Coming from different musical ways, several French musicians eventually met and formed LA ZOMBIE ET SES BIZONS. Climates, landscapes, colours are the lines of force of their music, that can be described as "Alice In Wonderland" played in the MAGMA way. "Herbe De Bison" (2004) is a happy instrumental celebration of Progressive rock, jazz, oriental music and a bit of trance, melting sounds of vibraphone, flute, guitar, bass and drums. It will lead you from the softiest of melodies, through long hypnotic ascendant lines to a climax of pure savage energy. That musical journey is a constant zapping from the candy sweetness of delusive ads to the acid truth of news reports. Never extremely violent or excessively naive, each piece is a wave that takes you and leaves you on foreign shores. Not to be missed !
New Zealand female folk. Full bio included.
Rate Your Music
Link
This super rare early '70s UK progressive psych private pressing was only recently located and raved about in Record Collector.... Long tracks with guitar, flute, percussion bass, sax etc. similar to King Crimson, Colosseum... Freak Emporium
Rate Your Music
Link
Thank you Riverman 206 for re-up!
Never really a full group of musicians per se, Connivence was more of a collective name for artistes, solo or groups from the same region: Hull, just across Ottawa opposite the river and into Quebec land. These artistes actually found easier to share recording costs and release in 77 on the same record their personal tracks, but also playing on each other’s works. From single artists Legault, Soucy to the groups Oasis (jazz-rock) and Nous Autres (sometimes close to Anthony Philips), this Connivence name housed dramatically different styles but most of them worthy of a listen to progheads. The “group” will produce three albums (until 84) with different line-ups and the second one will be heavily induced by Syncope (another prog group). The third one is more electrified or electronified and jazzed-up.
Panama limited (no jug! ) band with their 4th and best psychedelic beefheartique folkrock from 1970. Posted by request.
Legendary Swedish rock trio led by Michael Maksymenko, as originally issued in 1980-81. Heavily influenced by the convoluted blues of prime-era Beefheart Magic Band, these guys played a fairly unbelievable variation on the style -- intense, full throttle guitar/bass/drum interplay with absolutely crazed Swedish vocals on top. Beefheart fanatics use to fall face flat when hearing this stuff back when it came out, and I'm sure there's a whole slew of newcomers ready for the same gust of Nordic madness. Guitarist Maksymenko went on to work with Henry Kaiser in the later 80s, forming the band Crazy Backwards Alphabet (along with Magic Band drummer Drumbo French). These recordings have been legitimately "weird" -- every single day, for 25 years now!
Hi Lisa,
Harmonium's Serge Fiori and Sequin's Richard Seguin were already aware of each others talents, several years before their sole album as a duo. The pair appeared side by side as backup singers for Gilles Valiquette's album "Valiquette est en ville" in 1976. Already, the two voices blended magnificently. It was during this same year that Seguin (the group) packed it in for good., and Richard participated as backup singer for Harmonium's "L'Heptade". Harmonium, in turn, sees things slow down to a full stop in 1977. Both Fiori and Seguin were looking for other outlets which could sustain their creativity, resulting in "Deux cents nuits à l'heure" in 1978. This album, marrying the pair's progressive and balladeer sides, sees the continuous participation of the majority of Harmonium's most recent line up. Read full story at ProgQuebec
A strong local Detroit, Michigan, band's only album containing hard rock with a funky edge.
Rate Your Music
Link
I wish I knew more about this UK group. While they only managed to record one rather rare LP, during the 1967 - 69 timeframe they generated an extensive singles catalog that's quite diverse and commercially attractive.
Pride never existed, it was just a name to cover the work of sessions players: Earl Palmer, Don Randi, Lou Morrell again, plus Tommy Tedesco and Al Casey on guitar, Arthur Wright on bass, Gary Coleman on percussions, and Nooney Rickett did the three voice parts, overdubbing himself. Axelrod's son, Michael, wrote the lyrics. The album was recorded for Warner, as Axelrod's then manager, Joe Sutton, project (he walked in Warner, said he has a group, Pride, and got a deal ! Nobody checked the group did not even exist!).This band (Flute, violin, guitar, tin whistle, bohdran, drums & percussion) performs folk and sometimes rock music very influenced by the principal monochord vocals and the choral repeat of theme parts. It evokes MELUSINE, but the band gets its roots from a very old musical wealth, in order to then blend tradition with evolution, so that to perform a Celtic-Occitan folk-rock. They associate modern arrangements to traditional instruments in a perpetually creating mind. A lot of varied sounds and beautiful instrumental parts.
1. Les poules huppes
2. Passe-vent
3. Perfid jail
4. Festoyerie
5. Turlutu/Mazurka de Lapleau
6. Connivence
7. Le tailleur de pierres
8. Alienor
9. L'oiseau
10. Les Filles sont comme les roses/Reily's reel
Rate Your Music
Link
Kindly shared by Mr. Matty Groves
Ougenweide was one the most significant German folk-rock bands of the seventies. Their music was quite different from the 'progressive folk' music created by the early Broselmaschine and Holderlin. Ougenweide's speciality was shorter tracks in off almost medieval folk tradition with German lyrics. The result was a German answer to British groups like Fairport Convention, Gryphon and Steeleye Span. Like these groups, Ougenweide (from Hamburg) succeeded in achieving a distinct style of their own. Their records confirm that they were obviously great instrumentalists. Through the years the nucleus of the Wulff brothers, von Henko and Isenbart remained intact. Minne Graw was their female vocalist from the third album onwards. A large part of their repertoire consisted of traditional German folk songs. The early albums are their most acoustic ones, the later works also utilised synthesisers.
Lang'syne appear to be another one-album wonder as they released an interesting self titled folk album in 1976. Lang'syne sing in English and their brand of folk bares little resemblance to the earlier kraut-folk bands like Broselmaschine, Holderlin, and Witthuser and Westrupp. Throughout the album, there are small touches of a German and Eastern ethnic feel to the music, but for the most part their sound is a bit more Anglo influenced. Many of the lyrics and much of the music appear to have a dark, longing quality which results in the album sounding a bit mystical, and occasionally even Renaissance-style. The standout track is the instrumental 'Cynghanedd'. 'Cynghanedd' begins like an Eastern-influenced ballad, or "Melodie der Natur" as described in the CD sleeve. This track utilizes natural sound of birds and insects and ends with an interesting interplay of 'dueling'-guitar chord sequences. Another track worth mentioning is 'Medina' which has sporadic touches of Witthuser and Westrupp sprinkled throughout. By Doug at Kraut Rock Group
Great US Psych. with Paul Goldsmith, Danny O´Keefe, John Simpson and Clyde Heaton.
Rate Your Music
Link
A UK project by Giles Farnaby, instigated in 1971, that aimed to create a wonderful broth of electric folk music with strong medieval influences. The music is played with a combination of early and modern instruments (primarily made up of flutes, violins and various horns). An entirely unique sound is conjured up using the diverse instrumentation available to a band of the 1970's and tunes originally written for country dances way back in 1651. An interesting find - for those brave enough to indulge - and much like early Gryphon. Freak Emporium
This is an obscure gem. A pastiche of musical influences that defies categorization, which is probably the reason it was not a big seller.
Group from The Hague, not to be confused with the group from Tilburg. They existed from the end of 1969 till the end of 1971. Lineup 1969: Cees Hoogerheide (vocals, ex-Nicols; in 1970 replaced by Ellen Zonruiter; Cees went to Big Wheel), Herman Ansink (guitar; in 1970 to Blow Ball and replaced by one John Miles, who in turn got replaced by Martin van Wijk in 1971, later with Jupiter), Peter Seilberger (organ and piano, ex-Tee Set, later to Big Wheel and Jupiter), Ed Koetsier (bass, vocals, ex-Nicols) and Harry Koetsier (drums, ex-Nicols, later with Big Rock Revival). Alex Gitlin
