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Peter Frohmader - Musik Aus Dem Schattenreich (1981)

Michael from France sent this to me, and it is just as the title says "Music From The Darkness". A couple of the early tracks feature crashing guitar chords, pounding drums, and weird, pulsing, cyclic electronic sounds. The last track features some tasty bass. The balance of the material is strictly electronic, evoking the coldness of deep space, or the moon rising over the pyramids. Or just a bad, bad feeling, a feeling of ominous dread. Hard to describe, I don't think anything I've heard is comparable to this. I have a feeling that if classic Amon Düül II and Magma got together and they all had the same bad trip, this music sounds like something they might come up with. Dark and eerie, I think this probably needs more than one listen to really get it.

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Stoneground - Stoneground (1971)

How about something a little more upbeat? My god that last one was spooky! This great hippie band featured the voice, guitar, and songwriting skills of former Beau Brummel Sal Valentino. But he was only one voice. This band of Bay Area hipsters had four female singers, and no less that six different lead vocalists on the ten tracks on this album. The photo on the back cover shows about a dozen people on stage! Every song is great, whether it is gospel rock, funk, R & B, power ballad, whatever. My favorite track is a Sal Valentino tune, "Colonel Chicken Fry". No wait, it's the cover of Rev. Gary Davis' "Great Change Since I've been Born". Maybe "Looking For You"! Well like I said they're all great. If you like 70's West Coast hippie music, this is a forgotten gem.

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Anyone's Daughter - Adonis (1979)

"I have been a big fan of this act for some time now and still rank them as one of my all time favorite prog acts. Anyone's Daughter mix gentle vocal harmonies with some superb progressive rock elements. Uwe Karpa adds some beautiful and tasty guitar leads which seem to blend to perfection with Harald Bareth's bass and lead vocal. Anyone's Daughter offer both English and German lp's and Adonis happens to be one they elected to sing in English . Although Adonis does certainly contain a rather awesome amount of great progressive moments, the major highlight still remains the title epic track "ADONIS" (27 mins). Musicianship is very high here and Anyone's Daughter are very easy to listen to and get into....the music is sophisticated but remains very much in control and many different moods swings. At times I get a very strong underground German feel to the music which I love. To this day Harald's voice still remains one of my all time favorites and the music of Anyone's Daughter is essential in your collection....Highly required and is very intelligent music..." (Wonderful World Of Progressive Rock)

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Spektakel - Spektakel (1974)

Precursor band to the German group "Schicke, Fuhrs, Frohling", this awesome symphonic rock was recorded in 1974 and wasn't released until just a few years ago. The music is similar to that done by SFF, if you haven't heard them, think maybe a combination of King Crimson/Van Der Graaf Generator. Four l-o-n-g tracks coming in at just over an hour, loads of Mellotron, Hammond organ & Moog, and brilliant guitar solos from Heinz Fröhling. No overly long solos, all the instruments combine to give great jam-oriented, atmospheric soundscapes.

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Frumpy - All Will Be Changed (1970)

Thanks to Henri from Brazil for copying this CD for me so I could rip it at 320. Not what you would really call krautrock, this is nonetheless an amazing album of early 70's progressive rock. Very unusual for the day in that there are no guitars. Except for the 2 bonus tracks, where we find Thomas Kretschmer, guitarist from the 8 Days in April album. Also on board from the 8 Days in April album are the fantastic singer Inga Rumpf and the amazing keyboardist Jean-Jacques Kravetz. Frumpy's attempt to blend soul, blues, and rock with some classical motifs into a progressive stew was entirely successful. The shorter tunes bring to mind maybe the bluesier side of Spooky Tooth, if they had a brilliant female vocalist. This is an all around great album.

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The West Coast Pop Art Experimental Band - Part 1 (1967)

"Though none of their five albums or two singles managed to dent the national music charts, the WCPAEB were just as much a part of LA’s 60's scene as cherry coke or miniskirts. Although the records didn’t get much exposure, they are regarded by many as low-key classics of LA pop/rock. Part One, their first album for a major label, is a great sample of what West Coast rock was all about in 1967. The album finds the music scene and reflectively, the band, in a period of transition from the well-crafted harmony pop of the Beach Boys to the new “consciously underground” psychedelic rock of the Doors. Particularly reflective of the former group’s influence is the fine vocal harmonies on songs like “1906,” “Here’s Where You Belong,” and “Transparent Day.” The last song especially is an example of the well-produced, AM-friendly pop/rock the group was capable of. At the same time however, the group lived up to their name by being experimental. “I Won’t Hurt You” features a heartbeat which serves as percussion, unusual lyrical images, and slightly insecure vocals which lead the listener to question the singer’s sincerity. Likewise, the band’s cover of Zappa’s “Help I’m a Rock” naturally couldn’t not be experimental, though perhaps the WCPAEB’s version lacks the lunacy and earnestness which made the original disturbing and funny at the same time. “Shifting Sands” is a dreamy, melodic song complete with fine distorted lead guitar runs which add a mystical quality to what was once a simple country song. Other songs on the album are straight-ahead sophisticated pop pieces, such as the “Morning Dew” rip-off “Will You Walk with Me” and the sharp “If You Want This Love.” Much of the album is folk-rock, with chiming electric guitars and distant, McGuinn-esque vocals. Part One is good, and interesting. The group manages to try new things musically while maintaining interest and pop credibility." (Kurt Sampsel www.RockMuse.com)

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Virus - Thoughts (1971)

I posted Virus' first album, "Revelation" last September, and "Thoughts" is their second release and it is somewhat different, now they are playing a wild bluesy hard rock owing more to Deep Purple or Frumpy than Pink Floyd. There is also now a rough and ready sounding female vocalist named Elga Blask. Even though the style has changed some, and there seems to be no documentation of exactly who the personnel are on this second album, this is still a legendary album by a legendary German band. Simply a brilliant slice of 70's hard rock with a psychedelic edge, and should be heard by everybody who likes rock and roll!

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Chil - Rhubarby Feeling (1970)

Only release by Chil, who were from Switzerland and that's about all I was able to find out about this thing. I already knew that it had probably the worst title for an album in the history of music. Rhubarby?? Must be a translation thing or something, although they sing in English. Anyway don't let the awful album title stop you from downloading this unique slab of music. I don't really know how to describe the material, one website said it was recorded for 'soundtrack use', and it does have a soundtracky, other-worldly feeling to it. When I say 'other worldly' I don't mean space-rock. Ethereal and drugged-out sounding! This was so intriguing I burned it right away so I could hear it on my stereo. I hardly ever do that anymore.

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Leviathan - Leviathan (1974)

Excellent early 70's prog in the early Genesis vein!! Originally released on London Records in 1974, this is heavy progressive American rock at it`s best, strongly influenced by English prog of the same period. Far as homegrown prog bands went (with a couple exceptions), 1970's America was the home of the brave but doomed. Leviathan was one act that actually managed to get one proper album release before disappearing, probably to secure to themselves and their posterity the blessings of not starving to death. Not as derivative of big-name British acts as most of their contemporaries, Leviathan`s release instead demonstrates how much more blurred the line between heavy metal and progressive rock had already become in the Colonies than in the Old Blighty. "the synthesis of old-style heavy guitar and Mellotron as displayed here is quite novel and charming - certainly enough to make this album worthwhile. Those into heavy prog in the old sense of the word, without thrash riffs, neo-classical shredding or double bass drum havoc, should definitely investigate this one." (notlame.com)

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Fusion Orchestra - Skeleton In Armour (1973)

"Formed in the early seventies, Fusion Orchestra were an unfortunately short-lived progressive jazz/rock outfit of immense potential. Joining the exceptionally talented Jill Saward on vocals, keyboards, flute, guitar and synthesizer, were guitarists Stan Land and Colin Dawson, bassist Dave Cowell and drummer Dave Bell. This is one of the finest bands to have ever come out of the UK, and their sole album release is an absolute masterpiece of sophisticated compositions with stunning female vocals and superb musicianship. When the band split, the members would fade into obscurity, with only Saward surfacing a number of years later as a backing singer in UK pop/jazz outfit Shakatak. She went on to become a fully fledged member of the band, playing keyboards and flute, and, of course, singing, much the same as she did when she was a member of Fusion Orchestra." (dinosaurdays.co.za)

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See Ya!!

OK, I'm back.

Harmonia - Musik Von Harmonia (1974)

The debut Harmonia album is at once a product of their source bands (Cluster & Neu) and a fine new twist on them, resulting in music that captures what for many is the Krautrock ideal, or more accurately, the motorik ideal. It's not Kraftwerk's all-synth, clean, clinical pulse, nor Neu!'s seemingly effortless glide, nor Can's stomping art world funk. Instead it's at once playful and murky, steady and mechanical, a supergroup of sorts who easily achieves and maintains such a seemingly overstated status by embracing a variety of approaches that work wonders. The players bring their usual multi-instrumental roles to the fore, ensuring that the end results achieve their own distinct sound -- this isn't simply Cluster with Rother's assistance or Rother trying for a solo record with Cluster's backing. For all that, there's a touch more Cluster in the end -- the spacier parts on Musik Von Harmonia have that duo's hushed chill, the electronic percussion of Rother meanwhile avoids his familiar crisp punch using real drums in Neu! outside of the perky "Dino." "Ohrwurm," meanwhile, has a strung-out guitar grind nicely offset by a far more restrained wail in the background, further backed by delicate keyboards and tones. When it comes to pure drift, the wonderful "Sehr Kosmisch" is the understandable winner, a nearly 11-minute-long piece that undeniably had to have been part of the attraction for Brian Eno in his later work with the band. A piano piece reminiscent of Eno collaborator Harold Budd drifts up and down through the mix of keyboard shimmers and electronic washes, resulting in a piece at once both meditative and gently rhythmic. Other songs, like "Veterano" and "Watussi," suggest the electro-pop approach, which Kraftwerk inadvertently founded, but with their own quirky edge, rhythmic distortion, and guitar parts playing with the expected formula. (Ned Raggett, All Music Guide)

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Jody Grind - One Step On (1969)

Debut album from this under-rated British progressive rock outfit featured the great Louis Cennamo, later of Steamhammer and Armageddon, on bass. He plays on just a few tracks, as the band had no bass player, the keyboardist playing the bass parts mostly. Stars of the show are Tim Hinkley on keyboards and vocals and an amazing guitarist named Ivan Zagni. Not to forget Berry Wilson on drums. Highlight is the eighteen-minute long title track which is a keyboard and guitar tour de force.

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Shiver - Walpurgis (1969)

The only album from Swiss group Shiver is, in all honesty, not one of the great albums of all time, no 'lost treasure' of psychedelia or anything. It is probably most notable for having the first album cover designed by H.R. Giger. A lot of it sounds terriby dated to my ears, but that is not necessarily a bad thing. It is, after all is said and done, a very interesting slice of late sixties bluesy psychedelia The first track is a respectful cover of Procol Harum's "Repent Walpurgis", there is also a cover of The Animals' "Don't Let Me Be Misunderstood" that is very, uh, dramatic! "Hey Mr. Holy Man" is a great little ballad that has "Late Sixties" written all over it, with a Hammond organ and choir, and some guy making an earnest narration on top of the music.

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Dantalian's Chariot - Chariot Rising (1967)

Featuring Zoot Money and future Police guitarist Andy Summers, Dantalian's Chariot were responsible for one of the 1960's great obscure psychedelic songs from Britain, "Madman Running Through The Fields". This CD issue features all their known recordings, only 10 of them, and is probably a close approximation of what an album by them would have sounded like. While the material is interesting, none of the other tunes, with the exception of "This Island" maybe, come close to the greatness of "Madman". Well worth a listen, especially if you are a fan of British psychedelic pop/rock from this era.

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Trikolon - Cluster (1969)

An obscure German group who put out this one album before changing their name to Tetragon. The keyboard player, Hendrik Schaper, later went on to play with Passport.Sounding like it was recorded live, the music on the album is mainly long keyboard improvisations, progressive with a touch of jazz/classical influence. Keith Emerson was undoubtedly an influence. The keyboards get a break just briefly during the first few minutes of "Trumpet For Example", and then the rest of the song becomes another keyboard freak-out. The whole affair is rather strange and dark sounding.

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Guru Guru + Uli Trepte - Live & Unreleased (1972-1974)

Thanks to my friend Michael from France who uploaded this rare gem of a bootleg for me. The first two cuts are live recordings from Guru Guru, a 23 minute long version of "Der LSD March", and an 18 minute long "Bo Diddley". The next four cuts are from unreleased session recordings by Uli Trepte (Guru Guru bass player), "United Dish" "Sitting In The Sun" "White Line Fever" and "Ear Mike Song". This is all some real trippy stuff and should be downloaded by all fans of psychedelic music.

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The Old Man And The Sea - The Old Man And The Sea (1972)

Almost every collector of progressive rock familiar with Old Man & The Sea's eponymous album acknowledges it as one of the real masterworks from the Northern countries. Old Man & The Sea's music radiated youthful happiness and enthusiasm, comparable to the high-spirited double albums of Junipher Greene and Oddmen. None of them went on to move back the musical frontiers but are still widely regarded as key examples of progressive rock. Our Danish friends stuck to the formula of roaring Hammond organ and cleverly multi-tracked guitars most of the time. What always counts, however, is the ability to write good material and perform it well. "Living Dead" and "Princess" are among the most brilliant melodies from the era sung with passion by Ole Wedel, whose bright voice sounded much like Jon Anderson's. The instrumental breaks are restricted to solos prior to the last verses. The remaining four tracks weren't far behind either! Although there are evident influences from The Beatles, Traffic, CSN&Y, ELP, Atomic Rooster and Jethro Tull, Old Man & The Sea were second to none of these. A classic album from an era when rock musicians were allowed to be pretentious and some were even taken seriously. It didn't sell too well though, causing a sadly premature disintegration of the group.

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Kollektiv - SWF Sessions Vol. 5 (1973)

This is one of the true hidden gems of the 70's German underground scene. This album since I first heard it has moved into the ranks amongst my all time Krautrock favorites... and for good reason. I would rank this album on a par with the first two NEU ! albums and in fact can draw many similarities to their music. Kollektiv were a 4 piece band led by jazz and experimentalist musician Klaus Dapper (flute and sax). Musically this is a pure juxtaposition of "Ummagumma" era Pink Floyd with NEU. This all instrumental album really knows how to soar into the depths of space. One of those albums that you toss late at night into the stereo and just sit back and relax to. There is nothing too loud or musically complex here but rather seductive and transcendental. Kollektiv musically blends soft flute with flowing bass guitar and drum lines. This is one of those albums where all 4 instruments work together to perfection. Highly recommended. (loserboy, progarchives.com)

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Long John Baldry - Everything Stops For Tea (1972)

This is a great album, and has been one of my favorites for years. I was thrilled when it was reissued some months back with a few bonus tracks. Unfortunately Long John passed away a couple months before it came out. The title track is a funny 'music hall' type song from a British film of the 30's and there are a few straight blues songs like 'Seventh Son" and "You Can't Judge A Book". The rest of the material is folky/bluesy/gospel-y type stuff. Elton John produced one side of the original LP and I'm sure contributed musically as well, and Rod Stewart produced side two - the song "Mother Ain't Dead", a duet with Stewart who plays banjo on it, is just so damn pretty you could cry, and one of the bonus tracks, "I'm Just A Rake And Ramblin' Boy" with Long John & Joyce Everson is beautiful also. In fact all the tracks are great. This is a fantastic album like I said and needs to be heard by anyone who likes acousticy bluesy/folky stuff. Artwork was done by Ron Wood.

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THE GREATEST PAPER AIRPLANES

This has jack-all to do with music, but I'll put it up here for anyone that might be interested. This nifty little program has been around since Windows 95! Formatted like a book, this will show you step-by-step, with animations, how to make 50 different paper airplanes, some fairly simple, some amazingly complex. You can print out the paper with fold lines and aircraft markings. It's a small download and a neat way to pass the time. Have fun!

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Epitaph - Outside The Law (1974)

Epitaph were a German band, well actually half German and half British, and this, their third album, was recorded in Chicago during a tour of the US. This is not krautrock, and the band abandoned any progressive leanings and put out what is a straightforward album of hard rock, possibly one of the best rock albums of the 70's. Heartbreakingly, the label that they recorded this for went bankrupt after the album was released, and the band lost everything they had. If you listen to this you will know that they were on the verge of the big-time, I mean it simply is a great rock album. However with no distribution and the tapes belonging to a bankrupt label, they were screwed, when they returned home to Germany they had to sell their gear just to survive. Check this out you won't be sorry. Oh and thanks to my friend Henri from Brazil for this one!

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Later!

Ah, Spring has sprung around here finally. Hope everybody finds a few things to download this week.

I may be taking the next week off, maybe I'll have time to post just a couple. Like I said, Spring is here and your ol' pal GarColga's yard... well it looks like hell! Spare time next week will be devoted to digging, planting, seeding and whatnot. If I manage to live through what will be some actual work I will pick up again as usual in two weeks!

Here we go -

Head Machine - Orgasm (1970)

Featuring Ken Hensley (Uriah Heep) and John Glasscock (Jethro Tull), this was recorded under a pseudonym by The Gods, and originally was to have been their third album. This is solid early 70's hard rock, and not too surprisingly from the title, the songs mostly have to do with sex. Great guitar and Hammond organ throughout, sounds a little Uriah Heep-y, Toe Fat-y maybe with a more psychedelic influence.

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Embryo - Steig Aus (1972)

In 1972, before there were terms like 'fusion', 'world music' or 'krautrock', Embryo were blending these new sounds in extended free-form improvisations and inventing new types of music. Closer to 'Bitches Brew' than to the mind melting being done by fellow countrymen Amon Düül II or Guru Guru, Embryo brought together many different cultural influences in titles like 'Radio Marrakesh/Orient Express', 'Dreaming Girls' and the stunning 17 minute 'Call'. This is a great example of the jazzier side of krautrock, three long tracks with plenty of room for experimentation and improvisation. An essential album for krautrock fans.

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Love Sculpture - BBC 1968 - 1969

Supposedly these thirteen performances from the BBC Top Gear program are the only known live tracks that exist by Dave Edmonds' Love Sculpture. The material is some electric blues, and some pop flower-child stuff, with versions of Bizet's "Farandole" and a six minute long "Sabre Dance" from Khatchaturian. The hippy stuff doesn't hold up too well, IMHO, but it was the late 60's, after all. The versions of "Sweet Little Rock and Roller" and "Great Balls of Fire" seem like throwaway tunes, but the handful of blues pieces, like "Wang Dang Doodle", "Don't Answer the Door" and a few others definetely make this a worthwhile download.

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Emtidi - Saat (1972)

One of the great records from the Pilz catalogue, 'Saat' is a refreshing blend of cosmic acid-folk. Featuring the orgasmic English vocals of Canadian Dolly Holmes, the album contains six tracks which are destined to be a treat for sore ears. The album begins with 'Walking In The Park' which starts softly with angelic vocals and cosmicly-treated acoustic guitar, the song ends with a cosmic acid-laden guitar solo. Dierks' expertise for sound engineering shines through on this track as well as the entire album. 'Traume' is a celestial instrumental which utilizes Holmes voice as an instrument to create a serene feeling as her voice floats above the music, a technique similar to 'Great Gig In The Sky' from Dark Side. 'Touch The Sun', a cosmic favorite for many I'm sure, begins with five-minutes of cosmic flanger heavy synthesizer similar to that of vintage Klaus Schulze before maturing into an incredible folk ballad dominated by Holmes voice. The short tracks 'Love Time Rain' and 'Saat' owe more to the guitar based British folk sound; they are good songs but they lack the cosmic nature which makes the rest of the album so appealing. Finally, the energetic closing track 'Die Reise' introduces German vocals sung by Maik Hirschfeldt and a freeform rock sound which appears out of place on this album. However, the song does include a brilliant multi-layered synth section followed by a cosmic freak out containing organ, flute and electric piano. (krautrockgroup.com)

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Bakerloo - Bakerloo (1969)

I've seen reviews of this that slag it off as 'average' and 'typical', but I don't get that at all. They played a brand of power blues with a jazzy touch that is very appealing, and comparisons with Cream wouldn't be out of line, definitely the skills of the individual players were comparable. They were probably a 'musician's band' in that while they didn't light fires with the general public, they were well regarded by other musicians. They were, in fact, the band that opened for Led Zeppelin when Zep made their debut at the Marquee club in October of 1968. When guitarist Dave Clemson accepted an offer to replace James Litherland in Colosseum, they carried on with guitarist Adrian Ingram for a while, becoming even more jazzy, then morphed into a fine proto-prog band called Hannibal (see next post)

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Hannibal - Hannibal (1970)

Rising from the ashes of Bakerloo, this band was formed to fulfill a tour obligation, touring as Bakerloo Blues Line. After the tour was finished, it was decided to continue on, and the band's name was changed to Hannibal, after which they toured the UK with Black Sabbath and Free. They put out only this one album, which is an unheralded near-masterpiece of jazzy progressive rock, chock full of amazing guitar playing, and great lashes of saxophone and flute. A real tasty album not to be missed by fans of progressive rock from this era.

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Epidaurus - Earthly Paradise (1977)

Epidaurus were a mid seventies German progressive outfit formed around 1976, and uniquely featured two keyboard players, Gunther Henne and Gerd Linke, with vocalist Christiane Ward, bassist Heinz Kunert and drummers Manfred Struck and Volker Oehmig. Earthly Paradise is definitely well rooted in the 70's progressive style of Yes, Pink Floyd and fellow German rockers, Eloy. Without a question this is an essential album to own with 5 truly magical tunes. This symphonically keyboard driven album is also supported by the angelic voice of Christiane Ward. Epidaurus were an example of a rather obscure but extremely talented symphonic rock act from Germany. Their style revolved around the incredible virtuosity of keyboardists Gerd Linke and Gunther Henne, both of whom will draw inevitable comparisons with the likes of Wakeman, Moraz or Emerson. This album carries that vintage Germanic penchant for transporting the listener into the outer reaches of the cosmos. “Earthly Paradise” maintains steady and propulsive undulations of bass and sympathetic, massed keyboards making a wide use of structure and space. Without a question this album is a 70’s analog vintage keyboardist wet dream with tons of mellotron, mini-moog, Hammond and piano. A beautiful album and a real gem of 70’s Progressive Rock. (Wonderful World of Progressive Rock)

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Steamhammer - Speech (1972)

Musically, Steamhammer was the cream of the crop of all rock bands from their thriving primordial era. In the realm of power rock trios, they were comparable to Cream. Yet this band is far superior in every way, but they failed to get the rave reviews and critical attention that the flashier Cream garnered. Diverging from the typical power rock style on Speech, their fourth and final album, the band found themselves in a dilemma without their vocalist and main song-writer, who had left after the previous release, Mountains. This led to a radical development for the band. Instead of hiring a new singer, the rest of the group picked up the slack, and reduced the role of the vocals significantly, opting for a progressive jam style that was hugely innovative for its time. Guitarist Martin Pugh offers a crashing, furious style that mixes Jimmy Page with early Robert Fripp. When Pugh seeks passages of beauty and tranquility, he finds them with ease, but when he aims for intensity, watch out! He literally attacks the listener, pounding them with his mammoth, perfectly executed riffs. Meanwhile, bassist Louis Cennamo is so talented and innovative that he single-handedly brought the bow into rock music with his bowed bass intro to the album. Several years before Page would pick up the bow for "Kashmir," Cennamo uses the bowed bass as means to an end, not for simple effect. Just as a normal bassist alone, masters within the genre owe their lifeblood to him. For he is able to play along with just about the toughest, most technical drumming around, that of drummer Mick Bradley, who is easily the most accomplished musician of the trio. To state that he is rock's greatest drummer is simply not enough. His energetic approach to the drum kit helped him become one of the first and only drummers in rock history, along with King Crimson's Michael Giles, to use polyrhythmic drumming, a style commonly used by jazz drummers. His dynamic performance on the primarily instrumental "For Against," which blows away John Bonham's "Moby Dick" and Ginger Baker's "Toad" in a heartbeat. On this album, there was a rumor that the band received some secret vocal and lyrical help from Yardbirds vocalist Keith Relf. Whether or not this is true remains a mystery, but what is fact, sadly, is that not long after this album Mick Bradley succumbed to Leukemia and passed away. This marked the end of Steamhammer, but the other two members forged on, forming a band called Armageddon. Speech is one of rock's finest and most creative hours, and one tends to wonder where Steamhammer could have gone from this point on had it not been for obscurity and sudden tragedy. (Jason Hundey, All Music Guide)

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Mammut - Mammut (1971)

A German private release from 1971, 'Mammut' is the only album I know of which opens with the sound of a squeaking mouse. Those first few seconds offer the listener a glimpse of the musical creativity inherent within. As a whole, the album combines classical, blues and acid elements resulting in a very unique psychedelic recording. The first track, 'Bird Mammut' is what the original Amon Düül should have sounded like: a cacophony of multi-layered rhythmic percussion which provides the foundation for a repetitive bass line, swirling organ, and erratic flute solos. 'Bird Mammut' segues into the short piano interlude aptly titled 'Classic Mammut'. Following this are the heavy acid-blues tracks 'Mammut Ecstasy' and 'Footmachine Mammut'. Showcasing a heavy dose of John Lord (Deep Purple) influenced hammond organ, 'Mammut Ecstasy' is a groovy number containing heavy guitar breaks. 'Footmachine Mammut' is the more laid back of the two and it has a brooding organ sound more akin to Richard Wright's (Pink Floyd) work. Both tracks are notable for their easy going acid-drenched vocals which are at times reminiscent of Damo Suzuki from Can. 'Schizoid Mammut' again returns the band to the Düül-ish primal tendencies showcased on the first track. 'Schizoid' is a fairly straightforward acid blues jam with demented vocals performed simultaneously by multiple vocalists singing in different keys! The album closes with the thirteen-minute opus 'Mammut Opera'. This track begins with a rather gloomy jazzy-piano and vocals section before turning into a progressive jam culminating with guitar and flute solos. (krautrockgroup.com)

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Ashra - Blackouts (1977)

Right from the beginning of Track One, "Slightly Delayed", you just know that this is going to be something special, Manuel wastes no time in setting up a great syncopated backing. Then the guitar comes in - and what guitar! Clean, precise and wonderfully effected. OK, yes I am a fan and have been for over twenty years. So its a joy to pull this album from the shelves in order to write this review. Manuel manages to mesh his rhythm and lead playing so well, the rhythm being one of those classic and perfect sounds. This isn't one of those guitar improve work-outs, the listener is left in no doubt that Manuel meant to play every note he played. Track Two "Midnight On Mars", ah - my favorite Ashra track Ever. It's "Midnight on Mars" and I'm there right alongside him. Again Manuel sets up the lead line perfectly with his mix of synths, drum machine (wasn't it the classic EKO Rhythm Computer?) and wicked guitar. This particular melody has lived in my brain since the first moment I heard it, twenty plus years ago. In fact, everyone I've ever played this track to has commented on it. Manuel should be praised for creating one of the most sublime guitar moments ever to be recorded. I think I'm gushing here. Still what the hell, this track is worth it. Track Three "Don’t Trust The Kids" isn't letting up, a bass sequence brings in the piece. This is soon joined by subtle percussion and a very well-crafted rhythm guitar. Manuel certainly gets an amazing rhythmic feel. The lead line isn't far behind, this time two guitars playing in harmony. I've never been really sure whether or not that's a guitar synth. It's the right time for the early Roland GR500 and I believe Edgar Froese was using one at about this time as well. The lead is given over to a nicely distorting guitar, again Manuel really means every note he's playing. A superb bit of programming moves the whole piece into double- time, and Track Four "Blackouts". He isn't even breaking into a sweat, this is fantastic guitar. Track Five "Shuttle Cock" again shows off the rhythm playing and what a groove he sets up. The piece just lopes along with some great interplay between the guitars and the sequencers. Track Six "Lotus Part I-IV" continues the lesson in setting up a groove, Manuel actually gets a bit discordant here for a while before pulling it all back for the typical Ashra sound, namely babbling sequencers, the minimum of percussion and smartly effected arpeggios. This track shows his ability to generate a flowing piece of music that takes the listener with it, wherever the end of the journey may be. (mookie007 progarchives.com)

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OK that's it for this week, buckaroos and buckarettes! Might pop in next week with a couple, maybe not. Regardless, see ya in 2 weeks.