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.