AGNES STRANGE AGNETHA & FRIDA (ABBA). BARETTO JR, MARINO BARGANZA, TEREZA. STRANGELY STRANGE. ELECTRIC UNIVERSE. And on Strange Universe, the third album from Mahogany Rush (released in 1975), one has more proof of the extraordinary guitar prowess of one Frank Marino (he was barely twenty when this album came out)!
Mahogany Rush was to Jimi Hendrix what jazz saxophonists Sonny Stitt and Ernie Henry were to Charlie Parker - loving disciples, but not outright clones. Without question, Hendrix was a major influence on the hard rock power trio; you could hear it in leader Frank Marino's singing as well as his electric guitar playing. But ultimately, Mahogany Rush sounded like itself. One of the best studio albums that Mahogany recorded in the 1970s was Strange Universe, a hard rock/heavy metal classic that is as melodic as it is forceful. As aggressively as Mahogany rocks on gems like 'Tryin' Anyway,' 'Dancing Anyway,' and 'Dear Music,' this 1975 LP never fails to be musical.
One hears overtones of progressive rock, psychedelic rock, and jazz-rock fusion on much of the material, and Mahogany's lyrics aren't the typical boy-meets-girl fare; in fact, the threesome explores gothic fantasy themes on 'Land of 1000 Nights,' 'Tales of the Spanish Warrior,' and other cuts. There are no dull moments on Strange Universe, which points to the fact that Mahogany Rush was among the finest hard rock/metal bands of the '70s. Alex Henderson.
'Eduardo BORT is a Spanish guitarist/composer who recorded two LPs of progressive psychedelic art rock in the mid 1970s. One is known to have been issued: a self-titled album from 1974/75 that went mostly unnoticed, though in Spain it did get some due credit. It is only now receiving acclaim as one of the best releases in the Spanish prog/psych of the period. The other record, 'Sylvia', is not documented at the present. 'Eduardo Bort' is a warm blend of mystical guitar-based folk, Hendrix-style rock, space, and a healthy dose of the music of Eduardo's homeland.
BORT sings, plays all the guitars and leads a band - including drummer/keyboardist Vicente Jimeno who arranged much of the material - on the historic recording which was re-released in 2003 & '06. A rich stew of ethnic progressive rock led by a passionate guitar player, Eduardo BORT's debut is a sweet find for all prog archaeologists.' 'Reissue of incredible first single by pre-Heldon formation led by Mr. Richard Pinhas, who personally gave permissions to use these tracks for re-release. This three track EP features some of the heaviest psychedelic rock outings ever. Pinhas blows you away with some amazing guitar trippery.
Sounds like a heavy danceable Psychedelic with Motorhead vocals, originally released in 1974, long before there was Motorhead. B-side 'le Voyageur' features French philosopher Gilles Deleuze on vocals on a more trippy piece.' A Sioux Indian band based in Albuquerque, New Mexico. 'The Bummer' is a fine upbeat rocker, whilst 'Sunny Sunday Dream' is much more trippy with lots of keyboards. Changing their name to Xit the band made several albums in support of the cause of the American Indian during the 1970s. The 'Lincoln St. Exit' album is essentially blues-based and does not include their non-Mainstream 45s.
It is now a very sought-after collectors item and has been counterfeited. Much of their earlier material was officially reissued on the 'Xit LP Entrance' (Canyon 7114) 1974, which has also become rare. This is Huckle's second album, recorded live and in studio, and is the rarer of the two Huckle LP's with only 300 copies pressed.
Released privately in 1976, this has been described as Cosmic Flowing Hippie Folk Psych with help from Sky Sylamuth on guitar. Excellent music for the road, this rare and hard to find album is a perfect example of folk and rock made by a bunch of hippies in the seventies. The words are of love and tolerance, and free life and travelling, while the music suits the words well and transcends all of their messages flawlessly. Acoustic guitar and haunting fiddle, tablas and vocal harmonies of great and natural honesty of happiness from both the male and the female parts. Ths is a must have classic! 'Star Spangled Banger was a short-lived studioproject that resulted in a sole, self-titled album and single on theMelbourne Havoc Records label in 1973.
With Havoc closing soon afterits release, the album was quickly deleted and, over the years, hasgrown in stature, becoming one of the rarest Australian records ever.We are happy to rectify this problem with our deluxe CD reissue of thishugely enjoyable mix of English-flavored progressive rock (Family,Cressida), reflective piano ballads, with a hint of Bonzo Dog DooDahBand like lunacy. Principal songwriter John Brownrigg (vocals, guitar),Ron Walters (vocals, piano, organ) and drummer Paul Doo formed StarSpangled Banger in 1972 from the ashes of their former band, The Sect.Brownrigg originally hailed from Liverpool and had played in severalbands during the Merseybeat boom of the early '60s - as his own brickon the Cavern Club wall of fame attests.
Signed to Havoc in late 1972,the band were put into the studio with engineer/producer (and soon tobe Aztec) Gil Matthews. Armed with a stack of sound effects records,the album was recorded at odd hours (in between Matthew's day job atHavoc and his night-time one as new drummer for the Aztecs) andresulted in an eclectic mix of progressive rock, protest songs andballads - with a healthy dose of humor (witness: 'Fancy Underpants!'
).Added to this mix are: explosions, backwards tapes, crazy keyboards,nuclear explosions, crashing aeroplanes and fuzzed-out psych guitar.The title track, released as a single, is a long lost progressiveclassic and we have added a previously-unreleased edit of it as a bonustrack. An obscure Berlin rock band, formed in 1979, and regulars on the local club scene for some years. Mon Dyh were very indebted to British styled blues and heavy rock, strongly song-saturated, in the early Groundhogs territory. Still unusual on occasions, and with some progressive touches, their gruff German accented Bruce Springsteen cum Tony McPhee styled vocalist takes some getting used to!
Their reputation as a scorching heavy rock band is totally unfounded, unless they were more raucous in concert, that is! Freedom's first album after drummer/singer Bobby Harrison totally revamped the lineup was typical lumpy British hard rock circa 1969, with nothing in the way of interesting songwriting or instrumental innovation to grab one's attention. In a way, they made for an ideal support act for an emerging and insecure headliner; they weren't going to upstage anyone. Sometimes they would leave off the generic blues-flavored hard rock for poppier or folkier material with harmonies, but melody and originality were not present in abundance.
And it's playing a losing game to record covers of the Beatles' 'Cry Baby Cry' and the Zombies' 'Time of the Season,' both of which had just been released, in much better and more popular versions of course, by the original artists; the Howlin' Wolf covers don't do the master much credit, either. (Review from OrexisofDeath). These circa 1967-1968 (the liner notes aren't entirely specific) recordings by this very obscure Marin County band are very much of their time and place. It's fairly heavy psychedelic rock with a fairly heavy blues influence, apt to jump into free-form passages and multi-sectioned, lengthy tracks with an improvisational feel and a stoned vibration to the lyrics. In the structural sense, then, they're pretty similar to the early Grateful Dead and Quicksilver Messenger Service, and to the freakier aspects of Jefferson Airplane, Country Joe & the Fish, and Big Brother & the Holding Company. Previously unreleased Westcoast psych album from the early days with 5 long tracks. Furious organ and guitar jams that'll blow your mind. 'Camp Towanga' opens the album with a song that incorporates rock, jazz and blues, but unusually all in separate segments.
'Fried Chicken Blues' is more what I expected from this album, this being an excellent up-tempo blues based song with some fine acid guitar. In fact, it is the guitar and keyboards which stand out on this album, with most tracks having some great examples of both, the lengthy 'Tehama Street Song' being a slow blues based track which demonsrates this admirably. The jugband sound of 'Irahs' is a nice interlude between the guitar pyrotechnics, and 'Good Times' ends the album with an up-tempo ballad similar to The Electric Prunes. 'Autumn grass' is a criminally underrated album from the early 1970's, featuring jazz influenced prog played by four highly proficient musicians. The feature (title) track was at the time of the album's release one of the longest single tracks to appear on one side of an LP (but by no means the longest), running to some 26 minutes.
The band was the brain-child of Yoel Schwarcz. Despite the fact that they only ever made two albums, he is the only person to be a band member for both (although the others who played on the first album appear as guests here). The line up for 'Autumn Grass' includes the highly proficient keyboard player Tim Rice (no relation to Andrew Lloyd-Webber's mate). Side one consists of three tracks, all developed through live performances before being committed to vinyl. The opening 'Byrd Pavan' is an improvisation on Byrd's 'Earl of Salisbury pavan' combined with Purcell's 'Air on a ground bass'.
The band add a jazz dimension to the Elizabethan flavoured 'pavan', with the organ work of Rice being particularly dominant. 'Vivaldi synthesis 2' is an adaptation of Vivaldi's 'Guitar concerto', with synthesised strings backing. This pleasantly relaxing piece was later revived by Steve Howe on his 'Steve Howe album'. The final track on side one is 'Overdraft', the only band composition on the album. This piece is the most jazz based of the four tracks, and also the weakest.
As mentioned previously, the inordinately long title track occupies side two. Composed by Patric Standford specifically for the band, the sleeve described the track as 'a ritualistic invocation'.
Various guest musicians contribute to the suite, notably the Olympus Strings cello section. The highlight though is the wonderful flute of Yoel Schwarcz. About midway through the track, he picks out a baroque melody with sparse accompaniment. This theme is used as the basis for a developing improvisation with ever increasing backing driving the flute to a frantic crescendo, before the main theme restores order.
The side-long suite Legend Of Childe Harold (written by Richard Hartley) where the voyage of Childe Harold and its tribulations and misadventures are described musically. Ranging from a pedestrian blues with jazzy solos ala early-Tull (Release) to the almost medieval and dissonant intro (Revelate) to the almost-dronal semi-medieval and semi- contemporary Judgment Approach, with the finale's frankly dissonant intro, this suite was quite an achievement for the year of recording. I wouldn't be surprised if Art Zoyd and Univers Zero heard this album's finale. Clearly this album is the resultant of hundreds of influences, but it is safe to bet many progressive musicians also heard and inspired themselves from this album. This album is much more than a curiosity, it is a must hear for classical-loving progheads.
Matthew Kelly was a Californian who'd previously attracted attention playing blues harmonica and touring with the likes of Mel Brown, John Lee Hooker, and T-Bone Walker. The man clearly had some chops to be supporting names like that. Kelly soon found himself caught-up in San Francisco's burgeoning rock scene. He added electric guitar to his repertoire and started playing with Chris Herold and Dave Torbert. In 1969 the three of them were hired to play in the band Horses which was fronted by sometimes actor and lead singer Don Johnson (yeap, the Miami Vice guy). Horses recorded one self-titled album before collapsing. Musically 'Gospel Oak' was all over the genre map.
With Rapp and Le Gate responsible for most of the material, tracks like 'Recollections of Jessica' and 'Big Fat White Man' were decent country-rock complete with nice melodies and catchy group harmonies. Showcasing Kelly's harmonica and Le Gate's lead guitar 'Brown Haired Girl', 'Common Expressions' and the instrumental 'South Bleach' offered up a harder edged blues sound, while 'Go Talk To Rachel' and 'O.K. Sam' found the group taking a stab at a more conventional and accessable rock attack. Propelled by some nifty Le Gate guitar, best of the lot was the album-closer 'St.
The album was never less than enjoyable, but by the same token it lacked anything to distinguish it from the competition. The album's certainly likeable which makes it too bad if didn't sport one or two slightly stronger compositions.
With those ingredients these guys could have been major players. Kapp also tapped the album for a single in the form of 'O.K. Sam' b/w 'Go Talk To Rachel' (Kapp catalog number 2115). Some rock & roll acts slid easily into the psychedelic era, and did well with it - the Beatles, the Pretty Things, the Who, the Rolling Stones (overlooking Satanic Majesties'), even the Rascals (sort of). Unfortunately, the McCoys weren't one of them - the band that turned 'Hang on Sloopy' into a teen anthem just wasn't that good mixing psychedelic rock, blues, country, and jazz, with brass and saxes in their instrumental mix.
This CD combines all but two songs off of the 1968 vintage Infinite McCoys and Human Ball albums. There is some good playing by Rick Zehringer (aka Derringer) and keyboard man Robert Peterson, and some interesting jazzy moments too ('Resurrection'), where it is just them, but you've got to be patient to get to them and listen to some really pretentious crap in the meantime, not to mention ignore the trumpets, trombones, and saxes (arranged by Fred Lipsius) that get you there.
There is a near-absence of decent tunes ('Open Your Eyes' is an exception), or memorable hooks, and the best piece of blues here ('Stormy Monday Blues') isn't worth the wait to get to. For completists only.
![Universe Universe](/uploads/1/2/5/3/125388358/917633739.jpg)
POSTING ANOTHER SERIES 'to eternal poison'! KNOW THAT THIS IS NOT SO HARD SO RARE, BUT IT IS CERTAINLY A POISON EFFECT GUARANTEED, SO COULD NOT FAIL TO PRESCRIBE! FIRST SOLO ALBUM THIS GREAT GUITARIST LEFT THE BAND AFTER TASTE! TO ME THE BEST OF HIS SOLO CAREER BRAVE!
ESSENTIAL ALBUM IN A COLLECTION worth its salt! Some say it is the best guitarist in rock history, THE FATHER OF THE BLUES WHITE, I DO NOT BEAT THAT STATEMENTS IN ANY WAY! POISON PURE QUALITY! ALL BANDS ARE VERY GOOD, BUT THAT 2 highlight the track is a ballad UNPARALLELED TRACK AND 4 WHAT IS A BALLAD BLUES PIANO WITH VERY CHAPANTE!
PIANO AND KEYBOARDS AND ON BEHALF OF IS NOTHING MORE NOTHING LESS THAN VINCENT CRANE, THE SAME ATOMIC ROOSTER! DISC is certainly a VENENASSO! 'Originally released in 1971 on EMI Parlophone, this is South Africa's once-famous Otis Waygood and their third record, Ten Light Claps And A Scream. Emerging during the height of political and social tension in the white suburbs of Johannesburg, Otis Waygood came from the north in the summer of '69, armed with long hair and scarabs, to slay the youth of the nation with an arsenal of murderous rock tunes.
They became pretty much the hugest band South Africa had ever seen, and after two albums released on EMI S.A., this record was to blow them completely out of the water, becoming the best they'd ever produced and the most sought-after by collectors. The music is influenced by the British underground (Bloodwin Pig, Steamhammer, etc.) with great guitars and gruff vocals, blues-influenced, spacey underground rock, sax, organs and well-crafted compositions and arrangements, making this album a unique, proggy masterpiece. Produced by Julian Laxton of Freedom's Children under the direction of Clive Calder.' Rob Zipper - Vocals, guitars, saxophones Leigh Sagar - Guitars, organ, Hawaiian guitar Benny Miller - Guitars Alan Zipper - Bass Ivor Rubenstein - Vocals, percussion 01. A Madman's Cry 4:23 02. Straight Ahead 2:55 03. I Left My Skull in San Francisco 3:49 04.
Easy Way 5:18 05. The Higher I Go 1:42 06. Devil Bones 2:40 08. You Can Do, Pt.
You Can Do, Pt. The vocalist Mitch Ryder (real name William Levise) founded Detroit after his solo carrer in the mid-60's, where released the albums 'What Now My Love', in 1967, and 'The Detroit-Memphis Experience', in 1969. Before his solo carrer, Mitch was in the bands The Peps, Billy Lee & The Rivieras and Mitch Ryder & The Detroit Wheels. In 1971, after the release of the Detroit's self-titled album, Mitch left the music scene temporarily due to throat problems, only returning in the year of 1978 in solo carrer again, issuing many of boogie rock albums until today.
Also following your own way, drummer John Badanjek and the guitarist Jim McCarthy found Rocket. Althought Brett Tuggle has been the guitarist in the Detroit band, he were most known as the keyboard player of David Lee Roth, Steppenwolf, Joe Satriani and Whitesnake.