Sway [ITA] - Sway (1973)

Led by pianist Sante Palumbo, Sway is an excellent album heavily influenced by early 70s Miles Davis, even without the presence of trumpet. Throughout, the album features wah wah guitar rhythms and tribal drumming. The first side is a bit looser, with some shrieky sax, drum solos and some piano noise bits. But Side 2 contains 'Mad' which is absolutely sublime. The sax is traded in for flute, there's an actual melody line carried throughout, and the guitar fuzzes out some wonderful solos. CPT (Cipiti) is the same label that released the rare debut by Le Groupe X.Taken from here

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Canelle - Canelle (1978)

When listening to this album, I had every intention of listing it as a group from Canada. It has that particular sound that reminds me of a 1970s Quebecois release, as found on the Disques Le Tamanoir label for example. Groups such as L'Engoulevent and Breche come to mind here. As well, I hear traces of Harmonium's debut and even some Connivence. Overall I'd categorize it mainly as French folk music with a pop rock edge. So not exactly the usual CDRWL fare, but the primary reason for inclusion is the keyboard work - plenty of Moog solos that are a wonderful contrast to the otherwise serene pop music. I suppose you could also call out Yes here, when they're in their most simplistic happy sappy mood. Also, I quite liked the melodies. While not a priority release (there are a couple of trips to the barn you'll have to endure), I still think many of you would probably like to track this one down for a few listens. Taken from here

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Modern Music Band - Modern Music Band (1972)

Horn rock heaven. Not long ago we featured a 1970 Swedish group called Opus III & Friends, and I stated that they reminded me of a horn rock band, except that they didn't have horns. And here we have another band like that, except they do feature them... horns that is. And much more, fully utilizing the 8 piece band here (trumpet, trombone, organ, flute, sax, guitar, bass, drums). This is a very fine example of the style, with good melodies and female vocals sung in Swedish. I believe all are originals, except one cover of Chicago's "Make Me Smile" (and an excellent rendition it is). For Swedish horn rock, I found this to be much more preferable than Splash's "Ut På Vischan". Taken from here

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Floyd Hunchback Group - Floyd Hunchback Group (1978)

Floyd Hunchback Group is a tough album to describe. You can tell they're jazzers, and the typical late 70's fusion elements are all out in force (Rhodes, sax, funky bass). But they have this mean streak too, and some of the gymnastic rhythms, coupled with Moog and guitar solos, point to a love for complex instrumental progressive rock. The drumming is quite exceptional. Strangely I'm hearing more of a mid 70's Eastern European sound here, as found in bands like Fermata or SBB. Taken from here

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Windy Corner - The House at Windy Corner (1973)

"The House at Windy Corner" is one of the most sought after and expensive albums in the world, with copies known to fetch four figures. Windy Corner play a delicate and sparse folk rock with acoustic guitar, organ and dreamy vocals.

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Oratorium - Oratorium (1972)

One of the best hidden treasures of German early 1970s psych Krautrock private pressings! The only LP from this young 6-piece group (3 brothers and friends) from Hof (Bavaria), 9 great songs full of haunting melodies, swirling, wailing Farfisa organ, guitars, sparkling piano, bass and drums, and - in opposite to most other private Krautrock LPs - superb vocals. The dark echo-ey / reverb-laden sound sometimes reminds me of Mary Butterworth and gives this LP this particular spine-chilling, goosepimples-producing feeling of those magnificent 1960s psych-garage ballads. By lyrkoss

Sounds more like a 1968 era American garage psych album, than anything typically coming from Germany circa 1972. Excepting the semi-narrated vocals in German of course. Somewhat like Ainigma's "Diluvium", but a better reference is some of the 45's coming from the German underground as featured on Garden of Delight's "Psychedelic Gems" series. Straightforward rock n roll songs, with Farfisa organ, slightly fuzzy guitars, echoed piano and a lot of vocals. A very unusual sound for Germany, so I can understand the collector appeal. Taken from here

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Virgin's Dream - Sophisty (1980)

Virgin's Dream, on "Sophisty" at least, are very much a product of the late 70s and early 80s German fusion scene. Perhaps a bit more tropical, and funky, than most. Comparisons to Michael Borner's Sun or some of Syncrises' work wouldn't be out of line. As usual, the guitar work is exemplary, a trademark of the time and place. Taken from here

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Trefle - Reflet (1978)

Private press. In the Ange school of French progressive rock. More of an underproduced effort, recalling Grime or the first Synopsis album. One of the better examples of the style, with impassioned vocals and fine guitar work. The atmosphere here is rich. All the songs are short but segue nicely into each other. A good one that Musea would've typically reissued in the early 90s. Taken from here

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Mirror - Daybreak (1978)

Mirror was formed in 1972 by four high school kids, Johan Saanen (bass guitar), Paula Mennen (vocals and keyboards), Kees Walravens (guitar) and Peter Fransen (drums) in the south of the Netherlands. In 1973 they were joined by Philip de Goey (sax, woodwinds and oboe). In 1976 Mirror records it's first and only album, Daybreak. The music is influenced by Pink Floyd, Yes, Trace and Focus. After the release of the album they toured increasingly in Holland. But rather soon the were having disagreements about the business side of the band. This led to the departure of Johan. Then there was an argument about who had written the music and this finally meant the end of Mirror in late 1976.

After the Mirror Philip de Goey, Kees Walravens and Johan Saanen start a new progressive rockband, Lethe in 1978. With Lethe they record one album, Lethe, in 1981.

In the nineties Saanen, Walravens and Fransen play together in a cover band called Looking For Clues. Taken from here

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Lethe - Lethe (1981)

Lethe's album starts off rather inconspicuously with a classically oriented oboe, acoustic guitar and piano piece. But, just as Mirror before them, the band launches into a sophisticated, but highly melodic progressive rock form. And while Side 1 is good, side 2 is an absolute clinic on how to combine complexity and yet still maintain a strong melodic backbone. This is the album that Camel never made after "Moonmadness". Astounding album really. Taken from here


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Motowns - Motowns (1971)

An English group, arrived from Liverpool to Italy in the mid 60's, the Motowns featured Lally Stott (vocals, replaced by Mick Brill), Doug Meakin (guitar), Mike Logan (keyboards), Robbie Scott (bass) and Tony Crowley (drums, later Dave Summer).
Their first album came out in 1967, Sì, proprio i Motowns on RCA, followed by a long series of singles, until they were signed to Cinevox in 1971.
Their second and last album, Motowns, issued by this label, contains 10 tracks, most of which show strong differences from the typical beat sound of the past years, being halfway between psychedelia and progressive. The album is very nice and rare, and has never been reissued.
Some tracks from the LP were also included in the soundtrack of the film Mia moglie...un corpo per l'amore directed by Mario Imperoli, released in 1972. Taken from here

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Air - Teilweise Kacke... ... aber Stereo (1973)

One of the most obscure albums from the vast Krautrock scene, Air’s sole album from 1973 has just recently surfaced to the collector’s market. It’s easy to see why. Translating more or less to “Partially Shit… …but in Stereo”, and featuring a plain white cover with “Air” in gothic lettering, one gets the impression this was made for fun and distributed to friends and club patrons. Musically it could be categorized as instrumental rock, not that distant from what one would find on a sound library album. That is, generic incidental music used for television and films. Maybe not 100% accurate, as these cuts do seem to be self-contained composed pieces, but similarities do exist, especially considering how simple the songs are. Organ is the featured instrument, and the tones are ancient, more akin to 1965 than 1973. It’s even older sounding than the organ used by Erlkoenig, if that’s possible. The organist doubles on flute, but the playing is more 18th century classical than Osanna. The electric guitar is primarily used only for rhythm and is lacking any kind of rock tone effects. And, of course, there is a drum solo to suffer through. The easy comparison would be the Roland Kovac New Set (another German sound library group), but misses their strong jazz background and creativity, and thus is far less interesting. In conclusion, Air is not a bad album at all, and does make for a nice curiosity. Tom Hayes Taken from here

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Agharta - Agharta (1980)

Light and breezy instrumental fusion with piano and various woodwinds (sax, clarinet, flute) mixed up front. Lead by keyboardist Jacques Mignault, and released on his own label, with the help of other local Quebec jazz musicians including Michael Seguin. Very much a product of its day, with strong overtones of same era Weather Report and Spyro Gyra. Well done for the style.

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Pantha - Doway Do Doway Do !!?! (1975)

A mixture of that unique Austalasian take on symphonic rock (Sebastian Hardie, Dragon) combined with some early Santana grooves. Somewhat poppy in places, but highly infectious. It's an album I reach for more often than usual. Would be a good candidate for Aztec Music.

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Nemo - Nemo (1973)

A mix of funk, rock, jazz fusion. Mainly instrumental. Good stuff and features Francois Breant, who later had some success as a solo artist. No CD exists.

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Jean-Claude Gaupin - Anatheme (1984)

Fairly typical early 1980s era light, sunny and breezy funk fusion. The great exception being the edgy guitar work from Xavier Piton, his one and only venture into recorded music (that I could find anyway). Other than that, it’s the usual sax, Caribbean drums and warm / funky bass that push these harmless cruise ship style instrumental tunes along. Never issued on CD.

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Firyuza - Firyuza (1979)

I once joked that if it was from Turkmenistan, it had to be good. Of course I was talking about the Gunesh Ensemble, and didn’t realize there was a second group from the same place and time. Three long tracks adorn this one of a kind album. Seven piece group with guitar, sax, flute, keys, violin, bass, drums and percussion. While not as hot or as entirely unique as the almighty Gunesh, this is still a fascinating fusion, one that relects the unique culture of the Turkmens. I’m constantly amazed at some of the subversive sounds coming from the old Soviet Union. I’m surprised Boheme Music of Russian didn’t reissue this with all the other great ex-Soviet albums formerly on Melodia. Cool cover featuring the band, with instruments in hand, proudly wearing their traditional telpeks (tall fur hats).


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Trocarn - Trocarn (1977)

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George Gruntz Piano Conclave - Palais Anthology (1975)

Hard hitting fusion album on MPS from an all-star cast of Europe’s finest ivory ticklers. A mix of funky fusion, Canterbury rock and piano jazz. A nice surprise and not an album one would likely buy if they saw it - except for the marquee names, which is more than impressive: Gordon Beck, Wolfgang Dauner, George Gruntz, Jasper Van’t Hof, Joachim Kuhn, Martial Solal, John Lee, Alphonse Mouzon. Yea, pretty ridiculous lineup right there.

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Probe 10 - There Is A Universe (1975)

One of the most inventive of the US progressive rock albums. There's also plenty of horn rock and psych. 1975 seems too late for such an endeavor.

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