Angel catalog number SPJCD145).
AFFINITY's self-titled album from 1970 is one of the best English progressive albums ever. This album has been available on CD before, but this new Angel Air edition contains no less than 8 bonus tracks. The original LP was released on the well-known Vertigo label, which at the time were one of the most interesting labels for progressive rock. The value of the original LP has reached £100. Their music is a blend of blues, jazz-rock and progressive rock with lots of nice Hammond organ. The band had a fantastic female vocalist in Linda Hoyle. AFFINITY started writing for a second album, but in January 1971 Linda left the band and that was the end for the whole band. If you're into 70's progressive rock this album should have its given place in your collection, and if you haven't already got it you should buy it immediately.
01. World Of You 02. Resurrection 03. Say Georgia 04. With Her 05. Quotes & Photos 06. Words From A Song 07. Bessy Goodheart 08. Something Of Yours 09. She's Not Dead 10. The Years 11. Everything's Alright 12. The Children
Recorded at Abbey Road Studios 1969, in analogue Stereo
Tom Hartman - piano, guitar Bob "Ferd" Frank - guitar Phil Edholm - guitar Mike Lombardo - drums Bill Lombardo - bass
The Aerovons were formed in 1966 in St Louis, Missouri by Tom Hartman. A 1967 demo record was heard by a representative of Capitol Records. In spite of an offer to record in Los Angeles, the group held out hope that they could record in London, the recording home of their heroes, The Beatles. In 1968 they travelled to London twice, receiving offers from both EMI and Decca. In 1969, the band returned to London and recorded an album at Abbey Road studio. Guitarist Bob Frank, a long time member of the group, left the group just before they went to London to record, due to personal issues. Despite blogs and rumors to the contrary, Bob was never "let go" and was always missed, according to leader Tom Hartman. Only once in England did the band realized that his replacement, Phil Edholm, and the group had differences that proved insurmountable. He left shortly after they began recording.
Once the album was finished, the band returned to St. Louis where more personal problems between a group member and his family caused the group to splinter. EMI decided not to release the album. EMI invited Tom Hartman to come to England and reload, so to speak, but Hartman felt moving to England was too great a step at his age, and the partnership with EMI was dissolved. The album was not released until a CD release in 2003 by RPM.
01. Vamos a Buscar la Luz 02. Completamente Nervioso 03. Tema Solisimo 04. Arboles Difusores 05. Vendriamos a Buscar 06. Aire en Movimiento 07. Vine Cruzando el Mar 08. Nada Estoy Sabiendo 09. Sofisticuatro 10. Buen Tiempo
Pappo (Pappo's Blues) - guitarra, vocal Alejandro Medina (Manal, La Pesada, Pappo's Blues) - bajo Rolando Castello Junior [Bra] (Patrulha do Espaço) - bateria
Aeroblus -actually it should be "aeroblues", but the band’s name was misspelled on purpose-, it was a trio formed by Pappo with a Brazilian drummer, Júnior; and the bassist Alejandro Medina that was an ex-member of Manal and other Argentine erratic and tasty projects such Billy Bond y La Pesada for instance; adding to this, the bassist and vocalist Enrique Avellaneda, who is featured in some track, as well. The album it’s short, as usually happened with these heavy rock LPs released in Argentina during the 70s, particularly by the local Music Hall label (strangely this one was released by Philips that, if I’m not wrong, it is or it was a subsidiary of Polygram); and besides being short, "Aeroblus" it’s stylistically, dare one say “samey”, showcasing a heavy blues/proto metal with not too many variants...but in spite of this, the tunes are truly great, and the spirit, the sound of the band has a power that unavoidably moves you, if you can tell a good from a mediocre band in this genre, and Aeroblus belongs clearly to the league of the good ones. Aeroblus shows-off some groove and sophistication at the same time, especially I note the strength in the Alejandro Medina’s voice -in the songs he sings-, which it’s quite spectacular. The Pappo’s voice hasn’t that grit and stamina, on the other hand, though he was an original and fine composer and a fantastic guitarist; also his lyrics are obscure and semi-philosophical for moments; getting well fit in to the (for 1977) quite apocalyptic sound. Apparently the "Aeroblus" project was engendered in Brazil, where Pappo and Medina met the drummer Júnior Castello from the band Patrulha do Espaço (band that would release an album in the mid 80s with Pappo himself as stable member)...the recordings for "Aeroblus", the album, were finished in Buenos Aires, with a rather low-budget production: nonetheless the technical quality is pretty decent. I have several favourite tracks to pick from here: “Vine cruzando el mar”, “Nada estoy sabiendo”, “Buen tiempo” (with a killing-heavy wah-wah), “Completamente nervioso”, and the enigmatic “Vendríamos a buscar”, that years later Pappo re-recorded with a different title: “La adivina”, graced with mysterious lyrics that in some moment say: “If you accepted, it’s because you were with the fortune-teller; and she told you, that we would come for you…”
This album is quite unknown, maybe unfairly , but as final pseudo footnote, I’d like to say that its lyrics are important in context and form: to some extent, the listener who can not understand them, won’t appreciate fully the LP in its intriguing or suggested parts; and incredibly these parts exist, they are there.
Released by Long Hair. Tracks 1, 2 were recorded live on 17, 11, 1977, Nagykanizsa, Hungary. Tracks 3, 4, 5 were recorded live on 20, 3, 1979, Münnerstadt, Germany. Tracks 6, 7, 8, 9 were recorded on 2, 5, 1979 at Studio Franken (Studio 1), Nuremberg, Germany.
Volume 2 of the Bavarian broadcast series present further recordings of Area, for once from the period 1977-1979. Five live tracks from 2 concerts and four tracks recorded in Bavarian Broadcast Corporation owned studio 'Franken' 'at Nuremberg'. Aera played a lively jazz-rock dominated by soloist and sax and flute player Klaus Kreuzeder, based on powerful and clever keyboard playing all held together by amazing bass player Matz Steinke and drummer Lutz Oldemeier (of Missus Beastly-fame) and lots of percussions. Aera were in a very good shape and gave their best. Highlights are the 17 minutes long version of 'Dracula´s Frühstück' and nearly 10 minutes version of 'You need some speed'. All titles were digitally remastered from the original tapes. Booklets contains the history of the recordings and rare photos. Highly recommended!
Recorded live 09.01. 1975 at St. George's Church, Freising (near Munich). Germany Produced 1975
Besides the SWF (German south-west broadcast) series with German bands of the Krautrock era,Long Hair start a new series with recordings form the vaults of Bavarian Broadcast Corporation (located in Munich). Volume 1 of the series is dedicated to Aera, one of Germany´s finest bands of this time and well known because of their albums 'Humanum Est' and 'Hand und Fuss' (vinyl version re-released on Long Hair, LHC43 and LHC44). On January 9,1975 Aera with the line-up (same as on 'Humanum Est') Muck Groh, guitar, Klaus Kreuzeder, sax and flute, Dieter Bauer, bass and drummer Wolfgang Teske, performed in an extraordinary setting-St. George´s Church in Freising, district of Munich. The idea of the concert was to open the church for contemporary music and to give the musicians the chance to interpret the Roman Catholic liturgy, the 'Holy Mass', with their music. Aera went a long with the five components of the holy mass and played two titles of their up coming album 'Humanum Est' and another three titles that were not included on any album. The titles presented during the second part of the concert were earlier versions of titles that were later released on the album 'Hand und Fuss'. Aera played more than 75 minutes. All titles were digitally remastered from original master tape. Booklets contains story and a review of the concert and rare photos. Highly recommended!
I am missing the Mechelwind abum... Anyone out there that has it... and feels like posting a rip?
01. Mobile Base (2:41)
02. Fake Jake (3:40)
03. Für Charly (10:05)
04. Wieder Da! (4:22)
05. Akataki (18:40)
- Klaus Kreuseder / Soprano & Alto saxophone
- Achim Gieseler / keyboards
- Peter Kühmstedt / bass, guitar, vocals
- Limbus / percussion
- Toni Danner / drums
finally, they got their act back together with AKATAKI, which saw another change in style, partly a step back to the energy of HAND UND FUSS, though the high-tech setting of Achim Gieseler's computer keyboards against a heavy jazz-fusion base led to unusual and often startling results. Whilst being Aera at their jazziest, it's also their most experimental and shows a band still striving for the ideals set a decade before.
Aera's last album is also one of their best and compares favorably with other excellent early 80s German fusion albums like Embryo's "Zack Gluck" and Kontrast's sole work.
01. Don't Come Back (5:21) 02. What I Can Do, You Can Do Too (3:02) 03. Peace (2:08) 04. Supercool (3:54) 05. Nevertheless (3:54) 06. Brainstorming (4:24) 07. Grand Slam 81 (4:13) 08. Pricklepit (6:37) 09. Empress (4:38)
- Peter Kühmstedt/ bass - Achim Gieseler/ piano, wave computer - Limbus/ percussion - Toni Danner/ drums - Klaus Kreuzeder / lyricon, Soprano & Alto saxophone
This 5th album of this german progressive rock band mixes jazz and funk with strong percussions and European influences. This would have to be considered Aera's weakest and most commercial effort. The "funky chicken" component is pretty high here. Still, the album has its merits, including some nice atmospheric bits that belie its popstar ambition.
01. Scream Your Horizon (9:20) 02. Yellow Moon (2:51) 03. Stoned Out (3:19) 04. What I Can Do, You Can Do To (4:22) 05. Sulzheim Swinging (8:39) 06. Harm-O-Nights (2:52) 07. Scooter Future (11:33)
- Roman Bunka / guitar, vocals - Locko Richter / bass - Klaus Kreuzeder / lyricon, Soprano & Alto saxophone - Lutz Oldemeier / drums - Helmut Meier-Limberg / percussion - Freddy Setz / drums, organ
This live AERA album released in 1980 certainly sounds different from the studio album "Turkis" that they released the year before. In part that might be because EMBRYO's guitarist Roman Bunka gets a prominant role as you might expect in this live setting. "Scream Your Horizon" opens with this raw and aggressive guitar that caught me off guard. It does settle quickly though with vocals.This reminds me of KRAAN only not nearly as good.The guitar is soloing after 2 1/2 minutes and later around 4 1/2 minutes followed by organ. A calm with sax before 7 minutes. "Yellow Moon" is experimental then it changes after 1 1/2 minutes as a beat takes over and vocals join in.
"Stoned Out" is another experimental sounding track. "What I Can Do,You Can Do To" is both catchy and a little funky. Guitar 1 1/2 minutes in.This is the best song so far.
"Sulzheim Swinging" has some prominant sax with drums. Good song that turns more intense before 5 minutes. "Harm-O-Nights" has this raw sounding guitar at first then the sax, organ and drums take over.This is great ! "Scooter Future" is laid back early on as vocals arrive 1 1/2 minutes in. It does pick up before 3 minutes and slowly builds. Nice bass too. Sax leads before 6 minutes then it settles back with vocals a minute later. A fuller sound 10 1/2 minutes in as the vocals continue.
01. Fetzenotto (4:01) 02. Pfiffe (4:23) 03. Dracula (11:04) a) Teen Clown b) Park und Elfe (Sarg und Nelke) c) Teen Clown Goes Downtown 04. Annettchen (1:19) 05. You Need Some Speed (6:28) 06. Türkis (8:36) 07. Siebert (7:03)
Third album from this German combo that was entering a more difficult phase, plagued with personnel problem and they had to wait almost three years since the release of their second album. I am not sure about this but the group might have disbanded during this time. By now (79), the Ihre Kinder and Embryo roots were long gone, and guitarist Muck Groh had departed (although he guests on one track), leaving wheelchair-bound saxman Kreuzeder a bit alone at the driving wheel. As he was the only remaining member from the previous two albums, understandably the group sounded quite different, especially that the JR/F scene had gone from jazz rock to jazz-fusion. Still released on the legendary Erlkonig label, this album (sporting a cartoon-like artwork) sounded very different, starting with vocals and yet another shift away from progressive rock towards jazz-fusion. As said above, the guest musos included old Aera Muck Groh, Missing Link's Limberg and they would be joined for touring and the future next live album by ex-Embryo Roman Bunka. But Aera was now a very percussive group with two full time percussion players and most other contributing some more at a given time, thus giving often a Latino feel to the album, a bit like Pazssport did at the time, although not quite that extensive. The vinyl's first side starts very mildly with two run-of-the-mill fusion tracks that are effortlessly forgotten as soon as you hear their three-piece suite Dracula. Driven by a descending keyboard line, the group plays their heart out with Kreuzeder soloing away. The closing tidbit is also best forgotten.
The flipside doesn't really start much different, with the average opener You Need Some Speed and the closing Siebert (both above the 6-min mark, and enjoyable if not too picky), the highlight is again the longer (title in this case) track. Indeed Turkis has a slight eastern feeling and a great electric piano that does give it the edge over the rest of the album. Isn't it sad to realize that the two best tracks are indeed the most progressive rock ones? It is safe to say that this album is saved by Gieseleer's keyboards, even if the rest of the group are all ewxcellent musicians (Kreuzeder in particular), but the inspiration was not leadig the group towards adventure, but rather commercial safety.
As mentioned above a live album was up next and then the group will endure further line-up shuffles, record ever-increasing commercial jazz-fusion albums (Akataki is still worthy) on another legendary label, Spiegelei. As for the present album, it is an honest JR/F album of the time (but 79 was not the best of times for that style of music) , but we are a far cry from their firqst two albums, which are much better and should be investigated in priority.
Aera fits in under the fusion umbrella, although I hear a strong psychedelic vibe from this band as well - meaning that whether you're cruising the Herbiedelic beboppadoo jazzy highway - or melting gently out on the terrace like a psychedelic gummy bear in heat, chances are that you're going to love this one like you love feet.
On Hand und Fuss (Hand and Foot) you are met with a delicious mix of melodies and a raw psych groove. No such thing as dry chops and duduliduh dududuliduh on its own - no, there's a sweetness to these pieces, that not unlike Danish band Secret Oyster manages to portray the music here as warm, vibrant and effortlessly flowing. Often you get obstacles in your fusion - blocking the easy way forth, making the melody skip the beat - drive around the set course, deviate from everything else, and leave everything behind for a nice spot in front of the band right up close to the mic. This is not the Aera way! This is smooth and floating jazz rock - with emphasis on the rock part of the equation. It's psychedelic as I mentioned earlier, but in a groovy gravy kind of way - with warbling bass lines and wah wahing guitar textures that sink into each other like hot scrumptious chocolate lovers making sonic adult gymnastics as the tunes drift along.
Just like Secret Oyster, the tracks here are often lead by birdy bird wind instruments such as saxomophone, flute and the occasional oboe. Mmmmhhh I love the oboe. It's like the instrument world's version of Pee-wee Herman... All these tooting birds are very attuned into the melodic approach taken by the other instruments around them. They don't complicate things unnecessary - they stay the course, but in a most brilliant way - which makes me think of the small insistent blackbirds outside my window that every summer wake me up around 5 in the morning with these sunshine serenades that all sound very smooth and beautiful - unlike the later afternoon sessions where they seem to have drunk a fair deal of alcohol, because they all start sounding like Charlie Parker and John Coltrane. Outside the birds, we have a violin taking care of business from time to time, and in a genius kind of way, it actually sounds perfectly like these aforementioned wind instruments - albeit with another timber and voice of its own. These are all the guiding beacons of Hand und Fuss, but where things start to get fuzzy and slightly psychedelic is in the guitar department, that whilst often sticking to the back draft with a tight rhythm bearing duty accompanying the bass lines - also freaks out when the moment calls for it - changing the scope of the track - adding olive oil to the mix slithering the tunes out of bounce in a most astonishing manner.
There are no keys or synths on this outing and I quite frankly don't miss them. If the individual track needs a splash of something out of the ordinary, the instruments on deck will surely take care of this in a jiffy - just like the weird and oddly infatuating animal piece called Elephen Elephants - where the sax changes its natural presence in for a much more lovable and nasally charged pachyderm sound, that takes me back into the Jungle-book with Colonel Hathi marching along - blowing his trunk to the saucy beat of the forest. So sweet this track, and again so melodic and alluring that it practically invites you in.
This is a jazz rock album for the uninitiated and those who are still wondering how and where to start in these fusioneros waters. These are treacherous - yes I know, but Hand und Fuss is so welcoming, rocking and melodically enhanced, that it is damn near impossible not to get a little smitten by it. This is a perfect album to start your journey into the more jazzy lands of prog rock, and if you already love this kind of stuff - you'll most likely adore this one. Somewhere between Kraan and Secret Oyster lie Aera with their marvellous brand of jazzy psych rock - that swoops over you like a cosy hand held sonic sprinkler. Frooooossshh!!!
AERA has been a little-known band hailing from a small Bavarian village called "Mechelwind" (hence the title of one track on their second album). Similar to related band EMBRYO members were coming and going but originally the band consisted of guitarist Muck Groh (IHRE KINDER), bass player Dieter Bauer (2066 AND THEN), drummer Wolfgang Teske and wheelchair-bound Klaus Kreuzeder on sax and flute. They issued altogether four studio albums and one live one with changing line-ups and exhibiting different music styles. Their first two releases which can be obtained as a 2-in-1 CD (being a very worthy purchase that luckily I happen to own) are basically revealing a lively jazz-rock sound at times with extended jammin' not that far away from EMBRYO, KRAAN or NUCLEUS.
Their debut "Humanum Est" here in review was already quite an impressing demonstration of their musical prowess though still lacking a bit of variation which is nicely compensated by the addition of their second one on the CD-reissue. The six fully instrumental compositions, all written by guitarist Muck Groh can be basically described as guitar-dominated laid-back virtuoso jazz-rock with some blues and folk tossed in. Very noteable are Kreuzeder's presentations on sax and flute, two instruments belonging to my favourites in that kind of music. Though being by all means a very noteworthy debut and a highly enjoyable album especially on second side of this record the music seams to become a bit meandering and repetitive. Thus without his counterpart "Hand und Fuss" "Humanum Est" might appear slightly disappointing for advanced Krautrock fans after a few spins.
Nevertheless AERA can be considered as another very interesting band within the rich German progressive scene of the 70's. Moreover it has been one of those making music just for fun without any commerial concern what's demonstrated very well by the fact that their debut has been rejected by all commercial labels forcing them to publish it on their own one "Erlkönig". By the way for those wondering what the oddly sounding titles actually mean: they are some sensible nonsense partly in ancient Bavarian idiom that is even incomprehensible to most German speakers.
''Acqua Fragile'' was actually heading for an export release, something that eventually never happened, and the album went rather unnoticed within the Italian borders.For the second album Acqua Fragile insisted on writing English lyrics, but this time the new album ''Mass media stars'' was released on the Ricordi label and succeeded a US release as well by Import Records. By the time of the release of ''Mass media stars'', PREMIATA FORNERIA MARCONI had already started writing albums in English for a possible abroad success and Acqua Fragile followed exactly the same receipt both lyrically and musically.With a talented and highly expressive singer in the line-up, Acqua Fragile sounded like a poor man's P.F.M., having little personality, but musically the band played a rich and passionate Symphonic/Art Rock with intense interplays and plenty of dramatic moments.Organs and mellotrons along with the alternating acoustic and electric guitars remain the band's driving forces, offering nice symphonic arrangements with some great ideas popping out and a pretty solid songwriting, combining vocal- and instrumental moments with comfort.The resemblance to P.F.M's and GENESIS' style sounds often a bit annoying, as the album is dominated by the multi-vocal harmonies, the numerous piano paces and the folky acoustic textures, sometimes with a slight Mediterrenean feel, but again the virtuosic instrumental battles and the first-class harmonies are not an easy thing to achieve, thus Acqua Fragile overcome the lack of originality with passionate and very tight musicianship all the way.
At the fall of 1974 Mori left the band and was replaced by The Trip's keyboardist Joe Vescovi.The live album ''Live in Emilia - Spring 75'', issued in CD format in 1994, gives a good idea of the sound with the new line-up.The same year though Bernardo Lanzetti quit to join Premiata Forneria Marconi, he was replaced for a short time by future-I Dik Dik Roby Facini, but Acqua Fragile disbanded for good shortly after.
Another nice album along the lines of P.F.M.'s English versions of Classic Italian Prog.Top notch Symphonic Rock, where the word ''originality'' is totally absent, still strongly recommended
ACQUA FRAGILE formed in Parma, Italy in 1971. They are perhaps best known for the band that were to supply PFM's English singing vocalist Bernado Lanzetti, making his debut with them on Chocolate Kings.
Lanzetti with guitarist Gino Campanini and drummer Piero Canavera had played together in Gli Immortali. Joined on keyboards by Maurizio Mori and bassist Franz Dondi, formerly of I Moschettieri, who released a single in 1967, they shortly changed their name to ACQUA FRAGILE.
It was to be two years before their eponymous debut album saw the light of day, due to difficulty in finding a record company that would allow them to release it with English sung lyrics. Musically they bore a resemblance to GENESIS and GENTLE GIANT, with harmony vocals not unlike CROSBY, STILLS, NASH AND YOUNG, no doubt influenced by the time Lanzetti spent in the USA. Lanzetti's vocals have a similar feel to Roger Chapman of FAMILY and the album is skilfully played by the already at the time, well versed players. The plan to sing in English backfired as it wasn't well received in Italy and didn't receive a release abroad. Undeterred, their second album Mass Media Stars, released in 1974 saw the band treading similar musical territory and did receive a release in the USA.
Mori quit and was replaced by ex-THE TRIP keyboardist Joe Vescovi and shortly after a bigger blow came when Lanzetti left for PFM. The band soldiered on for a while longer bringing in former I TOP 4 and I DIK DIK man Roberto Facini. Lanzetti remained with PFM until 1980 followed by a successful solo career. He is now a member of MANGALA VALLIS. Canavera and Dondi went on to play with ROCKY'S FILJ and the ACQUA FRAGILE name has recently been reborn as the ACQUA FRAGILE PROJECT by Dondi. He is the only original member participating in the project.
Now here's an often underrated Italian prog album. Sure, it's not very original; the GENESIS and GENTLE GIANT influences are obvious. But I feel the music stands on its own merit. This is not a weak album at all, it's actually a very good one. ACQUA FRAGILE plays with great enthusiasm and a nice folksy touch. Great melodies. The vocalist does not put me off at all, I like his style even though he sounds like a GABRIEL impersonator at times. Lyrics are in English, I'd prefer them in Italian but that's not really a problem. All in all, an enjoyable album and certainly an excellent addition to any prog music collection.