Kola Beldyi - Uvezu Tebya Ya V Tundru (1960s)

Happy New Year!!!!!!


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password: ezhevika.blogspot.com

Alan Trajan - Firm Roots (1969)

Scottish keyboardist Alan Trajan's 1969 album is an unsettling collection of rock songs and ballads featuring prominent organ, fiery guitar, soulful vocals and acoustic picking from folk legend Davy Graham. Produced by Ray Horricks (Bread Love & Dreams, Human Beast, Davy Graham), it's well-established as one of the rarest singer-songwriter recordings of the period. Forced Exposure
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Cosa Nostra - Same (1971)

Heavy duty rare Latin funk psych album recorded in Mexico City in 1971, their English language debut (not to be confused with their Spanish-language second album, reissued by Lazarus on LP); heavy grooves right from the start, with hard guitar, bass, drums and organ kicking it and not letting up; sounds a little like the Black Sugar albums, if you can imagine U-Roy 'singing' along with the rhythm tracks, and some strangely dissonant background singers chiming in to boot; but all vocal limitations aside, has some great cuts, such as the eponymous track 'Cosa Nostra', the funky 'Squeeze it Tight' with a real pushy groove, the rife-for-sample intro to 'Proud Mary', and the shimmering 'Change of Mind'.

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Zipper - Same (1974)

Dead Moon related band.

CD/LP still avaialble from Music Maniac
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Vindication - Same (1973)

Xian prog Enjoy! ;)

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Request room

Dear Friends!

Please feel free to leave all your requests for albums & re-ups here!

EZHEVIKA Re-uP series!

Moses - Changes (1971)

Black Pearl - Black Pearl (1967)

Christodoulous Halaris, Dafni Zouni & Nikos Xylorius - Tropikos Tis Parthenou (1973)

Fresh Blueberry Pancake - Heavy (1970)

United Empire Loyalists - Notes From The Underground (add space to the original password)

Cargo - Cargo (1970-72)

Sandy Coast - Shipwreck (1969)

Neon Rose - Two (1974)

Gravy Train - Second Birth (1973)

Rhesus O - Rhesus O (1971)

Albrecht D - Endless Music (1974)

Gwendal - Rainy Day (A Vos Desirs) (1976)

Gwendal - Locomo (1983)

Embermen Five - Fire In Their Hearts

Fusioon - Minorisa (1975)

Young Flowers - Blomsterpistolen/No.2 (1968/1969)

Enjoy the albums & buy the ones you liked!

Take care,
Lisa

Baalbek - Fata Morgana (2000)

In October 1994 after almost 2 years of preparing material, originally composed by their first line-up, they made their debut in the city of La Plata (Buenos Aires, Argentina) under the name of FATA MORGANA. In 1995 they became BAALBEK.After performing throughout many years in the city of La Plata, they participated in the first the First Artisans Encounter in the province of Bs. As. In the city of Junín with an open show together with local bands as well as groups from Capital Federal.Needless to say the most important performance was at the BUENOS AIRES PROG 99 held at the auditoriumAt ACATRAZ in Cap. Fed. in December 1999 where the groups that participated in the first show were: Guitar Ensemble of Buenos Aires, 2112 and ANEKDOTEN from Sweden and in the second part were: Baalbek, Nexus and Tempus Fugit from Brazil.This festival was the first held in Argentina with international level, included among the yearly festivals of progressive rock worldwide.At the end of 1999 they started recording their first CD "FATA MORGANA", for the Brazilian record company Record Runner, after a year of adding software for the digital recording aided by computers.The record company Record Runner distributed the record in more than 15 countries of the world such as Brazil, U.S.A., Mexico, Spain, France, England, Poland, Denmark, Italy, Finland, Japan and others.Baalbek officially presented their first CD on Saturday April 7 2001, at the Centro Cultural La Plata, Sala Costamagna, La Plata.Baalbek is one of the few Argentine bands which attracted the attention of the important worldwide progressive movement, Baalbek was played on the American radios (PLANET PROG) and was included in the most important catalogs of the biggest distributors such as CD EUROEXPRESS from Europe, MUSEA RECORDS from France, PROGRESIVE ROCK AND PROGRESSIVE METAL from Brazil, MUSIC SELECTION from Holland, Distribution Inc from Canada, SROOM from the USA, THE MISSING PIECE from Sweden, SYN-PHONIC PROGRESSIVE ROCK from USA, etc.Some international magazines commented about Baalbek:"Baalbek has an eclectic progressive fusion style with influences by jazz-rock. The drummer Pablo Gonzalez, the bass player Fabián Vera, the keyboard player Eduardo Gustavino, the saxophonist Pablo Clavijo and the excellent guitarist Gonzalo Romero form the group. They made a very good impression and we expect great music from Baalbek in the years to come." Progression Magazine (USA) - issue 34 "The Argentinean band Baalbek gives us an example of their music which outlines a semi-symphonic style, with jazz and psychedelic elements, sensation achieved by the seldom use of sax. There are strong elements from the "seventies", reminding the listener of GNIDROLOG, HAPPY THE MAN and KING KRIMSON, plus the sound of the 90. We also point out a competition between the musicians. Metamúsica Magazine (Brazil) - Nº 009"Without any doubt it is a different record. Fata Morgana is not really included within the purely progressive symphonic rock, it is a fusion work which uses very interesting elaborated elements. Baalbek is an instrumental group, with a well-defined identity though never static one. They dive in different waters in a very attractive search. This diversity makes the album fresh and elaborated at the same time." Revista Mellotrón (Argentina) - Nº 28"El instrumental/symphonic prog from Argentina. These very strong five instrumentalists have made a very interesting and innovating album. There are classic/symphonic prog elements as well as some jazz-fusion influences. It is full of attitude and different humor The melodic guitars, beautiful keyboards, a saxophone and a solid drums and bass foundation. The different tracks have a lot of character and none of the 13 tracks of this album resemble each other. It is their debut CD and I hope it is not the last one. This is really good. The only thing missing would be an excellent voice, which would turn it into a masterpiece. (!!) RECOMMENDEDOlov Andersson – Well-known Music and critic of Swedish Progressive Rock.

Information: http://www.baalbek.8k.com/

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Checkpoint Charlie - Grüß Gott mit hellem Klang (1972)

Checkpoint Charlie was formed in 1967 and named after the infamous checkpoint between the Eastern and Western zones of Berlin. They were part of the same polit rock wave as Floh De Cologne and Ton Steine Scherben.


Included into highly acclaimed NWW list

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Zoreya -S/T (1996)

Soft, dreamy and jazzy prog from Brazil. A bit in the Popol Vuh realm. This work by new Sao Paulo band is like a long and weird soundtrack. ZOREYA is a Brazilian line-up that performs a quiet and relatively mysterious Progressive jazz-rock, based on the omnipresent sax lines. The eponymous album was recorded during a period of time situated between 1989 and 1995, and finally issued in 1996. An ethnic tale of 8 stories with a wide mixture of instrumental progressive, new age, world music and jazz. Very ethnic with sax, pianos, flutes, guitars etc..

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December's Children - S/T (1968)

At last a CD issue of much sought after 1968 album. The only release by this US band who sound like The New Tweedy Brothers/Love Exchange/Growing Concern etc. Male and female vocal harmonies are wrapped with some great West Coast psych guitar work giving the whole album a classic US psych feel.
Freak Emporium

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Cherubin - Our Sunrise (1974)

German rock/prog in the vein of Karthago, Randy Pie, Cry Freedom.

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Fantasy - Paint A Picture (1972)

The story of this band started at the Chapel Farm, a farmhouse near Gravesend (Kent) were the band had their first rehearsals. It was the family home of singer Paul Petley, other musicians were Geoff Whitehorn (electric guitar), Paul Lawrence (acoustic guitar/vocals), David Metcalfe (keyboards), David Read (bass guitar) and Brian Chatham (drums), later replaced by John Webster. The lead guitar was by the promising Bob Vann but he died in a car accident, he was replaced by Pete James. The new line-up FANTASY sent a demo tape to the label Decca and changed their name in FIREQUEEN. But Polydor was also interested and they pursuaded the band to sign for them. Again the band decided to change their name, it became FANTASY, a name that fitted more to the style and flavour of the music. The debut album was called "Paint A Picture" and released in '73 (now on CD). Soon FANTASY belonged to the past, the tapes for a next album remained in the vaults of time. Fortunately the label Audio Archives released these tapes as a CD called "Beyond The Beyond". This one is an absolute beauty and it contains nine very refined compositions with warm vocals and 12-string acoustic guitars, flowing and sensitive electric guitar and lots of Hammond organ and Mellotron. The highlight on this album is the track Alexandrie (almost 9 minutes) with the Mellotron in all its splendor: majestic eruptions and beautiful waves along a typical Sixties sounding organ. A MUST! Erik Neuteboom, The NETHERLANDS

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Prentice & Tuttle - Every Loving Day (1972)

Steve Prentice & Stephen Tuttle, two young Americans based in Boston, recorded their second and rare album in 1972. This collectable record is a fragile psych folk record with strong rural Americana feeling. All twelve tracks are originals and really deserve this CD treatment.

Freak Emporium

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Zendik Farm Orgaztra - Danze Of The Cozmic Warriorz (1980s)

Stoned, hypnotic psychedelic rock, recorded by this Texan
tribal community at the end of the 80's. These tracks feature
some of Wulf Zendik's most powerful vocals and poetry. An
awsome display of his artistic energy and aesthetic
wisdom. "... it's a very important document - almost
religious ... a must for all those who are searching for
psychedelic underground music..."

Visit Zendik Farm

CD is still available at Nasoni

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Chris Braun Band - Foreign Lady (1973)

Kraut rock.


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Contraction - La Bourse Ou La Vie (1974)

Quebec progressive. More info here

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Cherry Five - Cherry Five (1974)

Cherry Five came from Italy and was founded in 1974 by Carlo Bordini (who came from the broken group Rustichelli and Bordini), Tony Tartarini, Walter Martino, Claudio Simonetti and Adriano Monteduro. They played in the instrumentation guitar, drums, keyboards and vocals. In the same year their only selftitled album was published by Cinevox without creating any interest at that time! Cherry Five played progressive-rock, sung in english and includes various fine keyboards passages, which remind of Nice. Short after this album, Tartini and Bordini left the band and Cherry Five broke up and then with a slightly different line up transformed into Goblin.Today this album belongs to the most sought-after records of the italian prog-rock-scene.

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Mahjun - Happy French Band (1977)

This French group, adept at first of a revolutionnary rock in the style of KOMINTERN, turned then to burlesque, humoristic rock full of parody and mixing pop tunes and rock themes with a truly provocative spirit evoking GONG. The instrumental developments, the dialogues between the violin, Jean-Pierre THIRAULT's saxophone and the guitar remind of the delirium and audacious music of GONG, MOVING GELATINE PLATES, EAST OF EDEN, Kevin AYERS...

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Hansson & Karlsson - Man At The Moon (1969)

Swedish organ/drums duo. They released three albums - Monument, Rex and Man at the Moon - before they split. Jimi Hendrix recorded their song "Tax Free". Bo Hansson became solo artist, most well known for Music inspired by The Lord Of The Rings. Jan Carlsson played drums on a lot of Swedish releases, among others Pugh Rogefeldt's first two albums, before he became Janne "Loffe" Carlsson - actor & TV show host.

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Tinkerbells Fairydust - S/T (1969)

Arguably the most valuable UK album in record collecting history, with copies known to have sold for £2,000! The LP was manufactured by Decca in 1969 but never issued. This is the first-ever official CD of their recordings. Adds numerous bonus tracks from singles and also from pre-Tinkerbells acts The Rush and Tommy Bishop’s Ricochets. Sleeve-notes finally tells their story – these will also be appearing as a feature in Record Collector mag. Tinkerbell’s Fairydust were inspired by American Sunshine/ harmony pop, with shades of psychedelia on certain tracks (e.g. ‘In My Magic Garden’). ‘Twenty Ten’ (as in the year 2010) was a huge hit at the time in Japan and is likely to enjoy a renewed profile next year…

Twenty Ten / In My Magic Garden / Majorine / You Keep Me Hanging On / The Worst That Could Happen / Never My Love / Lazy Day / Every Minute Every Day / Whole World / They Didn't Believe Me / Happy / Sheila's Back In Town / Jeff's Boogie / Bonus Tracks- I Should Have Known (By Tommy Bishop’s Ricochets) / On The Other Hand (By Tommy Bishop’s Ricochets) / Once Again (By The Rush) / Make Mine Music (By The Rush) / Enjoy It (By The Rush) / Walking My Baby (Single) / Follow Me Follow (Single) / Midnight Train (By Tommy Bishop & Rock’n’roll Revival Show) / Oh, Boy (By Tommy Bishop & Rock’n’roll Revival Show)

UK psych

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Contraction - S/T (1972)

One of the first and best Quebecois(French-Canadian) prog/folk/jazz album. More info here

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Eastfield Meadows - S/T (1968)

The predo- minant sound is harmony-rich country-rock a-la Gram Parsons era Byrds. "Travelin' Salesman" and "Cowboy Song" actually sound a little like something Michael Nesmith might have penned for The Monkees. Less typical, "Only Girl" and "Silent Noght" sport more of a rock/psych-oriented sound, while "Young Love" sounds like a Buffalo Springfield effort and the ballad "Helpless Is a Feeling" recalls The Association. [SB] Acid Archives

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Altin Mikrofon series

"There was such a blasting of bands that one of the biggest national newspapers called Hürriyet decided to organise a big contest that would help the young amateur bands have their names heard throughout the country. What the contest organisers wanted was interesting: the musicians who wanted to attend the contest had to either compose songs in Turkish or arrange a traditional tune. Also they had to perform this in a western style with electric western instruments! The ones who ware finalists ware to perform live In many cities that the newspapers arranged a tour for them. If Altin Mikrofon had not been assembled, we wouldn't likely to be talking about 60's & 70's Turkish rock scene." G.Aya

"Altin Mikrofon 'The Golden Microphone' song contest was first held in 1965 to help give a new direction to contemporary turkish music through the use of western techniques, forms and instruments. The finalists would get their contest song (and a song of their choice) recorded and printed as a single and sold on the music market for revenues which were left solely to the benefit of these groups." T.L. Taken from http://progressive.homestead.com/

Part 1

Part 2

Part 3

Johannes "Alto" Pappert - Alto (1977)

The solo album by KRAAN Sax master with other members participating plus vocalist of Tomorrow's Gift.

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Le Claque Galoche - Same(197?)

French folk

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Malachi - Same (1972)

Combines the feel-good groovy instrumental organ rock of Eden Rose with the more measured introspective UK scene like Cressida or Still Life. Sounds a bit dated for 1971, more like 1969 – probably due to the "carnival" sound of the organ, which is the dominant instrument. From an old ebay auction: "4 UK guys recorded this album in Belgium and only released in Italy". ashratom


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After Life - Cauchemar (1975)

One of the major discoveries in the world of collectable underground rock records and is the only LP by demonic French fuzzers After Life. Released only in Spain by Discophon in 1975, it remained virtually unknown until some copies started to surface in the late 90s on the lists of some of the worlds most reputable record dealers. To make things more exciting, this was produced by Jean-Pierre Massiera (of Visitors, Horrific Child, Les Maledictus Sound fame) and includes nine tracks of heavy psych guitar action, screaming vocals and organ interludes. The reissue uses the effective original psych artwork and will include 2 bonus tracks which were previously only on a 7", "Rolling Down" and "Things Of The Life". A must for lovers of loud & screaming hard rock as well as anyone interested in the european hard progressive genre. Freak Emporium

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An Triskell - Kroaz Hent (1976)

French folk

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Coses - Via Fora! (1976)

Great Catalan psych folk

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Brotherhood of Blossom Potato - Collective Farm Defence Archive (2001)

Folk band from lost village of Donbass region (Ukrainian coal primer). The band is acoustic singer/songwriter with slight punk/acid touches. Playing strongly in Soviet undeground vein. Worth listening imo.

Bratstvo Tzvetushego Kartofelya - Arhiv Kolhoznoy Oborony (2001)

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A Euphonious Wail - A Euphonious Wail (1973)

Heavily influenced by San Francisco bands (Big Brother and the Trucking Company and The Jefferson Airplane quickly come to mind), the Santa Rosa, California-based A Euphonious Wail was roughly five years behind creative and popular tastes. Not that it seemed to matter given a financially struggling Kapp Records went ahead and signed the quintet to a recording contract. Built around the talents of drummer Doug Hoffman, keyboardist Bart Libby, singer Suzanne Rey, singer/guitarist Steve Tracy and bassist Gary Violetti, the band's self-titled 1973 debut teamed them with producer Brian Ingoldsby (Lowell Levinger of Youngbloods fame reportedly also helped out). While "A Euphonious Wail" had a couple of nice moments, for the most part the LP was surprisingly lame and uninspired. As lead vocalists Rey and Tracy had decent, if unexceptional voices (though Rey tended to screech in the higher registers). The same type of limitations were true of the band as songwriters (all but Hoffman contributing material). Taken individually guitar and keyboard propelled rockers such as 'Pony', 'We've Got the Chance', 'When I Start To Live' and 'F#' weren't bad, but stretched over an entire album, there simply wasn't much that really stood out. The band were even less successful when they tried slowing things down - check out the lame ballads 'Did You Ever' and 'I Want To Be a Star'. (The Michael Hawes cover drawing was interesting. Depending on how you looked at it you saw something completely abstract, or possibly obscene.) Needless to say, the album vanished without a trace, followed in short order by the band. [SB] http://www.lysergia.com/

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Hinn Islenzki Thursaflokkur

Extremely rare progressive rock from Island. 2 albums
Their name on their first eponymous album was Hinn Islenzki Thursaflokkur (translation: The Icelandic Flock of Trolls / Hinn = The). This album was released 1978. When they released their second album Thursabit they had shortened their name to Thursaflokkurin (translation: The Flock of Trolls), and that is what everyone call them (even in the notes of the first album). Their third album was live and was probably released in 1980. It is said that they had made a fourth album 1994. This band hails from Iceland, and to get a hint at their sound you might think of a Scandinavian Gryphon mixed with a large dose of Gentle Giant. Thursabit was their second album, released in 1979. Hinn Islenski Thursaflokkur are by no means anything close to a Gentle Giant clone - they just do their own thing which happens to incorporate a lot of the kinds of things that make Gentle Giant such a good, original band; odd meters and constant time changes, lots of dynamics, quirky rhythmic and melodic motifs, excellent musicianship, a healthy variety in their sound, even within the same song, and well performed, if sometimes odd, vocals. The music is also reminiscent of bands such as Hatfield and the North and National Health. They have folk roots, but except for maybe two songs, this influence is heard more in the vocals than in the music. There is some excellent prog here, very energetic, that serves as a setting for old Icelandic verse. The extensive liner notes come with the lyrics in Icelandic as well as explanation and background on the poetry in English. Very interesting reading. The instrumentation is guitar, a variety of keyboards, bass, drums, and sometimes bassoon, all played with plenty of enthusiam and intensity. In my opinion, this is as good as anything Gentle Giant has done, and it is one of the best CDs I've gotten this year (along with Locanda della Fate, the double CD of Magma Live, Banco's Io Sono Nato Libero and Darwin!, Ozric Tentacle's Live Underslunky; pretty good company!). If you don't mind the idea of Icelandic vocals (I find them quite interesting), consider giving this a listen. And if you do try it, just ignore the first track. It's rather "poppy" in a 70's kind of way, but its only 3 minutes long and sounds nothing like the rest of the album. Great stuff. -- Rob Walker





















Hinn Islenzki Thursaflokkur - Hinn Islenzki Thursaflokkir(1978)






















Hinn Islenzki Thursaflokkur - Thursabit(1979)

Brân - Hedfan (1976) (pre Pererin)

Epic Welsh progressive rock rarity from 1976. Powerful electric progressive rock with hammond, electric guitars and synths. The vocals are all in Welsh but musically this is a great album with rippling wah-wah guitar and male/female vocals.It's a beauty... (Freak Emporium)

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Neon Rose - A Dream Of Glory And Pride (1974)

This Sweden group, with their melodic/heavy rock strongly influenced of "Deep Purple" and "Alex Harvey Band"


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Baltik - Baltik (1973)

At last a re-issue of this 1973 album originally released on CBS.This Swedish progressive album had bass virtuoso from,John Gustafson (Roxy Music, Quatermass, Ian Gillan Band, Hard Stuff) is now one of the ultimate collectors items for most Deep Purple, Atomic Rooster fans. It starts off quite heavy, then the pace is slowed down with a female vocal/gospel-flavoured ballad , which sets the mood for a few tracks then the disc reverts to quirky, interesting prog rock, which takes a little bit of getting used to - especially if it doesn't grab you from the first listen; give it another chance.Freak Emporium

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Fanny Adams - Fanny Adams (1971)

Vince Maloney, Johnny Dick, Teddy Toi and Doug Parkinson were veterans of some of Australia and New Zealand's top bands of the 1960s:
Vince Maloney (sometimes spelled Melouney) had been in the original 1963-65 lineup of The Aztecs, but quit along with the restof the band after a pay dispute. He and fellow Aztec Tony Barber then formed a shortlived duo before Vince formed his own band The Vince Maloney Sect, which became the house band on the mid-'60s pop show Kommotion. Moving to England, he spent several years as lead guitarist in the late-60s UK lineup of The Bee Gees with drummer Colin Petersen
Johnny Dick had joined Max Merritt & The Meteors in 1963 in New Zealand and came to Australia with them in '65, alongside Teddy Toi. After the original Aztecs split from Thorpe, he and Teddy jumped ship and joined the "new" Aztecs, which lasted until 1966. He later teamed up with 'Parko' in the highly-regarded Doug Parkinson In Focus
Teddy Toi was a highly respected bassist, already a rock'n'roll veteran whose CV went back to New Zealand in the late '50s with Sonny Day & the Sundowners
Doug Parkinson was (and is) one of Australia's finest male singers. He started his career in a high-school band The A Sound, followed Newcastle pop outfit The Questions, before forming In Focus with Johnny, Duncan McGuire and Billy Green, scoring a Top 20 hit in '68 with their beautiful rendition of The Beatles' Dear Prudence and winning the Hoadley's Battle Of The Sounds in '69.
After three-odd years with The Bee Gees in the UK, Vince quit the band over the inevitable "musical differences" and had a short spell with Ashton, Gardner & Dyke (Resurrection Shuffle) before landing a solo deal with MCA. He decided to put together a hard rock supergroup in the Led Zeppelin mould, in order to record the album. The first offer went out to Teddy Toi, an old friend and colleague who was doing session work in London at the time. In June 1970, he invited Johnny and Doug to join him in the UK, a trip made possible by the In Focus win in the Hoadley's (the first prize was a trip to England).
They put together a set of strong original material, and cut the album in London, although it was not evenutally released until 1971, just after they had split. They returned to Australia in December 1970 amid a welter of hype. Boasting that they would become the biggest band in the world immediately, the band encountered resistance from a sceptical public, a situation not alleviated by Doug's boast to Go-Set that "In three weeks Fanny Adams will be the best band that ever trod this earth". Perhaps it was simply a case of being an idea before its time (although other groups like The Dave Miller Set were treading this path successfully). In the event, their brand of heavy, plodding blues-prog rock was (so we're told) upstaged by their support bands at the time, apaprently making a mockery of the group's claims.
According to Ian McFarlane, tensions within the band ran high, as one might expect of such an all-star outing. They made some notable appearances, including the Myponga Festival in January 1971, and early in the year MCA released one single from the album, Got To Get A Message To You (which was a group original, not the Bee Gees song of the name) backed by They're All Losers, Honey. But within months of arriving back, the band had self-destructed. The straw that broke the camel's back was a fire at Sydney's Caesar's Palace discotheque, which destroyed all their equipment. Parkinson left under a cloud, and MCA were sufficiently cheesed off with Doug that they effectively embargoed him from recording for the next two years.
Parkinson evenutally assembled a new version of In Focus, and later pursued a successful solo career on the rock and club circuit, on TV and in stage shows including Jesus Christ Superstar. Throughout the 1970s, Maloney worked with a succession of bands, including The Cleves, Flite, Levi Smith's Clefs, the Jeff St John Band, John Paul Young and the All Stars and Rockwell T. James and the Rhythm Aces. In 1999 he was reunited with The Bee Gees for their "One Night Only" concert in Australia -- the first time they had played together since Vince left the band thirty years before.
Toi and Dick played on Lobby Loyde's solo album Plays with George Guitar, and then joined Loyde in a new version of The Wild Cherries. Teddy moved on to a stint in Sydney supergroup Duck in 1972-73, followed by a couple of years in the final version of The Aztecs, and Johnny enjoyed a long and successful stint with Alberts, first backing Stevie Wright and then John Paul.Young in The All Stars.
The Fanny Adams LP, which is a very fine piece of work, is now a sought-after collector's item. Milesago


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Neon Rose - Reload (1975)

In 1969 Roger, Piero and Benno formed the band SPIDER. In 1973 drummer Kenta "Krull" was replaced by Stanley Larsson and Neon Rose was born. Their first gig was to open for Dr.Hook.
Neon Rose is concidered to be one of Sweden´s best hard rock bands of all time. The first single was only released in 500 copies and is very sought after item that gains a high price.
On their first album "A dream of glory and pride" released in 1974, Gunnar Hallin was not a member of the band, but a guitar roadie!
After the second album "Two" (1975) Stanley had quit to join the blues outfit Nature. His replacement was Thomas Wiklund who in 1971 recorded a single with the band Uppåt Väggarna. Now Roger left the band too, but was persuaded to return. Their third and last album was named "Reload" recorded and released in 1975.After that album Roger quit and joined Wasa Express. He later formed the band Truck in where Thomas also was found.
In 1977 Piero made another attempt to get the band rolling with himself as the only original member left. They recorded some demos, but never took off. They split....to reform in 1981, now with Piero, Benno, Joaquin Calafell (drums) Erik Svensson (keyboards) and Conny Bloom (guitar and vocals). They recorded a single for Rosa Honung Records, but it was never released.
Today Neon Rose is in the limelight again. 15 new songs is recorded featuring the Reload line-up and a compilation album is also planned.

taken from The Encyclopedia of Swedish Hard Rock and Heavy Metal, by Janne Stark


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Advancement - Advancement (1969)

A sixties Hollywood outfit whose album is one of those strange late sixties barrier-breaking experimental efforts trying to fuse different musical genres. Orient Express, Autosalvage and John Berberian are othersimilar projects which spring to mind. This particular one is an attempt to fuse jazz with folk, rock and acid.
Lynn Blessing also released a solo album in 1969, Sunset Painter and Lou Kabok went on to play with Gabor Szabo.

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Quincy Conserve - Epitaph (1971)

The Quincy Conserve was formed in Wellington in late 1967 by Malcolm Hayman. Malcolm was an extremely talented musician who had already been on the music scene for twelve years by that stage. Hayman was only 15 years old when he arrived in Wellington in 1955 as a member of the Maori Hi Fives showband. The following year the singer-guitarist formed the Trademarks, long-time residents at the Mexicali, a popular nightspot owned by American expatriate Harry Booth. The Trademarks were very popular, and after four years of constant playing, queues formed to see them every time they played. Over the years, 30-odd musicians passed through the ranks of the Trademarks, before Malcolm disbanded the group in 1961. The Trademarks owed more than a little to the Maori showband tradition, where Hayman had learnt his licks, but the group gave Wellingtonians their first taste of rock'n'roll. One member of the Trademarks was Rodney "Dody" Potter, who was later a member of the Keil Isles and Dallas Four.
Following the demise of the Trademarks, Malcolm spent 18 months at the New South Wales Conservatorium of Music, followed by two years on the Australian-Pacific cabaret circuit with a variety of bands. Malcolm was a severe diabetic and in 1965, during a residency in New Caledonia, he came down with tuberculosis, spending the next 14 months in a Noumea hospital. He returned to Wellington in the middle of 1966 and formed a new band called the Soundells.
The Soundells had a residency at the Downtown Club in Wellington and at the end of 1967 they were enticed to go to Auckland to play there. They accepted the offer, but Malcolm decided not to go. Now without a resident band at the Downtown Club, owner Roy Young had enough faith in Malcolm to give him a budget to recruit, equip and rehearse a new band for his club. Malcolm immediately tried the rhythm section of Sounds Unlimited, who had just dissolved, but at rehearsals found that they were not appropriate. He then started scouring the countryside, looking for the best musicians, with a promise of a regular gig and a steady wage.
Malcolm recruited bass player Dave Orams from the Underdogs, keyboardist Rufus Rehu from the Quin Tikis, another previous member of Sounds Unlimited, saxophonist Johnny McCormick, and an inexperienced saxophonist, Dennis Mason. On drums was Bryan Beauchamp, from Bari and the Breakaways, but he was quickly replaced by another former Quin Tikis, Earl Anderson.
Rehearsals over, the Quincy Conserve debuted at the Downtown Club in February 1968. They were one of the most talented and professional groups to appear on the New Zealand music scene in the late sixties. They were Wellington's first 'supergroup'. Ria Kerekere returned from the Soundells to provide some vocals for a little while, and not long after they got going, Earl Anderson came down with hepatitis and was replaced by Raice McLeod.
Malcolm Hayman 1969.
Word spread fast about this group and Roy Young soon recouped his investment. Patrons got their money's worth from the entertainment and the club even featured floorshows from the top soloists in the country. It was a top-class venue , which kept out riff-raff by strictly adhering to stringent dress regulations and an over 18 age restriction. Producer Howard Gable visited the venue and was impressed enough to sign the group to EMI, not only as artists but also as a studio band, to record backing's for the large roster of talent recording for the company, including Allison Durbin.
Releasing on the HMV label, their first single "I'm So Proud"/"I've Been Loving You Baby" came out in June 1968. This was followed in 1969 with "Hallelujah"/"Here's To The Next Time" and "Lovin' Look"/"Soul Thing". These records got very good revues, but that wasn't reflected in the sales. Unless you were from Wellington, no-one really knew anything about the group. This was rectified slightly when in December 1968, the group backed Allison Durbin on a national tour. This was the first time they had played outside their Downtown Club residency.
Kevin Furay, who had previously played with Top Shelf, joined the group on both guitar and trumpet in 1970. Two months after Kevin joined, Raice McLeod left and he was replaced by Bruno Lawrence. Raice actually took the seat Bruno had occupied in Sydney with Electric Heap.
Bruno had an immediate impact on the group. He wrote a song that was included on the group's first album, and the song became their biggest hit. The album released in 1970 was "Listen To The Band" and the single was "Ride The Rain"/"I Feel Good". The single was also released in Australia. Bruno's "Ride The Rain" became a finalist in the 1970 Loxene Golden Disc Awards. The second single from the album was "Everybody Has Their Way"/"Purple Frustration".
A second album "Epitaph" was released in 1971. It contained a number of excellent songs and from it came three singles, "Aire Of Good Feeling"/"Don't Arrange Me", "Alright In The City"/"Somebody Stole My Thunder" and "Going Back To The Garden"/"My Michelle Chan".
The Quincy Conserve was always Malcolm Hayman's band and he was a perfectionist and a strong disciplinarian. His rigid control of the group always went down well with venue owners, but didn't always sit too well with band members. It caused the unit to be unhappy at times and the band members resentment eventually tore the group apart. Bruno was always a hard person to manage and he treated Malcolm with casual disdain. Even though Bruno was good value to the group, his irreverence caused him to be fired by Malcolm. In February 1971, a new drummer Richard Burgess was acquired. Bruno was undeterred and moved on to form Blerta.
Not long after Richard joined, Kevin Furay left to form Tanglefoot, and he was replaced by a new trumpet player Barry Brown-Sharpe.
Pressure within the group exploded towards the end of 1971 when Malcolm fired Dave Orams during a rehearsal session. Dennis Mason took exception to this and an argument took place, basically with everybody being sick of being in a band where they had absolutely no say. Dennis said if Dave goes, so do I, and Barry Brown-Sharpe and Johnny McCormick both agreed. The result of the argument was the group was four members less. Hayman decided that there was no point continuing with the group, so he officially disbanded it. Putting their grievances aside, they did get together to do a farewell performance at the Downtown Club on October 30, 1971. Dennis Mason went on to become a member of Arkastra.
Malcolm then joined Furay at Tanglefoot, but before the end of 1971, Roy Young was concerned at the drop of patronage at the Downtown Club, and started putting pressure on Malcolm to form a new band.
Malcolm swallowed his pride and put together a new Quincy Conserve, promising that it would be a more democratic outfit. From the first version remained Malcolm and Rufus Rehu. Malcolm convinced Johnny McCormick and Dave Orams to return and they added Mike Conway on drums and two temporary members, Australian Peter Cross on trumpet and Harry Leki on guitar.
1972 L to R: Mike Conway, Dave Orams, Kevin Furay, Johnny McCormick,Barry Brown-Sharpe, Malcolm Hayman and Rufus Rehu.
At the beginning of 1972 they were back at the Downtown Club, just as popular as before and as if they had never left. After just a month, Peter Cross and Harry Leki had gone and back from the original version were Barry Brown-Sharpe and Kevin Furay. Dave Orams also went and was replaced by Frits Stigter on bass guitar. Now with the band members having more say, they musical direction moved towards a more jazz-rock style.
Two new singles were released in 1972, "Somebody Somewhere Help Me"/"Tango Boo Gonk" and "Roundhouse"/"You Can Take Your Love".
In November 1972, EMI promoted a concert at the James Hay Theatre in Christchurch. Quincy Conserve performed there along with Blerta, Lutha and Desna Sisarich. The event was recorded and released early in 1973 as an album called "Live". They contributed three tracks to the album.
By the end of 1972, Quincy Conserve were no longer resident at the Downtown Club. In 1973 the breweries had begun to recognise the value of live music in their taverns. Lion Breweries opened a rock venue in the Spectrum Room at the Lion Tavern. Their second venue was at the Cornhill Tavern and Quincy Conserve were installed as residents. They also held a residency at the Speakeasy Bar in Manners Street.
In 1973 their third album was released. It was called "Tasteful" and came with a 7" EP called "Extra Tasteful". Two singles were released from the album, "Keep On Pushing"/"Lady Listen" and "Slut"/"Keep On Playing That Rock'n'Roll".
A deal with Lion Breweries was signed in 1974, and the group spent most of the next year constantly touring the country. They spent on average a week in each town and during that time musicians came and went. By 1975 the group found that their most appreciative audiences were found at jazz festivals. By this stage the line-up consisted of Hayman, Paul Clayton on lead guitar, Peter Blake on keyboards, Rodger Fox on trombone, Geoff Culverwell on trumpet, Murray Loveridge on bass and Billy Brown on drums. Geoff Culverwell had previously been with the Wedge. This combination recorded the group's last album called "The Quincy Conserve" in 1975 for the Ode label and also released two singles, "Song For The Man"/"Epistolary" and "Rockin' Chair"/"Super Strut".
In September 1975, Jack Cooper, manager of Wellington's newly opened 1860 Tavern, invited Rodger Fox to form a jazz band for Saturday afternoon entertainment. He created the 1860 Band, and it comprised Fox, Blake, Brown and Culverwell from Quincy Conserve, plus bassist Dave Pearson. By the end of 1975, the 1860 Band had greater pulling power than Quincy Conserve themselves, so it became a full-time venture in the new year, officially putting an end to Quincy Conserve for good. Hayman and Loveridge went on to form a pub band called Captain Custard.
Rodger Fox went on to form the Rodger Fox Big Band in the late seventies. They recorded a number of albums and included quite a few respected musicians within their ranks over the years. They included Geoff Culverwell from Quincy Conserve and David Feehan from Lost Souls and Tapestry.
Malcolm continued playing for a number of years, but finally his diabetes caught up with him and he died as a result of complications on the 5th November 1988.
Quincy Conserve were never a true pop group, they were more of a musicians band, with Malcolm Hayman possessing one of the most distinctive voices in Kiwi Rock.
In 2001 EMI released a CD called "The Very Best Of Quincy Conserve", which contained most of their singles and some good album tracks.

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Gwendal - Rainy Day (A Vos Desirs) (1976)

Another album by this great French band. Link is corrected my friends - thank you for pointing this out!

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Liederjan - Volksmusik aus der heilen Welt (1979)

German folk.

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Pierre Bensusan - Pres de Paris (1974)

French folk. Pierre’s first recording at the age of 17. Près de Paris was awardedthe Grand Prix du Disque for Folk Music at the Montreux Festival in 1976. Very folk orientated with an already distinctive, mature guitar style and musicality. All of Pierre trademarks are here. A classic, historical work, paving the way for many guitarists - even today.Doc Watson’s favourite.

PIERRE BENSUSAN: acoustic guitar, mandolin, vocals
CLAUDE LEFÈBVRE: dulcimer, guitar
PHIL FROMONT: violin, alto violin
EMMANUELLE PARRENIN: hurdy-gurdy
BILL KEITH: banjo
JEAN-FRANÇOIS SANDOZ: tin whistle
GÉRARD LAVIGNE: bass
ANDRÉ THOMAS: bodhran
HERVÉ DE SAINTE-FOY: double bass

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Wooden Horse - Same (1972)

WOODEN HORSE were one of the BEST folk bands of all time, allthough not many have heard their 2 lps as they are rather obscure, the music ranges in sound mostly from PETER, PAUL, and MARY, also the VELVET UNDERGROUND, GORDON LIGHTFOOT, FAIRPORT CONVENTION, LEONARD COHEN, etc. ........the lps are straight ahead acoustic folk with variations here and there if u are a fan of FOX then we'd say these lps are essential to see the kind of SUSAN aka NOOSHA sang in before FOX....
1st lp - Noosha Fox (vocals) Graham Vick () ( not sure of the rest of the lineup for the 1st lp )
'Wooden Horse' (72)
Crazy thoughts / Wake me in the morning / Trees / Northern beaches / This is a song / Broken bottles / Eastbound train / Gentle mind / Come around / Feel / Letter / Loving man
' WOODEN HORSE' '72
'CRAZY THOUGHTS'
NOOSHA's vioce sings beautifully along with the guys in this C,S, and N, type folk song which opens the lp, our copy had the first 20 seconds or so missing so here are some lyrics after that time period ' WHEN YOUR GONE THINK OF ME AND THIS ROOM WE KNEW U WELL', and 'IM LEAVING TO GO FIND MY FRIENDS TO PLAY AND TALK WITH THEM AGAIN, AND TURN YOUR LEAF TOWARDS THE DOOR, I'D KNOW I'D SEEN THIS FILM BEFORE'......
' WAKE ME '
soothing number, GREAT guitar playing 'WAKE ME IN THE MORNING YOU WILL FIND ME THOUGHJ OUR LOVE's LOST IT's BEAUTY COMING TRUE, I CAN SEE THE WINTER's SUN TELLING ME THAT OUR TIME IS DONE, ASKING ME WHAT I COULD FIND IF II LEAVE IT ALL BEHIND, WANNA COME BACK, BUT I DON'T KNOW HOW TO CHANGE MY MIND...MMMM MMMMMM
' TREES'
GREAT PETER, PAUL, and MARY flower child sound with chiming guitars,'THE TREES ARE SO TALL AND I CAN'T SEE THEM AT ALL, AND I CAN'T FEEL MY FEET ON THE GROUND, PEOPLE THAT I MEET WALKING IN THE STREET, THEY DON'T KNOW WHERE I'M BOUND'.....
'NORTHERN BEACHES'
NOOSHA begins this one solo, the bands backs her up on backing vocals later, this one is dark and atmospheric, beginning very quietly NOOSHA sings 'DRIFTING THRU A CLOUD OF SMOKE AND MUSIC, KNOWING THAT IT's SLOWLY GETTING TO ME, HOLDING ONTO TEA I THINK ANOTHER YEAR I NEED', and 'ON THE NORTHERN BEACH AS WE HAD TIME TO SING, GRASS GREW TALL AND ALL AROUND US', and ' AND NOW I'M HERE I'LL NEVER BE THE SAME AGAIN, IN THE MIDDAY SUN, THERE'S NOTHING LEFT TO DO BUT RUN'.....
'THIS IS A SONG'
this one is in a PETER, PAUL, and MARY, FAIRPORT CONVENTION style.......'THIS IS A SONG HOPING WE CAN LOVE ONE ANOTHER, HOPING WE CAN LOVE ONE ANOTHER, TO LET U KNOW I'VE BEEN WITHOUT A DAY, WHY I LET U KNOW I FEEL A DAY', and 'THIS IS A SONG TO GREET THE DAY'
'BROKEN BOTTLES'
this song closes the lp side 1, the band decides to play a lively blues, almost country sound with piano playing, sings NOOSHA and the male singer - 'NEVER HAD MY FORTUNE TOLD I CAN'T IMAGINE WHY, THE LADY TELLS IT LIKE IT IS SHE'S NEVER SEEN ME CRY', and 'IT's 2.a.m. AND I HAVE NO TEA TO EASE MY SORRY HEAD ' the song gets livelier as it goes along 'THE LORD HE MUST BE PUNISHIN' ME FOR THE CRAZY THINGS I'VE SAID', and 'I CAN BE GLAD CASUE HE's A CHRISTIAN'.............later NOOSHA says 'I'VE MADE A FRIEND HE's ALWAYS DOWN, I OFTEN BRING HIM THE NEWS, HE ALWAYS FEELS MUCH BETTER WHEN I SING HIM THE BLUES'..........piano keeps playing ( fades)....

- lp side 2 -
'EASTBOUND TRAIN'
traditional folk C, S, and N, type tune, NOOSHA and male singer begin - 'PASSING TIME ON AN EASTBOUND TRAIN, WATCHING THE SKIES FOR A SIGN OF RAIN, MY FEET ON THE ARMREST'....., and ' LOOKING AT THE LADIES FROM 1 TOWN TO THE NEXT RIDING ON A CREST OF A WAVE, and 'SIGN ON THE WALL SAYS JESUS SAVES'......
'GENTLE MIND'
a GORDON LIGHFOOT style folk song, slow and soft acoustics, -'HERE I HAVE A GENTLE MIND AND WHEN I WALK I TAKE MY TIME A ROOM TO MYSELF AND TRY TO KEEP IN GOOD HEALTH TO PASS THE DAYS IN SIMPLE WAYS......
'COME AROUND'
this one reminded us of JAMES TAYLOR, .....'YOUR HOME AGAIN , I KNOW I'M WELL, TWAS A YEAR FOR MAKING CHANGES, I HAD BEEN DOWN FOR QUITE A WHILE', and 'AND SAY HELLO, I'D LIKE TO SEE U 1 MORE TIME AND IT SEEMS LIKE EVERYDAY I'M FALLING
'FEEL'
after those 2 quiet numbers comes a much more experimental folk song close in sound to C, S, and N, but probably closer to NEIL YOUNG......dark and atmospheric with some GREAT rythme playing, 'HEY BABY STAY WITH ME, LIKE WWWWINE, SO FAST IT WILL NEVER LAST, SO FAST IT WILL NEVER LAST RRRRED ROSE........REMEMBER NOW I'M FEELING HOW IT USED TO BE , NOW THERE's a LIFE FOR U AND A LIFE FOR ME', and 'WE CAN SMILE TOGETHER AGAIN'.....
'LETTER'
this one is more a VELVET UNDERGROUND folk-pop song NOOSHA singing lead once again ' 2 MORE DAYS AND I'LL BE THERE TO SEE U WITH YOUR TORN DOWN HAIR, U LEFT YOUR CHANGE AND ALL YOUR STRANGE EASTERN BEADS ON MY CHAIR', and 'I SPENT THE DAY ALONE TO WRITE, BUT THERE's NO MORE TO DO'........
'LOVING MAN'
the closing song to the first WOODEN HORSE lp sounds like PETER, PAUL, and MARY musically, and kinda like the VELVET UNDERGROUND stylistically, '2 PEOPLE IN THE DOORWAY WATCHING THE EVENING SUN GO DOWN AND THE CONCRETE PATH TO THE WATER IS STILL WET FROM THE MORNING RAIN', and 'WITH TIME ON MY HANDS I COULD BE A REAL LOVING MAN'............the band sings in unison and closes the lp with a comforting folk sound....... taken from Flower Childern

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Red Television - Same (1974)

Dark ultra rare and totally stoned acid folk private pressing from '71. RED TELEVISION trip out with twisted vocals of subversive nature combined with drowsy guitars creating an overcast atmosphere of melancholy, especially all their unique aspects culminates in the mournfull 15 minute long elegy "Ghost Of Emile Zola" a tense display of haunting voices and shivering guitar bursts.

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Summertime requests

Dear Friends!

It's mid of summer - pretty hot , everybody thinks about vacations, for me there are were a lot of festivals & concerts recently - not too much time for blogging. So I'd like to work till end of summer mainly on request basis - your requests are welcomed! If I have it - I'll share it sooner or later (if it's worth sharing ;)

Still once a week (or two) there are will be a couple of posts from me & my friends.

Looking forward to hear from you ;)))

Enjoy the music!

Love & peace,
Lisa

Radio Waves

Live is going on & new friends appear listen to Radio Waves 66 & leave your comment.

Take care,
Lisa

Wonderland - The Best Of (1973)

Personnel:
ACHIM REICHEL g, v
(HELMUT FRANKE g) A
KALLE TRAPP g, v
(LES HUMPHRIES kb) A
CLAUS-ROBERT KRUSE kb, g, b, v
FRANK DOSTAL v, b
DICKY TARRACH d

This was a beat band formed at the beginning of 1968. Reichel and Tarrach had previously been members of the most famous German beat band: The Rattles. Wonderland recorded three singles before Humphries and Franke quit at the end of 1969, to be replaced by Kalle Trapp and Claus-Robert Kruse. One year and a single later the band ceased its activities, with Reichel and Dostal teaming up for the Wonderland Band album, to which Franke, Tarrach, Trapp and Kruse all contributed. All Wonderland singles and four tracks for a projected album were collected in 1973 on a Karusell sampler.

WONDERLAND BAND - One of Achim Reichel's strangest projects occurred in l97l, after the demise of Wonderland. His long time collaborator Frank Dostal followed him from this band. Together they recorded as Frankie Dymon Jr. as well as the very different Wonderland Band, whose album was an ambitious production featuring 25 guest musicians, among them Clauk-Robert Kruse (guitar, organ, vocals, arrangements), Helmut Franke (guitar), Ladi Geissler (guitar), Hans-Uwe Remers (piano, arrangements), Benny Bendorf (bass), Hans Hartmann (bass), Kalle Trapp (bass), Joe Nay (drums), Barry Reeves (drums) and Dicky Tarrach (drums, chimes, trumpets and trombones). The results sounded close to the eclectic solo album Die Grune Reise, but Reichel's echo guitars were in this case replaced by solid doses of brass! Wonderland Band's No. 1 was equally weird with boogie rock, vintage glitter rock and folky ballads spiced with incredibly strange brass arrangements. It was hardly a great success (however, there are highlights!) and proved to be a one-off, although a 1972 single featured two unreleased tracks: "Rock'n'Roll People" coupled with "King Of America". Taken from Cosmic Dreams At Play

Listen to the "Moscow"!


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Again...

Dear Friends,

I'm receiving comments from some of you asking about Premium Rapidshare account doesn't work due to new links I use. If there is a solution (anybody knows?) - I'll post it here sooner or later , but at the moment I don't care about any premium accounts - if you like to have this rare album (some of them are very difficult to get, believe me!) you can wait 60 secs or login like free account user & download this album. You are sitting home & choosing rare records from this or that blog, stop complaining! Or go & try to buy this record (good luck in this...)

Moreover, it wasn't my decision - I just want to protect links so YOU can have the possibility to listen to these albums...

Take care,
Lisa from the East

Elster Silberflug / Schwan / Fiedel Michel / Liederjan - Volkslied 76 (live)

Various German folk acts live.

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Dieter Sueverkruep - 1848 (1974)

German political folk.

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