Friday, July 7, 2017

Jazz Rock Experience - 1970 - J.R.E.

Jazz Rock Experience 

01. Listen Here 3:40
02. Ode To Billy Joe 5:20
03. Blues No Blues 9:00
04. Sham Time 6:10
05. Street People 2:30
06. Crazy Horse Chief 6:50

Bass – Hans Foletti
Drums – Kenny Schmidt
Electric Piano [Wurlitzer] – Nick Bertschinger
Guitar – Raffael Waeber
Saxophone, Effects [Multivider] – Bruno Spoerri
Trumpet, Effects [Multivider] – Hans Kennel

A group of Bern, of which, for the record of a single album, briefly included some well-known jazz musicians. Swiss jazz trumpeter, Hans Kennel, a member of local groups as Alpine Jazz Herd, Broken Dreams, Habarigani, Hans Kennel Quintet, Jazz Community, Magog, The Modern Jazz Group Freiburg, The Mytha Horns, Steve Lacy 6 , Steve Lacy Double Sextet and the Swiss All Stars. Saxophonist Bruno Spoerri, and also actively experimenting in electronic music, starting already in 1965, mainly in music for films, TV jingles, etc.

The exact same lineup had recorded an album a year earlier under the name of 8 (or Hans Kennel Octet) called "8 ?– Live At The Rössli, Steinen" ( which I have tried to get for ages, but to no avail... does any of our beloved visitors have a copy? I am sure  am not the only one that would appreciate a digital copy of it! (Thanks in advance!)

Gruppo Afro Mediterraneo - 1972 - Blues Jazz Session

Gruppo Afro Mediterraneo 
Blues Jazz Session

01. Afro Mediterraneo Blues 18:20
02. Dondolando Sul 24 07:13
03. La Piantagione Del Blue 06:52
04. Cap. Roland Kirk 03:55

René Mantegna: Percussion
Marco Merilli: Sax, lLute
Daniele Cavallanti: Sax
Tom Paxton: Bass
Walter Maioli: oboe, flute, harmonica
Marco Rossi: Guitar
Beppe Guestavigna: Guitar
Ubaldo Scotti: Bass

Back in the early 1970s, members of Milan's disparate, multi-cultural musical community would regularly gather together for "blues-jazz" jam sessions. These improvised musical workouts, in which the rhythms of Africa, the Exoticism of the East, the electric blues of John Mayall and the dominant jazz trends of the day were melded into thrilling new shapes, were rarely recorded. This album, then, offers a rare glimpse into this little-known Milanese musical movement. Featuring four straight-to-tape improvisations from 1972, the album variously showcases heavy blues harmonica solos, spiritual jazz tropes, North African hand percussion, fluttering flute solos and killer jazz guitar throw-downs.

The release of Gruppo Afro Mediterraneo’s 1972 Blues Jazz Session, represents yet another revelation ushering from Black Sweat’s hands. These never before heard recordings, which date to 1972 – foreshadows the formation of Aktuala by less than a year. The album includes a number of that project’s soon to be members, in conjunction with those who later went on to form the equally legendary project I.P. Son. It is a sonic artifact, the importance of which soars to towering scale – a view into what lay before all that was to come. Gruppo Afro Mediterraneo, like much of the broader Italian scene, pays a beautiful disloyalty to the things it loves. It is an irreverent hybrid, pulling from the diverse musics of the world – presenting a hypothetical tangent. This is what the Pig Pen era Grateful Dead would have sounded like, had the band gone instrumental, fallen in love with Free and Spiritual Jazz, taken too much acid, lost their shit, and then landed in India or Africa for a bit too long. Like so many great things, 1972 Blues Jazz Session feels like it should have never been. It’s a moment – a celebration – a playful sonic adventure between friends. It’s bluesy, drenched in the traditions of Jazz, with psychedelic jams of sprawling lengths. It is a door, behind which we are finally lucky enough to be allowed.

Unreleased recordings of the future members of Aktuala and I.P. Son Group. The history takes us back in the alternative Milan of the early 70’s, to the flavour of the first jam-blues of that era when musicians from different parts of the world (India, Africa or South-America), of
disparate background and culture were used to gather to experiment
just with an authentic sense of stay together. In these four tracks seem to retrace the path of that spirit with which great pioneers such as John Mayall and Alexis Corner ferried from overseas the essence of the Afro-American music masters. Here, the devotion to the blues roots remains strong but leaks in the compositions an aerial and wandering component that is coloured as if by magic of exotic and spiritual accents. Hypnotic patterns of guitars flowing almost like raga-grooves slowed, free-jazz horns blowing winds of the ancient seas of the south, while voices and percussions span distant horizons now Latinos or Africans. Gruppo Afro Mediterraneo throws his eye on a cultural dimension more extensive and composite and therefore constitutes a fundamental historical document for a crucial period of Italian underground.

L'Infonie - 1974 - Volume 3333

Volume 3333

01. Paix I (24:00)
02. Paix II (25:35)

- Jacques Beaudoin / bass
- Ysengourd Knörh / drums, percussion, whistle
- Michel Lefrancois / guitar
- Gilles Haineault / piano, clavinet
- André Pelchat / alto-saxophone
- Jean Grimard / soprano-saxophone
- Pierre Daigneault / tenor-saxophone
- Walter Boudreau / baritone-saxophone, production

Another developing incarnation of the previous album especially the "Paix" suite. L'Infonie had come back with this souvenir upon their heads. We L'Infonie freaks could not help but have a mixed feeling upon listening to this whole album, where newer "Paix" suite is dancing upon the bilateral sides of the lp.
Their improvisation-based play along with the basis of the original "Paix" is remarkably unified and polished as well. Filled with effective sound effects and melodic toys, dissected instrumental darkness or distorted sound mischiefs has got more and more powerful, and mysteriously I imagine they have launched kinda forcibility or unreasonable occasion coincident with explosive, powerful avantgarde-ism. On the other hand, their unreasonableness should come back to fantastic harmonization.

Suppose this suite alteration might have been released as the final construction they wanted to approach. Pros and cons have been around them is well understood, but they might have completed their combo career with exaggerated suite confusion. And yes, the last is quite so quiet enough that we can get immersed in perfectly. Let me send them my full regards personally.

In conclusion, there is not enough necessity to listen to this album (that is not available all over the world except in some used vinyl shops ... very expensive really though) if you enough have enjoyed the previous "Vol. 333", and no high recommendation for all avantgarde-progressive rock fans. Of course I love this stuff, let me say.

L'Infonie - 1972 - Volume 333

Volume 333

01. Paix Prélude (2:56)
02. Paix Section 1-17 (10:52)
03. Paix Section 18 (6:37)
04. Paix Section 19-23 (3:18)
05. Paix Section 24-30 (8:43)
06. Paix Section 31-32 (1:11)
07. Paix Section 33-50 (9:12)
08. Concerto en Ré Mineur (Allegro) (8:18)
09. Concerto en Ré Mineur (Adagio) (6:15)
10. Prelude XXII, Tiré Du "Clavecin Bien Tempere" Livre 1er (6:53)
11. Kyrie, Tiré De La "Messe Nostre-Dame" (5:15)
12. Kyrie, Tiré De La "Messe Nostre-Dame" (9:15)
13. Il Nous Canard De Vous Présenter La Toune Platte "Gnognannteur Quartoon" (10:04)

- Raôul Duguay / voices
- Jacques Beaudoin / bass, double bass
- Jacques Valois / bass
- Ysengourd Knörh / drums, percussion
- Michel Lefrancois / guitar
- Yvon Trudeau / guitar
- Gilles Haineault / piano, electric piano
- Michel Gonneville / electric piano
- André Pelchat / alto-saxophone
- Jean Grimard / soprano-saxophone
- Pierre Daigneault / tenor-saxophone, piccolo
- Walter Boudreau / baritone-saxophone, orchestration

Mysteriously this album should be much more polished than it sounds, and at the same time the musical unification in the whole album should be perfectly disrupted with a strong intention. What an awesomeness. This creation lighted with a small electric bulb "Vol. 333" by a Québécois avantgarde rock combo L'INFONIE is, honest to say, one of my favourite albums all over the rock world, in which I've got immersed over and over until now. Sounds like they had played comfortably under the clear blue sky, introducing a variety of musical elements.There is no laziness nor seriousness around them but fantastic atmosphere based upon such a strict ensemble produced with their incredible technique.
From the beginning ... the starter "Paix Prélude" enough advocates their colourful diversity. The first distorted sound explosion is so powerful enough to knock us out, and their improvisation-oriented sound presentation would get delightfully harmonized as the song makes progress toward the Paix Sections. "Paix Section 1-17" can be called also as a one-man theatre by the vocalist Raôul. His percussive, precisely rhythmical voices is too splendid and too creative to be mimicked by anyone. And all of the rock commune support him upon their brilliant instrumental arms. This is exactly a cooperation in the L'Infornation. On the other hand, a sudden explosive shout by Raôul in the beginning of "Section 19" reminds us of old-fashioned funk. What did they think on the play? Another one-man stage, very interesting, impressive.

A great mass of classical essence, incorporated into this project of theirs, gets mixed, merged into avantgarde environment naturally but deliberately. "Ode To Joy (via in the final movement of Beethoven's Ninth Symphony)" is featured in the middle part of "Section 33-50" or Ravel's "Boléro" in "Section 1-17". Could say so effectively I guess. "Concerto En Ré Mineur" Allegro and Adagio are completely classical concertos featuring brilliant piano play and a chamber ensemble. The last "La Tounne Platte" is such a free jazz, flooded with sound extremity launched by the whole rock commune, and can be mentioned as one of the symbolic tracks in this double album.

I'm sure there are pros and cons upon their soundscape (sounds a tad eccentric, purposeless or less strategical I'm afraid) but why cannot we call this their originality? This creation should be the one that appears L'INFONIE's decent attitude for music itself.

L'Infonie - 1971 - Volume 33 (Mantra)

Volume 33 (Mantra)

01. Mantra (14:07)
02. Mantra (Suite) (15:23)

- Walter Boudreau / saxophone
- Pierre Daigneault / saxophone
- Jean Prefontaine / saxophone
- Jean Grimard / saxophone
- Jack Rider / saxophone
- Guy Richer / trombone
- Jean-Pierre Carpentier / trombone
- Jocelyn Leblanc / trombone
- Leon Deith / trumpet
- Raôul Duguay / trumpet
- Sevy Uaennobrahc / trumpet
- Yves Champoux / trumpet
- Jacques Valois / bass
- Yvon Trudeau / guitar
- André Paul / piano
- Ysengourd Knörh / percussion
- Pierre Beluse / percussion
- Guy Thouin / percussion
- Guy Lachapelle / percussion

Adapted from Terry Riley (In C).

This is album number two by that wacky assortment of Canadian oddballs and reprobates. 'Vol 3' reminds me quite a lot of the soundtrack from Jodorowsky's 'El Topo' film, with it's repetitive one note bass, sputtering horns and continuously crashing percussion.

Comprising just two long tracks - each one is very hypnotic and trance inducing. I can easily visualise this horde of musicians, bedecked in those dodgy togas and funny hats, performing this free-form orchestrated rabble rousing cacophony. Some may find it repetitive and annoying, but personally I really like this nonsense. It pushes all the right buttons with me. It's so self indulgent, without a care as to how many of the public were going to purchase a copy.

The longer it progresses, the more shimmering and interwoven all the sounds become. All stemming from the premise of a couple of notes at the outset which pretty much continue throughout.

It's all very acceptable to my weird ears and brain which has been infiltrated for decades by strange and wonderful music.

Just what my record collection needs! A slightly nutty sounding version of Terry Riley's 'In C' complete with bass and drums and whatever!

And guess what!? It's pretty fucking good!!

L'Infonie - 1969 - Vol. 3 (L'Infonie)

Vol. 3 (L'Infonie)

01. Ode A L'Affaire (Ouverture) (3:56)
02. L'Affaire (1:32)
03. J'ai Perdu 15 Cents Dans Le Nez Froid D'un Ange Bronzé (2:01)
04. Solo (2:11)
05. Finale (5:55)
06. Viens Danser Le "OK Là!" (3:02)
07. Toutes Les Affaires S'en Vont Sur Toutes Les Côtés En Même Temps, Toul'Temps (1:09)
08. She's Leaving Home (5:38)
09. Intermezzo (0:28)
10. Agnue Dei (5:05)
11. Desafinado (7:18)
CD Bonus:
12. L'Histoire De La P'tite Ch'nille Electrique Changée En Belle Ch'nille Naturelle Par La Fée Trobouguorbotelle (3:38)
13. La P'tite Demoiselle A La Vitrine (12:46)
14. Untitled (6:05)

Clarinet – Guy Boivin, Jack Rider
Contrabass – Maurice Richard
Contrabass, Guitar – Jacques Valois
Flute – Jean Grimard
Guitar – Michel Robidoux
Guitar, Percussion, Piano – Isengourd Knohn
Percussion – Guy Thouin, Réjean Emond
Piano, Saxophone, Harpsichord [Clavecin] – Walter Boudreau
Presenter, Synthesizer [Moog Synthesizer] – André Perry
Saxophone – Jean Grimard, Jean Préfontaine
Synthesizer [Moog Synthesizer] – Buddy Fasano
Trumpet – Denis Lagacé, Yves Charbonneau
Viola – Dominique Tremblay
Vocals – Raôul Duguay

L'INFONIE were born as a Québécois versatile rock commune in 1967 around the initiator Raôul DUGUAY and the musical chief Walter BOUDREAU, just along the Québécois "multidisciplinary" music scene in those days. Quite in the vein of late-60s concentrated music essence, mixed with pop, jazz, and classic, they recorded their first creation "Vol. 3" (currently released as an eponymous one) at André Perry Studio and released in 1969.

Amazingly, their soundscape had been altered moment by moment - obvious jazz rock / fusion movement and a talented American musician Terry Riley could exert pretty influence upon their second work "Vol. 33 (Mantra)", featuring a sole suite "Mantra" based upon Terry's landmark piece "In C".

Finally L'INFONIE breathed new life into Québécois progressive rock world with their third double-album "Vol. 333" released in 1972, mainly structured with more experimental / magnificent suite "Paix" occupying the entire first LP as 50 pieces of composition (plus prelude). They could stand at their peak with this stuff, that might let Raôul leave away for his solo career as a poet / author / songwriter soon thereafter, as a result.

Formed in Montreal in 1967, L’INFONIE existed officially until 1974. Seven years of pure mayem that gave birth to four vinyls (volume 3, volume 33, volume 333 and volume 3333) as well as various multidisciplinary shows built as way-out happenings with costumes etc…

Lead by composer WALTER BOUDREAU (aka retlaW uaerduoB) and poet, singer, trumpeter RAÔUL DUGUAY (aka luôaR yauguD) this very loose collective regrouped up to 33 artists from various backgrounds ranging from free jazz, classical, contemporary, rock, visual arts and poetry in one avant-garde adventure still unsurpassed in Québec.

« L’Infonie is part of a historical movement that tried to shake the foundations of our culture… Shock, surprise rather than flatter. Rub the wrong way… In those days the group members weren’t drop outs but we were trying to stir away from the usual artistic conformity. We had seen enough. We went out of our way to appear with toilet seats or coat hangers on our heads: trying to break something. » — Walter Boudreau (1979)

« L’Infonie exorcised a lot of fantasies. A rage for living occupied our spirits, a creative angst regrouped Le Quatuor Jazz Libre du Kebek, Walter Boudreau, Michel Lefrançois, Roger Pellerin (designer), GuyBoivin (painter), Ysengourd Knohr, Doc Scrop or Corps (chiropractor), Andrée Paul (pianist), orchestral symphony musicians, all kinds of jazz rock-pop-progressive groups, classical, contemporary, middle-age, pre-cambrian and pre atlantis… » — Raôul Duguay -Taken from « Raôul Duguay ou: le poête à la voix d’O » (1979)

Peloquin / Sauvageau - 1972 - Laissez-Nous Vous Embrasser Où Vous Avez Mal

Peloquin / Sauvageau 
Laissez-Nous Vous Embrasser Où Vous Avez Mal

01. Monsieur l'Indien (6:09)
02. Emiliano (7:15)
03. L'hymne International des clowns (2:44)
04. Black Spaghetti (3:44)
05. Le cirque (2:16)
06. Mama Vagina (1:30)
07. Sterilization (3:08)
08. Les grands silencieux (4:22)
09. Down the Drain (3:21)
10. L'hôtel-Dieu (2:15)
11. Les bottes de Saint-Tite

- Claude Péloquin / Texts, vocals
- Jean Sauvageau / Keyboards, drums, electronics

Photography By – Ian Black
Written-By – Sauvageau
Written-by, Vocals, Lyrics By [Poetry] – Péloquin

When it was originally released, this record was 30 years ahead of it’s time. Now we’re in 2003 and it’s time has arrived!

Launched in 1972, LAISSEZ-NOUS VOUS EMBRASSER OÙ VOUS AVEZ MAL is one of the most original records ever made in Quebec. Though avant-garde, it still managed to garner radio support and wide public attention thanks to the trance-like track « Monsieur L’Indien ».

The « Us » in Let us kiss you where it hurts is CLAUDE PÉLOQUIN, controversial poet, and JEAN SAUVAGEAU, electronic music pioneer. Together after memorable trips and artistic happenings throughout the 60’s, they came up with this eccentric avant-garde masterpiece. With topics ranging from revolution (Monsieur Emiliano), to exploitation (Monsieur L’Indien), vasectomy (Sterilization) or even scatology (Mama Vagina), the record exploded onto the local scene during the dark ages of Quebec Pop Music (something very similar to what’s happening now).

Claude Péloquin, the vocalist, can be heard laughing, screaming, babbling into the mike as he « cracks open a brew » overtop a cocktail of explosive and highly original electronic music. A wall of sound shifting from synthetic psychedelic ambience, doped out choir to fucked up western.

Techno spoken word? Electroclash? Experimental Rock? Pretty far from the hippie stuff you’d expect for the times!

Bonus track: « L’Hotel Dieu » and « Les Bottes de St-Tite » are taken from a single only release.

Les Maledictus Sound - 1968 - Les Maledictus Sound

Les Maledictus Sound 
Les Maledictus Sound

01. Kriminal Theme 2:35
02. The Whistler 2:55
03. Inside My Brain 2:40
04. Blues Section Club 2:50
05. Concerto Genocide 2:50
06. Transfer From The Modulation 2:55
07. Ams Tram Gram 2:30
08. Entrac Theme 2:50
09. Radio Pirat Program 2:35
10. Spidly Made In Gaulle 2:25
11. Jim Clark Was Driving Recklessly 2:15
12. Dark Sky 2:30
13. Crazy Circus 2:45
14. Art Director 2:25
15. Heathcliff Y Cry Your Name 2:50
16. Monster Cocktail 2:35

Arranged By, Directed By [Direction Musicale] – P. Baile
Composed By – Jean-Pierre Massiera
Layout – André Phulpin

LES MALEDICTUS SOUND are to instrumental rock what Frankenstein was to science… a laboratory monster… a strange creature assembled from a mishmash of diverse musical sounds… psychedelic pop, romantic ballads, musical tongue-in-cheek, drugged out chipmunks, near-delirium sound effects, horror movie screamadelia and a mega-twisted 60s vibe… eclectic, epileptic… The doctor, here, is JEAN-PIERRE MASSIERA, the musical mastermind who gave birth to that monster.

Originally released in 1968, this is one of the most bizarre records ever released. Put out under 5 different covers in 3 different countries (France, Italy & Canada) and credited to several different groups, it became one of the most sought after titles on the collectors market.

Human Egg - 1978 - Human Egg

Human Egg 
Human Egg

01. Egg
02. Feeling On My Mind
03. The Lonely Man
04. Rainbows All Around
05. Fly
06. Delusion
07. Love Like This
08. I Got A Dream Of My Own
09. Hiroshima
10. You Keep Me Warm My Lady
11. Onomatopaeia

Tony Bonfils (vocals)
Jean Claude Chanavat (guitar)
Bernard Torelli (guitar, keyboards)
D'Antonio Sauveur (bass)
Jean Luc Crema (percussion)
Daniel Goyonne (piano)
Gerard Pontieux (electric piano)
Michel Goubet (keyboards)
Jean Faure (drums)

Jean-Pierre Massiera's freakiest funk project: Human Egg. This earth-friendly version tells the story of the legendary French producer, a bizarre blend of Joe Meek and Giorgio Moroder, recording from his cockpit of a studio in Antibes, France. Under guises and with a mass of French musicians, Massiera released innumerable amounts of library-music, prog, early techno, and disco. Cult disco hits "Space Woman" and "Love to Fly", recorded with Herman's Rocket and Venus Gang respectively, get play here and there. Human Egg, recorded in 1978, is his journey into the funk of tomorrow, complete with otherworldly vocals, fuzzy guitars, and a wild assortment of crazily produced grooves (think Stax records gone to Mars). Classic cut "Love Like This" was tipped by Madlib at a point in time. Also includes the strut "Feeling on My Mind," ballad "Rainbows All Around," and general oddball jam "Onomatopaeia." Highly collectible both for its musical content and that mind-blowing cover.

A couple of questions popped into my head while listening to this. Firstly: "Rainbows All Around" contains an instrumental section which is in John Miles' smash hit "Music". Who wrote it? Secondly: the melody for "I Got a Dream of My Own" partly resembles Horace Silver's "Song For My Father" quite a lot.

As French prog albums go, this is one of the most interesting ones I've heard. I haven't listened to but a few, but I like the space psychedelia on this one.

Herman's Rocket - 1977 - Space Woman

Herman's Rocket 
Space Woman

01. Space Woman 3:18
02. Golden Crystallen 2:50
03. Transport Mission Security 3:35
04. Spirit In The Wind 4:20
05. The Last Tournament 3:55
06. Space Rebel 3:25
07. Jupiter Flight N°9 4:10
08. Indian Planet 2:37
09. Hanged In Univers 3:23
10. Green Creature 4:18

Commissioned by Italian producer Mémé Ibach (Karen Cheryl), HERMAN’S ROCKET was created in 1977 by JEAN-PIERRE MASSIERA and his half brother BERNARD TORELLI. The goal was to surf on the « space disco » trend, using sci-fi themes and inter galatic grooves. But like many MASSIERA signature production these were too much out there to hit massively. Ignored when it was released, the only HERMAN’S ROCKET album soon became a sought after masterpiece of space disco.

“For Herman’s Rocket and Venus Gang, the tracks were composed with mixes of delirious voices and moogs. Musicians and singers improvised totally. Afterward I added “theme” gimmicks and different mixes keeping it fresh and unplanned.” — Jean-Pierre Massiera

Venus Gang - 1978 - Galactic Sound

Venus Gang 
Galactic Sound

01. Cosmic Daddy 5:18
02. Space Inferno 3:20
03. Take Me Back To My Planet 3:37
04. Telstar 3:23
05. Love To Fly 4:07
06. Dies Irae (Ecclesiastic Disco) 5:30
07. Evil Times 4:23

Jean-Pierre Massiera
Bernard Torelli
B. Damiano
P. Barbero

Still connected with the cosmos, MASSIERA brings the Space Disco concept back in 1978 with VENUS GANG on the album Galactic Soul (aka Synthetic Soul). The group is comprised of Massiera, Torelli, Patrick Barbero and singers MICKY & JOYCE.

“For Herman’s Rocket and Venus Gang, the tracks were composed with mixes of delirious voices and moogs. Musicians and singers improvised totally. Afterward I added “theme” gimmicks and different mixes keeping it fresh and unplanned.” — Jean-Pierre Massiera

Stud - 2009 - The SWF Session 1972

The SWF Session 1972

01. Good Things 6:57
02. Samurai ( Piano - Version ) 2:40
03. Horizon 13:45
04. Make Me High 6:36
05. Ocean Boogie 3:35
06. Samurai ( Guitar - Version ) 2:59

Bass – Richard McCracken
Drums, Percussion – John Wilson
Guitar, Piano, Violin, Vocals – John Weider
Lead Guitar, Acoustic Guitar, Lead Vocals – Jim Cregan

Tracks 1 & 6 recorded in April 14, 1972 and tracks 2 to 5 recorded in May 10, 1972 at SWF Studio, Baden-Baden, Germany.

When Jim Cregan, Richard Mc Cracken and John Wilson got together in the fall of 1970 to form Stud, British music magazines ought to have hailed the advent of a super group. After all, bassist Mc Cracken and drummer Wilson were the rhythm group of Rory Gallagher’s first class band Taste, and Jim Cregan was one of two guitarists of Blossom Toes, a band generally esteemed for its high musical potential. But the band’s take off was scarcely noticed by British music magazines, as was the release of their first album in April 1971, in spite of the many positive reviews they received. This is why the band never made it beyond the status of an insider’s tip in Great Britain. However, in Germany Stud was a very popular live act; they played on many large festivals and toured the German clubs, which helped spur the sales of their first album and made for a reasonable living. Stud, and particularly manager and producer Eddie Kennedy, blamed the local record company Decca for the lack of success in the UK and demanded a better marketing. The dispute left Stud without a record company.

The band saw their chance in Germany, where they were successful and had many fans due to their frequent gigs. In 1970, BASF, originally known as a label for classic and jazz and as manufacturer of audio and cassette tapes, had established a rock label of the same name ( as well as the sub label Pilz), and gave Stud a contract. After the release of their first album, John Weider (guitar, violin, piano, vocals) joined Stud as a permanent member. He had already played as guest musician on the first album. The albums “September”, released in early 1972, and “Goodbye, Live at Command” were recorded with the participation of Weider. When “Goodbye..” was released in the summer of 1973 – the recordings had been done live during a session in London’s Command Studios in May 1972 – Stud had ceased to exist. Cracken had been the first to leave the band to join the newly formed Spencer Davis Group. John Weider had formed Moonrider, together with Keith West, and Jim Cregan had joined Family and played on their last album “It’s only a movie”. The band was retired for good when John Wilson’s attempt to carry on Stud with former East of Eden bassist Andrew Sneddon and guitarist Snowie White failed. Even though Stud was perhaps no more than a footnote in the history of British rock music and was never as important as the bands its members had played in before, the group is still very popular with music lovers. These recordings made in the SWF studio U1 represent a cross section of all three studio albums and are an impressive prove of the band’s musical bandwidth and the band members’ excellent technical skills.

Another true classic from the SWF (German Radio Station) vaults comes with the STUD recordings from summer 1972. At that time the STUD members had said 'farewell' to their English record label Decca and spent most of their time on the Continent, mainly in Germany where they were rather successful. With John Weider on violin and guitar they had just an album (September) out on BASF and played a lot of Club gigs and festivals. During their 1972 tour they were invited by radio station SWF to play a recording session at radio stations main studio U1 in Baden-Baden. There were two sessions that took place in April and Mai 1972. STUD recorded titles from their first and second album but varied the material to give the recordings a special claim. From hard rocking 'Good Things', to fourteen minutes epic title 'Horizon' and shining ballad 'Make Me High' these recordings are an impressive prove of the bands musical bandwidth and the band members' excellent technical skills. CD comes with band story. Digitally remastered from the original tape. For the first time on CD. Don't miss it.

Stud - 1972 - Goodbye (Live At Command)

Goodbye (Live At Command)

01. Samurai 2:45
02. Big Bill's Banjo Bend 1:07
03. Horizon No. 2 19:48
04. Ocean Budgie 3:27
05. Harpo's Head No. 2 16:52

Bass Guitar, Acoustic Guitar – Richard McCracken
Drums, Percussion – John Wilson
Guitar, Piano, Violin, Vocals – John Weider
Lead Guitar, Acoustic Guitar, Lead Vocals – Jim Cregan

Recorded live in Command Studios, London in May 1972'

Apparently under considerable pressure to fulfill a contractual obligation to BASF Records, 
Jim Cregan, Richard McCracken, John Weider, and John Wilson  regrouped long enough to complete what was billed as a live in-the-studio set.  Recorded in front of a select audience at London's Command Studio, 1973's "Goodbye Live At Command" found the band pulling together a mixture of five tracks; two pulled from each of the earlier studio sets and one new effort .

Cregan's remained active in music over the ensuing years reappearing as a member of Family, followed by stints in Cockney Rebel, Streetwalkers and an extended run leading Rod Stewart's recording and touring band.  He also recorded a couple of LPs with Bern Taupin as Farm Dogs, as well as playing on and producing dozens of LPs. 

Weider hooked up with singer Keith West in the band Moonrider. 

McCracken joined a reunited Spencer Davis Group and also recorded a German release album with Hardin and York ("Hardin and York with Charlie McCracken" German Vertigo catalog number 6360 622). 
Wilson tried to resurrect Stud with ex-East of Eden bassist Andrew Sneddown and future Thin Lizzy lead guitarist Snowie White, though the project went nowhere, effectively ending Stud's recording and performing career.

Stud - 1972 - September


01. Good Things 4:00
02. God Knows 6:03
03. Corner 1:50
04. Life Without Music 7:22
05. Samurai 2:21
06. Five To Mid-day 6:05
07. Prelude 2:10
08. Bad Handlin 3:30
09. Ocean Boogie 3:25
10. Red Wine 4:23

Bass Guitar, Acoustic Guitar – Richard McCracken
Drums, Percussion – John Wilson
Guitar, Piano, Violin, Vocals – John Weider
Lead Guitar, Acoustic Guitar, Lead Vocals – Jim Cregan

The combination of their debut album's poor sales and rising disagreements between Deram Records and manager Eddie Kennedy saw the band dropped by the label.  Luckily extensive touring in Germany paid off in terms of the trio finding a new sponsor with the German BASF label.   In addition, prior to recording their sophomore LP the trio added former Animals and Family multi-instrumentalist John Wider to the lineup.   Recorded in London's Command Studio with Billy Kennedy again producing, musically "September" was quite different from their debut.  Tracks like the mid-tempo rocker 'Good Things' and the ballads 'Corner', 'Samurai', and 'Five To Mid- Day' largely abandoned the debut's folk and jazz-rock leanings in favor of a far more commercial endeavor.  As on the debut, as the band's lead singer Cregan remained a hit-or-miss proposition.  His limited and fragile range was sorely tested on the ballads like 'God Knows', but he did better on the up-tempo and bluesy numbers.  A big part of the difference this time out was clearly attributable to the addition of Weider who contributed five of the ten songs, including the standout bluesy rocker 'Life without Music'.  Not perfect (the country number 'Red Wine' was hideous), but far better than the debut which for some reason remains the one collectors seek out and throw big money at.  Go for this one since it's far better and more affordable.

Stud - 1971 - Stud


01. Sail On 4:12
02. Turn Over The Pages 4:17
03. 1112235 12:20
04. Harpo's Head 7:35
05. Horizon (11:07)
Here - Part 1
There - Part 2
06. Song

Acoustic Guitar, Lead Guitar, Vocals – Jim Cregan
Bass, Acoustic Bass – Richard McCracken
Drums – John Wilson

Vibraphone – Poli Palmer (tracks: 5)
Violin – John Weider (tracks: 2, 5)

Stud began as a trio with Jim Cregan (ex Blossom Toes) (vocals, guitar), Richard McCracken (bass) and John Wilson (drums), the latter pair having split with Rory Gallagher's Taste on 31st December 1970. They were signed by Deram Records.

Ex Family violinist John Weider joined the band in June 1971, in time to appear on the debut LP which was released to little acclaim. While the musicianship on show is top notch, some of the material lacks distinction and meanders too often. The LP sold poorly and Deram declined the option of a second LP.

The band had more success in Germany, where Polydor had released the debut in different cover artwork.The album was recorded for Decca's Deram label and was an amalgam of rock and jazz and was an outstanding progressive album of its time.

The sessions also featured guest appearances by Poli Palmer (of Family) and John Weider (ex-Eric Burdon & The Animals and Family). Although Stud never achieved the acclaim they deserved, their debut album remains highly sought after by aficionados of Progressive Rock.

Neutrons - 1975 - Tales From The Blue Cocoons

Tales From The Blue Cocoons

01. No More Straights (5:16)
02. Northern Midnight (5:55)
03. Come Into My Cave (4:47)
04. Live Your Lie (1:54)
05. L'Hippie Nationale (3:25)
06. Take You Further (5:55)
07. Welsh R Blunt (Or The Dexidrine Dormouse) (3:39)
08. The Jam Eaters (4:09)

- Phil Ryan / keyboards, vocals
- Will Youatt / bass, guitars, vocals
- Stuart Halliday / drums
- Dave Charles / drums
- Martin Wallace / guitars, vocals
- Ray "Taff" Williams / guitars, bass
- Caromay Dixon / vocals

Second and sorry to say last album by the NEUTRONS, "Tales From The Blue Cocoons" took the progressive tendencies of the first album and rolled in a slightly more pop 70's feel to it. In many ways these guys remind me of art rock bands likes of PLANET P, 10CC and CITY BOY. The NEUTRONS were the genius of Phil Ryan (Organs, synths) and Will Youatt (bass, guitars) who were both part at times of the Welsh progressive giants MAN. In contrast to their debut album, "Tales.." takes on a slightly more accessible sound and a different feel with the insertion of female vocals of Caromay Dixon on several tracks. Even with Stuart Gordon and John Weathers gone in the line-up this album still carries some pretty cool GENTLE GIANT mannerisms. The album boasts some fantastic keyboard and guitar work all surrounded by some pretty clever song writing and vocalizations.

Neutrons - 1974 - Black Hole Stars

Black Hole Stars

01. Living In The World Today (6:11)
02. Feel (3:10)
03. Mermaid And Chips (4:50)
04. Dangerous Decisions (6:05)
05. Doom City (Scrino's Revenge) (4:00)
06. Dance Of The Psychadelc Lounge Lizards (3:20)
07. Going To India (5:03)
08. Snow Covered Eyes (4:31)

- Phil Ryan / keyboards, vocals
- Will Youatt / bass, guitars, vocals
- John "Pugwash" Weathers / drums
- Martin Wallace / guitars, vocals
- Ray "Taff" Williams / guitars, bass
- Stuart Gordon / strings, string arrangement
- Caromay Dixon / vocals

- Pique (Withers) / hand drums (2)
- The 4 Skins / backing vocals (6)
- The Quickies / backing vocals (7)

This short-lived formation from the 70's were an offshoot of Welsh psychedelic band MAN. Two of its members, namely keyboard player Phil Ryan and guitarist/bassist Will Youatt, left in 1973 to form the NEUTRONS with drummer John Weathers (GENTLE GIANT), violinist Stuart Gordon (INCREDIBLE STRING BAND) and a slew of other musicians. They took their name from IORWERTH PRITCHARD AND THE NEUTRONS, a band Ryan and Youatt had created prior to forming the NEUTRONS.

Whereas the music of MAN was predominantly guitar based, the NEUTRONS concentrate on the keyboards; their heavy use of synthesizers, a strong GENTLE GIANT edge as well as slight Brit-folk overtones characterize their sound. Of interest to prog lovers is their first album titled "Black Hole Stars", which features interesting keyboard-driven psych prog with good guitar leads.

I had no big expectations for this band, since it's almost completely forgotten and ignored. But what a charming album! First some obligatory band info: the founding members, keyboardist Phil Ryan and bassist 'Will' Youatt had a vision of a band of their own when the latter had joined Pete Brown's Biplokto! for gigs, which group broke soon after. But before NEUTRONS started life, they both joined MAN for a couple of years/albums (and Ryan returned to MAN in 1975 when NEUTRONS broke). But this is quite a different band than the guitar-oriented MAN! More emphasis on keyboards, either organ or MMEB-style playful synths. Singer-songwriter Martin Wallace was thought to be a frontman but the album includes only one of his songs because Ryan's and Youatt's ambitions got bigger. Wallace's Eastern-flavoured 'Feel' is a folkier song than the rest, but a fairly good one, like all tracks actually. GENTLE GIANT drummer John Weathers and INCREDIBLE STRING BAND violinist Stuart Gordon were added to the line-up and they brought just the right ingredients to the whole. Gordon brought also his girlfriend, 17-year old Caromay Dixon, as an additional vocalist.
'Living in the World Today' rocks deliciously, reminding distantly PINK FLOYD's 'Run Like Hell' for the guitar riff and two male vocals singing in turns from different speakers. It and the last track were recorded before the line-up was complete and they are the most rocking ones. Elswhere you hear some psychedelia. Some tracks sound a bit like NEKTAR. Quirky 'Mermaid and Chips' is fantastic, sort of a cross between Gentle Giant and 10CC, showing in full bloom the lovely sound and style of the band. 'Dance Of The Psychadelc Lounge Lizards' is as interesting as the title! Very charming 'Going To India' sounds a bit like early (Prologue-era) RENAISSANCE, but with more tongue-in-cheek hippie feel. 'Doom City' is a bluesy song, maybe the least interesting but nice nevertheless.

So, to say that NEUTRONS were just a spin-off of MAN is a bad understatement. Their second album (still good if not as great as this) was made under worse circumstances and it sadly doesn't share the same cheerfulness, the joy of playing, as this one. 

Papa Zoot Band - 2011- SWF-Session 1973

Papa Zoot Band 
SWF-Session 1973

01. Driving High 3:33
02. Mr Good Society 4:48
03. Hear Me When I'm Crying 5:01
04. Songs From Back Home 8:51
05. All The Girls 6:56
06. Future In The Past 4:36
07. Song From Back Home 9:48
08. Can't Be Myself 8:32
09. Mr Good Society 5:24
10. Fly Away 17:18

- Robby Matthes - bass, vocals (02,04,06,07,09,10).
- Reinhard "Tammy" Grohé - organ.
- Christian Engel - drums, vocals (05,07,08,09).
- Lutz Sommer - guitar (08,09,10)
- Ernst Nadler - vocals (01,03).
- Jean Shy - vocals (02,04).

In the spring of 1973, the core of the band from Robby Matthes on bass, Reinhard Grohé was at the organ and drummer Christian Engel. With a recorded tape in the sample space, the group applied Südwestfunk in Baden-Baden for a studio session. The application was successful and in April 1973 the band played with Nadler and the singer Jean Shy four tracks that make up the first four numbers of 2011 by Longhair published archive CD “SWF Session 1973 ’. The pieces 5 to 7 on the other hand come from the above-mentioned application tape, while the last three numbers have also been recorded at a later date, sometime in 1974 in the sample chamber of the group. The sound quality is consistently very good, also the sample chamber pieces.

had a progressive hard rock or earthy Orgelprog the Papa Zoot Band in 1973-74 on offer. Reinhard Grohe’s game is clearly the focus of the first seven pieces, vary between the more straightforward rockers organ (the shorter numbers) and auladenderen, quite complex design Protoprogstücken back and forth. Outstanding is the long "Song From Back Home”, in which bassist Matthes repeatedly growling growling-plays in the foreground and which to me in the long, somewhat cruder sample space version like better than the studio version with singing ladies.

The end of 1973, the guitarist Lutz summer had joined the band and he can also be heard on the last three pieces. His bluesy game pushes the organ a little into the background and makes sure that the music is a bit ordinary and unusual blue rocking especially in “Can not be myself” and the second version of “Mr. Good Society”. The final “Fly Away” sounds then difficult to Pink Floyd. The long piece acts as a bit cheap and being dusty jumble of fragments of “Meddle” and “Dark Side of the Moon”, slimmed down and flat, interspersed with some own ideas and provided with similar schwachbrüstigem song like the original. Not so great, and a bit too long, the piece has come also.

“Live 1973” is all in all a very entertaining, solid album with German Orgelprotoprog and a streaky Pink Floyd imitation, you can hear quite well. But it can be let remain. I mean, it’s unusual any moments are hardly to be reported (to the previously mentioned Bass deposits in “Song From Back Home”), a total of little originality, even if the musicians know their business very well. However, if Orgelprotoprog appreciates, who wants to get to know a now obscure lineup from Frankfurt to the early 70s and of course the one who has attended a concert of the band 35 to 40 years ago (perhaps a fan of the band was) and wants to wallow in nostalgia, the this CD can of course set anyway!….
by   Achim Breilin… 

Papa Zoot Band - 2009 - Last Concert 1978

Papa Zoot Band 
Last Concert 1978

01. The Mirror Inside
02. I Wish
03. Fly Away
04. Friendship Or Love
05. When I Was Young
06. Tobacco Road

Ernst Nadler (vocals)
Lutz Sommer (guitar)
Robby Matthes (bass, vocals)
Reinhard "Tammy" Grohé (organ)
Christian Engel (drums, vocals)

Recorded live 07.04.1978 at Sinkkasten, Frankfurt, Germany.

Like for many other music fans, England, or rather its capital London, was to become the Mecca for Frankfurt born Ernst Nadler. This was the place to experience the original sounds of rock music that was spreading lightning fast, the place where new and interesting bands sprouted. After all, there was a huge difference between the sometimes desperate attempts of local school bands trying to copy their English models and having the opportunity to enjoy the original bands at the original locations. Ernst had long since contracted the rock virus, when in the summer of 1966 during one of his frequent stays in England, the concert of “Zoot Money and his Big Roll Band” put such a huge and lasting impression on him that, right after returning home, he founded the Papa Zoot Band with equal minded friends. He had a remarkable voice and therefore did the vocals. All of them were great fans of the Beatles, but since the Beatles no longer appeared live, the band felt it had to close that gap. However, to nobody’s surprise, this plan was much harder to realize than they expected. (Many years later, in 1975, three members of the Papa Zoot Band eventually founded the “Beatles-Revival-Band”, which is successful to date, 2009).

The Papa Zoot Band rehearsed on a daily basis, with varying casts and music styles, until their popularity extended beyond the region of Frankfurt and they were booked to perform together with bands like Guru Guru, Can, Creation or Sweet, very popular bands at that time. The band even managed to convince the radio station SWF (today SWR) of their qualities, and on 13.04.1973 they recorded four titles in the SWF studio. A release of these recordings is forthcoming. On 1st and 2nd of February 1974 the band appeared at the “German Pop Meeting” in the Grugahalle Essen, a two-day festival featuring important and well known representatives of the so called Krautrock, such as Kraan, Eloy, Guru Guru, Doldingers Passport, Scorpions, Embryo, Nektar etc. Most of the photos in this booklet were taken on this occasion. At that time, former band leader Ernst Nadler, who had given the band its name, had already left them, because he had taken up a regular job that was not compatible with the time-consuming life of a professional musician. Bassist Robby Matthes and drummer Christian Engel took over most of the vocals and went on tour with the remaining band members, guitarist Lutz Sommer and organist Tammy Grohé (ex-Nosferatu), until the band eventually split up in autumn 1975.As chance would have it the band met again in February 1978 at a party. In that memorable night they decided to give a final live-concert, not least motivated by the massive pressure of the many former fans who were present. During this concert they mostly played their own compositions from the years 1973-1975. The concert, which took place on 7.4.1978 in Frankfurt’s old “Sinkkasten”, was completely sold out. During the second part of this final concert of the Papa Zoot Band they played classic 60ies hits in commemoration of the band’s roots, with Ernst Nadler taking the microphone once again. This CD is dedicated to organist Tammy Grohe, who has passed away since.
Manfred Steinheuer, März 2009

Great lost band from Frankfurt, Germany. In 1973/1974 Papa Zoot Band played all over Germany, mainly in clubs but also on festivals (German Pop Meeting 1st and 2nd February 1974 in Essen, Grugahalle). Lutz Sommer guitar, Robby Matthes bass, voc, Reinhard "Tammy" Grohe organ (Ex-Nosferatu !) and Christian Engel drums, voc. played mainly long tracks, very melodic but also with a sense of drama comparable to Nektar, Eloy, Jane or Pink Floyd. Outstanding 20 minutes title "Fly away" could be a long track by Pink Floyd of the Meddle/Wish you were here/Animals-era without being an imitation. The other two long tracks "I Wish" (9 minutes) and "Friendship or Love" (11 minutes) also show throughout fantastic guitar and organ work (as you know it from "Nosferatu" album). Unbelievable that Papa Zoot Band never made an album. 4 Years after they called it a day, Papa Zoot Band played in early 1978 a sole reunion concert at there basic venue "Sinkkasten" in Frankfurt. This concert, which had the same playlist as their performance on German Pop Meeting 1974, proved again, that their music never lost its magic. This great performance was taped from the soundboard and has a superb sound quality. As bonus tracks there are two cover versions of great Eric Burdon song "When I was Young" in a 9 minutes psychedelic version and the classic "Tobacco Road" with former bandleader and great singer Ernst Nadler (nickname: Papa Zoot) who left Papa Zoot Band in early 1973. CD comes with comprehensive booklet, photos from their performance at the German Pop Meeting, 1974 (a. o. with Guru Guru, Kraan, Nektar, Eloy). Digitally remastered. Secret tip and a must have for all lovers of the genre.

Violence Fog & Jerusalem - 2001 - SWF-Sessions Volume 6 1971

Violence Fog & Jerusalem
SWF-Sessions Volume 6 1971

01. Violence Fog New One 5:00
02. Violence Fog Rolli Zink 6:40
03. Violence Fog Brother Where Are You 7:15
04. Violence Fog Leisure 4:25
05. Violence Fog Town Child Baby 6:35
06. Jerusalem Metamorphosis 13:30
07. Jerusalem Moon's New Way 6:00
08. Jerusalem Rainy Day 12:10

Violence Fog:
- Wolfgang Höfer - vocals, flute
- Karl-Heinz Höfer - guitar, flute, vocals
- Enno Dernov - guitar
- Hilmar Beine - bass
- Herbert Brandmeier - drums

- Matthias Stein - lead guitar, vocals
- Günther Rüffel - lead guitar
- Richard Reß - bass
- Wolfgang Hilgert - bass
- Bernd Lewandowski - drums

Whereas previous CDs released in the SWF-Sessions series were devoted to one band, Vol. 6 in the series features VIOLENCE FOG and JERUSALEM. Both bands have their roots in the south-western part of Germany where they enjoyed local fame.

 It would, however, be wrong to accuse VIOLENCE FOG and JERUSALEM of being provincial or average. The titles recorded for the former radio station SWF demonstrate both musical originality and considerable technical ability.

Compared to previous releases in the SWF-Sessions series, VIOLENCE FOG and JERUSALEM really belong to the ‘guitar‘ category, in VIOLENCE FOG’s case, with the noticeable addition use of flute and some impressive singing, while JERUSALEM are characterized by epic music pieces with West Coast overtones.

VIOLENCE FOG was formed in 1969 from members of various local bands in the Baden-Baden region (of Germany). It only took a few rehearsals before they were making successful live appearances where, apart from original compositions, their repertoire also included their own version of ‘Brother Where Are You‘ (Remo Four) and ‘Paint It Black‘ (R. Stones). The band had a considerable fan following who accompanied them to their shows in the German south-west. In addition to playing gigs in youth centres and music clubs, VIOLENCE FOG also played at local film premieres and performances of music films like Easy Rider, Woodstock, Alice’s Restaurant and Let It Be. The band scored a great hit with their elaborate psychedelic light show projected onto the cinema screen.

By the mid-seventies the group had achieved more than just local fame and decided to try their luck with SWF which was producing a series for potentially successful up-and-coming groups. On 23.4.71 the band achieved their aim and recorded the titles released on this CD in the radio station’s own studio U1 in Baden-Baden.

Despite the motivation created by the SWF recordings the band broke up a few weeks later for professional reasons. Intensive research has failed to shed light on any other publishable title by the band.

Guitarist Enno Dernov and drummer Herbert Brandmeier later played together in Jud’s Gallery (SWF-Sessions Vol. 1), Enno Dernov leaving the group several month before the recordings were made at SWF. He went on to join Brainstorm and took over as bass player on their second LP before joining Respect. The twin brothers Karl-Heinz and Wolfgang Höfer changed over to playing folk music.

JERUSALEM was formed at the end of 1969 when Matthias Stein and Richard Reß quit the goup Intoxication and after Hungry Love with Günther Rüffel, Wolfgang Hilgert and Bernd Lewandowski split up. The five 16-20 year-old school kids and job trainees were already a permanent feature of the music scene in and around Landau in the Palatinate region of Germany and wanted to create their own sound, having become fed up with playing other people’s international hits. The highly motivated young musicians had soon put together a stage show featuring all their own compositions and were soon the number one attraction on the Landau music scene. There were two reasons for the group’s popularity: the impressive interaction of the two lead guitars (Matthias Stein and Günther Rüffel) and the fact that JERUSALEM used two bass players (Richard Reß and Wolfgang Hilgert).

The band’s music, following as it did the progressive trends of the time, was an expression of the creative potential of each band member and enthusiastically received by the fans. As a result of various appearances at the same gigs, JERUSALEM got noticed by other better-known bands like Ihre Kinder and Frumpy and were asked to play as warm-up group. A tour with Frumpy saw JERUSALEM playing not only in the south-west and south of Germany but also in Austria and Switzerland. JERUSALEM appeared on the same show as Fashion Pink (SWF-Sessions Vol. 3), Roland Schaeffer’s band. SWF had given Roland Schaeffer the job of organizing the talent contest for up-and-coming new bands. JERUSALEM were one of the applicants for the contest and on 04.06.1971 recorded the titles on this CD in the radio station’s own studio. All the songs were broadcast in the SWF 3 programme ‘Pop-Shop‘. However, the band were never able to take advantage of their resulting increased popularity.

A few month after the SWF recordings singer and guitarist Matthias Stein died in a tragic motor cycle accident. Richard Reß, Matthias Stein’s friend of many years was so badly shaken that he gave up his musical career and withdrew from public life. These events marked the end of JERUSALEM. Intensive research has likewise failed to turn up any additional titles by this innovative band. The remaining musicians joined other local groups. Günther Rüffel plays for a cover band in his spare time. Bernd Lewandowski works as a free-lance musician.

VIOLENCE FOG and JERUSALEM are striking examples how Kraut and Progressive Rock was not only reserved for the big metropolises but was also a regional phenomenon.
Manfred Steinheuer, March 2001

VIOLENCE FOG is a Krautrock German band from Baden-Baden formed in 1969. The band members on the duel project featuring JERUSALEM include Hilmar Beine on bass, Herbert Brandmeyer on drums, Enno Dernov on guitar, Karl-Heinz Höfer on guitar, flute, vocals, and Wolfgang Höfer on vocals, and flute. Influences of the band include THE ROLLING STONES hard blues era in the same vein as the classic 'Paint it Black'. In their early years VIOLENCE FOG performed the Stones classic and a version of 'Brother Where Are You' by Remo Four. They performed in the German south-west region, playing youth centres and small gigs at music clubs attracting a following. The band made appearances playing at local film premieres such as 60s milestone movies "Easy Rider", "Woodstock", and "Let It Be". At the premiers there was often a psychedelic light show that was projected onto the cinema screen.

In April 1971 SWF radio sessions picked up the band and recorded music that became their first album. The band broke up weeks later and members joined other bands such as JUD'S GALLERY, BRAINSTORM and RESPECT.

VIOLENCE FOG released one studio album in 1971 "Violence Fog/ Jerusalem" so titled as it was the reunion of two albums from two artists, taken from the radio SWF sessions featuring both VIOLENCE FOG and JERUSALEM. These two bands are Krautrock in its heavier phase alongside of other heavy rock artists ZARATHUSTRA, PANCAKE, SPERMULL, and IRMIN'S WAY. The VIOLENCE FOG tracks feature heavy guitars, and very melodic singing. JERUSALEM are featured on the last 3 tracks, which are proggy and lengthy at times, with strong lead guitar breaks and frenetic riffing. There are psychedelic flourishes and some complex structures throughout. This is an album recommended for the Krautrock fanbase.