Amon Duul - Psychedelic Underground (1969)

Psychedelic Underground is the debut psychedelic rock album by the German band Amon Düül. It was released in 1969.

AllMusic Review by Ned Raggett:
 “Some albums just have the perfect name, and Amon Duul's debut nails that to a T. Obscure upon release and obscure even now, for all the cult appeal, Underground is music at its most experimental and relentlessly uncommercial, using late-'60s inspirations as a launching ground for what came to be described as Krautrock. Psych-folk was another common term, one which applies just fine to much of the music here, feeling like an enthusiastic medieval festival gone just out of control enough, and with electricity to boot. Taken from a jam session from the previous year, but treated with many studio effects that enhance the strangeness of the collection, Underground rocks to its own weird beat. Opening track "Ein Wunderhubsches Madchen Traumt von Sandosa" captures what sounds like a great experience for everyone involved, a 17-minute composition heavy on the drums and percussion, with a basic, chugging guitar riff in one channel and chanting, call-and-response vocals located throughout the mix. At one point the jam is faded out in favor of piano parts, train noises, and the like, only to be brought back in again just as strongly, before finally fading into the gentler "Kaskados Minnelied," a mix of acoustic and electric guitars, along with a stringed instrument of some sort, that favors drones as much as it does soft riffs. The tracks on the second side have the same understandable vibe, but some are sparer in comparison, as with the keening strummed guitar/vocal combination "Im Garten Sandosa" and "Mama Duul und Ihre Sauerkrautband spielt auf," which is mostly clattering percussion in one stereo channel! You could say the sound quality isn't the best, but given the year of recording and the prevelance of lo-fi production approaches in more recent years, it doesn't sound that bad at all.”

1.     "Ein Wunderhübsches Mädchen Träumt von Sandosa (A Wonderfully Pretty Girl Dreams of Sandosa)"     17:03
2.     "Kaskados Minnelied (The Cockatoo's Love Song)"     2:54
3.     "Mama Düül und ihre Sauerkrautband spielt auf (Mama Duul and her Sauerkraut Band Play On)"     2:54
4.     "Im Garten Sandosa (In the Garden at Sandosa)"     7:48
5.     "Der Garten Sandosa im Morgentau (The Garden at Sandosa in the Morning Dew)"     8:06
6.     "Bitterlings Verwandlung (Bitterling's Transformation)"     2:30

Line Up:

    Rainer Bauer: electric and twelve-string guitars, vocals
    Ulrich Leopold: electric and acoustic basses
    Krischke: drums, piano
    Angelika Filanda: drums, vocals
    Ella Bauer: drums, percussion, vocals
    Uschi Obermaier: maracas
    Helge Filanda: congas, vocals


Amon Düül II - Eternal Flashback (1996 )

Releases information

"Originally given away free to people who ordered enough other Amon Düül CDs
 from the record label with material from 1969 to 1971
 reworked by members of the group into one space rock epic."

CD Captain Trip Records - CTCD-041 (1996, Japan)

 Tracks Listing

1. Eternal Flashback (67:49)

Total Time 67:49

Editorial Reviews

This CD is a rare, Plunderphonics-style CD of Amon Düül II material given to people who ordered enough of Amon Düül II's CDs on the Captain Trip label. It is enclosed in a paper sleeve. Contains music from the 1969-1971 period. Rare and out of print.

Or you can buy this Cd for 250$  on Amazon:

Steamhammer - MK II (1969)(Repertoire Records)


Crossover Prog
From, the ultimate progressive rock music website

Easily Steamhammer's crowning achievment (certainly as far as progheads are concerned) ,
 although many rockers will prefer Mountains. The main difference with this album and other Steamhammer albums is Steve Joliffe
 who is not unknown to progheads since he went through Tangerine Dream , albeit on their controversial Cyclone ,
the only TD album to have acoustic instruments and yes! Vocals!!!!

Hardly controversial Mk II album, though as it is simply their most refined album ,
 much thanks to the afore-mentioned Joliffe who playds KBs but also flutes and saxes.
Martin Pugh and Kerrian White make a solid duo on guitars but clearly the addition of KBs and winds is the difference.
Easily the highlight is the 16 min+ Travelling tune but also noteworthy are the bonus tracks
which are non-album rarities except for the single version of Junior's Wailing (present on their debut album).
A real classy album and a must for early 70's loving progheads.

4 stars Steamhammer's second album shows great evolution: their first album was rooted exclusively in blues. This album is more jazzy than the first, thanks to the addition of saxophonist/flutist Steve Joliffe. Mr. Hugues Chantraine got it right: prog-rock fans will probably enjoy this album and will find it more interesting than "Reflections" or "Mountains"; the compositions are more inventive, arrangements are more immaginative and the overall performance of the band is better. Highlights: "Supposed to be Free", "Contemporary Chick Con Song" (both are still bluesy, but more ambitious than other efforts), the short "Sunset Chase" (a beautiful acoustic guitar solo which reminds me Leslie West), "6/8 for Amiran" (with this unusual tempo structure), "Passing Through" (with his fake ending) and the wonderful "Another Travelling Tune". Highly recommended for anybody who ever thought how a prog-blues album would sound.
M. B. Zapelini | 4/5 | 2005-8-8

Studio Album, released in 1969

Tracks Listing

1. Supposed To Be Free (5:59)
2. Johnny Carl Morton (4:38)
3. Sunset Chase (3:02)
4. Contemporary Chick Con Song (3:49)
5. Turn Around (3:36)
6. 6/8 For Amiran (3:04)
7. Passing Through (5:17)
8. Down Along The Grove (0:47)
9. Another Travelling Tune (16:23)
10. Fran And Dee Take a Ride (2:58)

Total Time: 49:30
Additional Tracks:
11. Junior's Wailing (single version) (3:30)
12. Windmill (4:28)
13. Autumn Song (4:09)
14. Blues For Passing People (6:26)

Total Time: 69:33


- Steve Jolliffe / flute, harpsichord, keyboards, saxophone (Alto), vocals, wind
- Kieran White / guitar, harmonica, Jew's-Harp, vocals
- Mickey Bradley / percussion, conga, drums
- Steve Davy / bass, guitar (bass), vocals
- Martin Pugh / guitar, guitar (electric), vocals

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Steamhammer - MK II (1969)

The Flock 1975 Inside Out (Sonic re.Creation vinyl)

3 stars! Gone is the wind section (which is not necessarily a bad thing IMO). Gone is Jerry Goodman (which is not necessarily a good thing IMO). He was replaced by another great violin player : Mike Zydowsky who joined the band in 1973 or so for their touring over Europe.

The music here is less jazz oriented than on their first two albums and there are some very good tracks in here. Still, jazz is very much present during the longest song from this album : "Back To You". It goes along with the poorest : "Hang On" which is a funky / soul song which is best avoided, believe me.

The best number out of this album is "Metamorphosis". Fantastic violin play from Mike and wonderful beat. If only they would have produced more of these. The closing part is simply gorgeous. Full of classicism. Vibrant, poignant, emotional : you name it. THE highlight of course.

Frank Pappalardi (from "Mountain") produced the album which was recorded during a short reunion. Unlike some purists (not on this site), I can't write that this album is bad. It holds several very good violin breaks, nice compositions ("My OK Today" is another one). The closing number is also very intense : powerful drumming, impressive keys and great bass play. Another highlight.

This is a good album after all. But there is no trace of this work on their official website as if the band would like to hide this release.
Review by ZowieZiggy

4 stars First up is the name, it's FLOCK, as opposed to THE FLOCK, as the band changed their style of music from a horn laden ed jazzy/rock fusion to a prog rock/pop hybrid band. And what a change. The album cover says it all, a typical prog cover if ever there was. Six tracks (three tracks each side of the LP) of very good music; that can be played as a sort of background music, or turn the volume up music and give it a damn good listen to. My personal favourites are Back To You, and Metamorphosis from side one, and Hang On and My OK Today from side two.  I played my first copy till it wore out. And my feelings have not changed, it's so good to own it again. If ever you fall lucky and see this album, don't hesitate, buy it immediately.
  Review by jonboy


A1. Music for Our Friends
A2. Back to You
A3. Metamorphosis

B1. Hang On
B2. My Ok Today
B3. Straight Home


- Jerry Smith / bass, vocals
- Fred Glickstein / guitar, vocals
- James L. Hirsen / keyboards, vocals
- Ron Karpman / drums, vocals
- Felix Pappalardi / vocals
- Mike Zydowsky / violin


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Kin Ping Meh – Concrete (1976) [double live album]

Their 5th album, live in concert. Great prog!! ...or just hard rock
Very rare out of print double CD...

1976 / 1995 (Nova / Second Battle)

As far as I am aware, there were no other German bands like Kin Ping Meh, who chose their name in the Chinese language! In 1970, this quintet assembled in Mannheim: Werner Stephan (lead vocals), Joachim Schafer (guitar, piano, vocals), Fritz Schmitt (organ, piano), Torsten Herzog (bass) and Kalle Weber (drums). They played live extensively during their early years, performing a rough hard rock modeled on British bands like Deep Purple, Uriah Heep and Spooky Tooth. Soon, Kin Ping Meh were discovered by Polydor's talent scouts. Joachim Schafer left the band just before the recording of their first album. He was promptly replaced by Willie Wagner (guitar, harmonica, vocals), who joined the band in the Windrose Studio. Indeed, Wagner wrote the stand-out track of this album, the opening 11-minute 'Fairy-Tales', a haunting heavy rock song with long, 'progressive' guitar and organ solo parts. Even if you do not find this style attractive, you'll sense the great enthusiasm of the band. There were also some mellow, folky songs on the album, like 'Too Many People', recorded live and boasting an irresistible chorus. 'Kin Ping Meh' was produced by the experienced rock veterans Achim Reichel and Frank Dostal. The engineer was none other than Konrad Plank. The album is highly recommended for fans of groups like Epitaph, Zarathustra, Frame, etc. It's now quite rare (selling for more than 300 DM) as the first and only vinyl edition was only pressed at around 5,000 copies.

Torsten Herzog and Willie Wagner left Kin Ping Meh in 1972. The band had already been expanded with Alan Joe Wroe (bass), Uli Gross (guitar, although he left again within months) and Gagey Mrozeck (guitar, ex-2066 & Then). 'No. 2' (1972) followed the path of its predecessor - it was filled with great quality heavy progressive rock. Besides their self-written material, Kin Ping Meh were also bold enough to make an 11-minute version of 'Come Together', culminating in a long instrumental jam - a highlight of the album! Fans of early Kin Ping Meh should also check out the double album, 'Hazy Age On Stage' (1991), featuring great live tracks recorded in Sprendlingen in January 1973 and also some studio out-takes from 1972. When vocalist Werner Stephan left in May 1973, it marked the end of Kin Ping Meh's first phase. Regrettably, none of their following albums could match their first two. Gagey Mrozeck recommended Geff Harrison (his old friend from 2066 & Then) as a replacement for Werner Stephan. The quintet of Harrison, Mrozeck, Schmitt, Wroe and Weber recorded 'Kin Ping Meh III' (1973) with added choir and brass. Unfortunately, most people find their 'new' sound far less appealing than their previous one. 'Virtues And Sins' (1974) was a further slide towards a more standard Anglo-American influenced rock. Schmitt left in 1975, and was replaced by Chris Klober (keyboards, ex-Curly Curve). He only participated on the double live album, 'Concrete' (1976) before the band fell apart. Geff Harrison set out on a solo recording career, but only with moderate success. Mrozeck and Weber embarked on an ill-fated attempt to keep the band going with Michael Pozz (vocals), Ron Sheepmaker (keyboards) and Chuck Trevor (bass), resulting in the sixth and final Kin Ping Meh album for Bacillus - a superfluous affair!


The career of rock band Kin Ping Meh from Mannheim lasted almost exactly seven years and reached quite a few heights. But it still left the band rather disillusioned in the end. Drummer Kalle Weber's resume from the Spring of 1977: "If you're not a pop star, you're still the asshole." Together with amateur musicians Werner Stephan (vocals), Joachim Schafer (guitar, piano), Frieder Schmitt (organ piano) and Torsten Herzog (bass), Weber had formed Kin Ping Meh in 1970. The name Kin Ping Meh (meaning "branch of a plum blossom in a golden vase") is taken from a Chinese 16th century novel depicting the life and customs of that time. On September 15, 1970 the band gave their first concert. Over the next months, they took part in seven important talent competitions. They won them all and were offered a recording contract from Polydor. From now on, everything went very quick - the important Sunday paper "Bild am Sonntag" had a two-page report about the band in January and their first single was released in February. 'Everything's My Way' made the Top 5 of various radio playlists and March saw the band tour with The Hollies. In May it was back to the studio to record the second single, 'Everyday'. After guitarist Willie Wagner replaced Joachim Schafer, the band from Mannheim recorded and produced their debut album in autumn 1971, and in December it hit the stores. The band was almost constantly touring at that time and supported acts like Uriah Heep.

1972 was a very good year for Kin Ping Meh. They wrote the music for a drug musical called 'Rausch', composed the soundtrack for ZDF series "Sechs unter Millionen" (Weber said in an interview: "We tried to make good rock music because for us, this job is an important milestone, a big step ahead in our career") and thus joined the short list of German rock bands who had achieved something similar, e.g. Can with 'Spoon', their song for a Durbridge crime movie, or Popol Vuh for the Herzog movie 'Aguirre, der Zom Gottes'. Almost simultaneously, they opened the Sailing Olympics in Kiel, went on tour with Rory Gallagher and Golden Earring, and released their second album, 'No. 2'. In their annual vote, the readers of magazine "Popfoto" voted them among the Top 5 in the category, 'Most Promising Band'. But they had to pay a high price for constantly being on the road - 1972 saw a drastic change in the line-up. Willie Wagner, Werner Stephan and Torsten Herzog left the band to be replaced by Gerhard "Gagey" Mrozeck, Uli Gross, British bass player Alan Joe Wroe and his fellow countryman Geff Harrison. With this line-up, Kin Ping Meh recorded 'III', the band's third album, in the Summer of 1973. The album featured a wind section and a female choir. It was mainly because of singer Geff Harrison's influence that the band developed a hard rock image. "The people mainly want to really rock, to be happy and to get to see something. And that's all true in our case", the band explained in a 1973 "Musik Express" interview and added: "There is not much demand for space and cosmic rock right now." Kin Ping Meh played concerts with hard rock superstars like Deep Purple and Slade and appeared on a couple of television shows.

Their fourth album, 'Virtues & Sins' (1974), earned them comparisons to the Rolling Stones, Free, The Faces and Spooky Tooth. 1976 saw the release of 'Concrete', a live album that was the last LP under their old recording contract. After the end of the recording contract, Harrison and Wroe left the band. The remaining band members tried a new beginning. With new band members and a new contract with Bellaphon, they recorded 'Kin Ping Meh' (1977), but were unable to continue their success story, mainly because of weak vocal performances. In the Summer of 1977, the band finally disbanded.

Gerhard Mrozeck at first joined a funk rock formation called Ooh La La and later on played very successfully in the bands of Edo Zanki and Herbert Gronemeyer. Geff Harrison started a solo career. He even made two very successful tours through the GDR. November 1982 saw a Kin Ping Meh revival concert at Berlin University, but the new Kin Ping Meh mainly consisted of members of the Harrison Band. Mrozeck and Weber did not take part. Drummer Kalle Weber died of a heart attack in 1995.


1) Light Entertainment (4:15)
2) Come Together (5:35)
3) Too Many People (4:27)
4) Me and I (4:43)
5) I Want to Die A Millionaire (8:01)
6) Night-Time Glider (6:48)
7) East Winds (7:04)


8 ) High Time Whiskey Flyer (11:54)
9) Blue Horizon (7:19)
10) Dancing in the Street (3:39)
11) Don't Force Your Horse (4:43)
12) Good Time Gracie (3:42)
13) Rock Is the Way (6:43)


- Geff Harrison / vocals
- Alan Joe Wroe / bass
- Uli Gross / electric guitars
- Gerhard Mrozeck / guitar
- Chris Klober / keyboards
- Kalle Weber / drums and percussion

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Kin Ping Meh – Concrete (1976) [double live album] RE-POST

Stomu Yamashta - Go - Live From Paris (1976) [Re2005]



One of the most unrecognized jazz rock masterpiece! /---it was a masterpiece, quite hard to find---/

The music is hard to describe. A mix of smooth atmospheric, Jazz and Rock pages. Very enjoyable music, with cool and easily accessible jazz rock parts, but also with sometimes dark or weird ambiences. Superb production, nice sound with an equal part for each instrument, and a great singer in the person of Steve Winwood. So the question is : Why does this live album had been so wrongly forgotten? It is surprising, knowing that this super group brings together some famous musicians such as Klaus Schultze, Al Di Meola and Michael Shrieve. The fact is that Stomu Yamash'ta doesn't benefit from the same reknown. But considering this dashing effort it is a real shame. Try it out and I bet you will also wonder why!

Here we are having a supergroup on the stage in Paris. Very relaxed and inspired performance with a special mixture of styles from Soul (Steve Winwood) to Electronic (Klaus Schulze, Stomu Yamash'ta) and Fusion (Al DiMeola). Michael Shrieve, who also played with SANTANA, acts as the wellknown proficient and accentuated drummer. Remarkable are also the brilliant vocals exchanges of Winwood and Karen Friedman. It's a little bit tricky - only Friedman is pointed out for additional vocals but you can hear also some other female backing voices.

The band is presenting the studio album 'Go' live with nearly the same line-up, but extended, with more improvisations. The release consists of 6 longer tracks - some of them have jam character - which take turns with spacy electronic breaks and piano interludes. Don't know why but the chronological order of the songs has been changed (the same with the 'The Complete Go Sessions').

So correctly it starts with the electric intro Solitude and Winner Loser closes finally with the band introduction. The beginning of Nature is guided by a piano and further on the song developes wonderful atmospheric and melodic. Crossing the Line follows with excellent vocals. And not to forget the splendid guitar work by Al DiMeola.

Man of Leo is the longest track, grooving and against with DiMeola's intense soloing. Wind Spin is an instrumental jam pressed ahead with a funky/fusion bass and then fades into the uptempo Ghost Machine with a Jazz/Rock attitude. Time Is Here is midtempo, more soul/funk, especially highlighted by Karen Friedman's expressive interaction with Winwood. Winner Loser in the end is written by Winwood and remembers much at his times with TRAFFIC.

A great performance from this band which units some extraordinary musicians. Stomu Yamashta restrains himself to allow some other members to reap the fruits of their work. This release was later (2005) added to the compilation 'The Complete Go Sessions'.
(extrait from progarchives)

Live, released in 1976 (Live at the Palais des Sports in Paris on 12 June 1976, Paris )

Songs / Tracks Listing

1. Space Song (2:29)
2. Carnival (1:18)
3. Windspin (8:17)
4. Ghost Machine (3:51)
5. Surfspin (2:12)
6. Time Is Here (6:58)
7. Winner Loser (5:26)
8. Solitude (2:01)
9. Nature (4:27)
10. Air Voice (2:19)
11. Crossing The Line (5:33)
12. Man Of Leo (14:22)
13. Stellar (1:22)
14. Space Requiem (3:14)

Total Time: 63:49

Line-up / Musicians

- Stomu Yamashta / percussion, piano, synthesizers
- Steve Winwood / vocals, keyboards
- Michael Shrieve / drum kit
- Klaus Schultze / synthesizers
- Al Di Meola / solo guitar
- Jerome Rimson / bass
- Pat Thrall / guitar
- Brother James / congas
- Karen Friedman / vocals

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Achim Reichel & Machines · Echo (1972) +IV (1973) = 2 on 1


A.R. & Machines biography
Producer, composer and musician from Hamburg (Germany), Achim Reichel is a key figure in the explosion of krautrock. Reichel was first a founder member of "The Rattles" at the beginning of the 60's. In 1968 he formed the "Wonderland band" with the drummer Frank Dostal. Late 60's he launched his first solo musical project called A.R and the machines. Musically it provides a supreme sonic musical voyage turned to cycled psychedelic guitar playing with lot of echoes and delay. The first album was published in 1971 in collaboration with Frank Dostal. The album presents an ambitious collection of spacey rock jams featuring a lot of electronic effects and arrangements. This album prefigures "acid" trips of krautrock guitar / minimal electronic explorers like Manuel Gottsching. The guitar freakouts and the weird imagination of the first effort continue to prevail in the following inspired, confused and various Die Grune Reise, A.R. IV, Autovision (generally a mix between guitar soudscapes and psych pop orientated songs). Reichel decided to abandon the project after 5 studio albums. Today A.R and the machines remains a high class standard of hypnotic space-echo guitar inventions.

: : : Philippe Blache, FRANCE : : :

Echo · 1972:
1 Einladung (Invitation) 20:25
2 Das Echo der Gegenwart (The echo of the presence) 10:04
3 Das Echo der Zeit (The echo of time) 13:04
4 Das Echo der Zukunft (The echo of the future) 18:00
5 Das Echo der Vergangenheit (The echo of the past) 19:32
Total Time: 81:05

Vocals: Achim Reichel, Klaus Schulze, Matti Klatt
Guitar: Achim Reichel, Helmuth Franke
Clarinet: Norbert Jacobsen
Jew's Harp: Arthur Carstens
Saxophone: Jochen Petersen
Drums: Dicky Tarrach, Lemmy Lembrecht
Percussion: Hans Lampe, Kalle Trapp, Lemmy Lembrecht, Rolf Köhler


IV · 1973:
1 Vita a) cave explorers + birdmen 5:25
2 Vita b) the man in kidleather 10:43
3 Vita c) thin is the skin of ecstasy 5:47
4 Aqua: every raindrop longs for the sea 23:00
Total Time: 44:55

Achim Reichel: Guitar
Helmuth Franke: Guitar
Frank Wulf: Sitar
Hans Hartmann: Double Bass (still active with live concerts every week in Berlin)
Claus-Robert Kruse: Electric Piano
Jochen Petersen: Soprano Saxophone, Flute
Hans Boche: Drums
Matti Klatt: Percussion
Olaf Casalich: Percussion
Conny Plank: Engineer


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Achim Reichel & Machines -1970-DieGrüneReise + Erholung 1973

Die Grune Reise (The Green Journey)
A.R. & Machines Krautrock

Review by siLLy puPPy
Collaborator PSIKE Team (From
5 stars This is definitely Krautrock but unlike most contemporaries that were distancing themselves from the blues and rock influences of the 60s, A.R. & MACHINES fully utilized a blues based guitar sound on this album. What makes this so trippy is that they added guitar loops, effects and feedback like there's no tomorrow. It can sound like a very accessible sound one moment and then suddenly burst into extremely trippy worlds where the only thing that's for sure is that echos and feedback are plentiful, but all with an underlying catchiness.

Achim Reichel (A.R.) started out in Germany quite innocently as a pop-star in the beat group The Rattles in the 60s and actually played alongside The Beatles at a few points. They were successful on the charts in several countries and were the first German group to ever hit the charts in the US. After many years of doing the pop thing, Achim opted for something different. Something very different. Taking with him the pop sensibilities of his past, he added a healthy dose of surreality and trippiness making this debut as A.R. & THE MACHINES one strange bird.

This was an instant classic for me as I love the combo effect of the accessible and the strangeness. The highlight for me is the final cut Wahrheit Und Wahrscheinlichkeit (Truth And Probabilty) which has to be THE most tripped out piece of music ever. It is all echo all the time with Mr Reichel basically yelping out whatever strikes his fancy at the moment with the occasional guitar breaking in for a little break. This fantastic album satisfies my innermost psychedelic needs time and time again. One of the most tripped out albums in existence!

Die grüne Reise:
01. Globus 02:57
02. In the Same Boat 02:05
03. Beautiful Babylon 05:02
04. I'll Be Your Singer - You'll Be My Song 02:24
05. Body 01:59
06. A Book's Blues 01:35
07. As If I Have Seen All This Before 05:33
08. Cosmic Vibration - An Afternoon Concert 04:43
09. Come On, People 02:52
10. Truth and Probability (A Lexicon for Self-Knowledge) 11:40

Achim Reichel: All instruments (1 to 10),


Recorded live on August 4th 1973 at Fabrik in Hamburg:
And his (6th) solo album, Erholung, a live album from 1975, originally issued by Brain (bootlegged by Germanofon, back in ’91).

11. Gute Reise 12:10
12. Atmosphäre 07:03
13. Alles Inclusive 10:30
14. Erholung 06:56

Achim Reichel: Guitar, Tape (11 to 14)
Peter Franken: Drums (11 to 14)
Olaf Casalich: Percussion (11 to 14)
Jochen Petersen: Soprano Saxophone (11 to 14)
Remastered CD 2006
Label: Melting Pot, Ireland, MPMC 06001

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Abstract Truth - 1970 - Totum

4.0 out of 5 starsexcellent
By Bill on

This is a 1970 album by Abstract Truth, a band from South Africa.

The band features a lot of sax, and flute, but this is not the driving blues of early Jethro Tull or Bloodwyn Pig. Abstract Truth are far more laid back, almost trance-like. The CD carves a quiet groove and stays there.

But there is a lot of subtance here, and this group will make a mark given a chance. You can listen intently, or play it a few times and let the quiet groove wash over you.

Fantastic, dark cover of Donnovan's "Fat Angel."

Review by Warthur
3 stars Psychedelic folk-rock with some raga influences filtered via George Harrison, that's the name of the game on Abstract Nova's debut album. A rock band singing broadsides against racial segregation like Oxford Town was no rarity in the 1960s, though it was a dangerous game to play in South Africa. One can only imagine that Abstract Nova survived through obscurity, since the album seems to have fallen through the cracks somewhat, perhaps due to the sometimes unremarkable cover versions. However, when the band get into a groove and go off on a flight of fancy, special things happen, so it's worth a listen if you like a fat dose of 1960s in your early 1970s folk-rock.

Studio Album, released in 1970

Songs / Tracks Listing

1. Jersey Thursday (3:47)
2. Coming Home Babe (6:32)
3. Oxford Town (4:09)
4. Fat Angel/ Work Song (10:16)
5. Summertime (5:40)
6. Scarborough Fair (3:44)
7. Parchman Farm/ Moaning (2:57)
8. Ain't Necessarily So/ Take Five (10:02)
9. Total Totum (Acid Raga) (5:10)

Total Time 52:17

Line-up / Musicians

- Ken E Henson / guitar, sitar, vocals
- Robbie Pavid / percussion
- Brian Gibson / bass, vocals
- Sean Bergin / sax, flute

Out Of Focus - ST (1971

Out Of Focus biography
This awesome band came from Munich and made three extraordinary albums on the super-collectable Kuckuk label plus another that never got released until recently. Hennes Herring on KB (mainly Hammond organ), Remi Dreschler on guitars, Moran Neumuller on vocals and winds, Klaus Spöri and Stefan Wisheu on drums and bass respectively made an incredibly tight unit although they were prone to a lot of improvisation moments also. Their music is somewhat similar to early British prog but will gradually evolve to a certain jazz-rock while staying very politically and socially conscious (in the typical German style of those years) although the singing does not hold a big place in their music, their third release (a double) being mostly instrumental. They released three albums on the legendary Kuckuk label, the same one that also reissued them in Cd format.

After their third album, OOF suffered their first major line-up change with keyboardist Hennes Herring leaving the band to join SAHARA (another excellent group that will release two very solid albums), and he was replaced by yet another guitarist Wolfgang Gohringer (that made double guitar and double horn attack), but if it affected the group's sound a bit, it was nothing drastic either. A fourth (excellent) album was recorded in the spring of 74, but for some reasons it was never released - until Ultima Thule/Cosmic Egg would in 99. Sadly these events lead towards a slow decline of the group who would gradually slow down activities, recording just one more single and playing their last concerts in 78.

The musicians went their way, but in the mid-80's, three of them met and participated to Kontrast and recorded one of the best Krautrock album of that decade, according to the experts. This album and its intended suite just got a second life by getting a reissue, again on the Cosmic Egg label. Among the other posthumous releases is the left-overs from FLMA albums (Rat Roads) and a Live in Palerme 72, both excellent records appearing on the great Garden Of Delight Label.

Let me quote D-E Asbjornssen in Cosmic Dreams At Play and use his final comment about OOF: "what an awesome band they were" and I fully adhere to that opinion.

: : : Hugues Chantraine, BELGIUM : : :

Highly recommended by Dag-Erik Asbjornsen in his great book Cosmic Dreams At Play, and by myself to every progheads infatuated with the early 70's way of making music. Simply awesome!

Review by apps79
Special Collaborator Neo Prog Team
3 stars Out of Focus were helped by a good promotion during 1970/71, ''See how a white Negro flies'' was included in Polydor's compilation ''Sounds '71'' and the track ''Blue Sunday morning'' became part of Kuckuck's ''SiebenSiebzig'' compilation.Six months after the release of ''Wake up!'' the Germans visited the Bavaria Studios in München to record a second album, which strangely carried the name of the group as a title.Kuckuck was again the publisher.

While ''Wake up!'' was a typical Kraut Rock album with psychedelic leftovers from the 60's, this one sees the band exploring the more experimental side of Rock music and this is pretty obvious already from the short openers ''What can a poor boy do'' and ''It's your life'', which are dominated by a collection of sounds and sights, containing inspirations from Folk, Blues and Jazz, characterized by frenetic rhythms, nervous sax solos, psychedelic organ runs and calm acoustic textures, not to mention the jazzy piano of the second piece.These work as a nice introduction to the very long ''Whispering'', which sounds like a rougher PASSPORT, featuring extended instrumental jams with a pounding rhythm section, usually overpowered by the furious electric guitar of Drechsler and Neumueller's powerful saxes, leading into experimental, jazzy improvisations and a couple of beautiful sax solos over the hypnotic bass lines of Wiesheu.''Blue Sunday morning'' is another attempt on Kraut Folk Rock by the band with a narcotic electric guitar playing alongside the archaic flutes, before Hering's organ gives life to a dramatic Heavy/Psych Rock cut.Not really fond of THE ROLLING STONES'-like vocals.The 17-min. ''Fly bird fly-Television program'' is more or less a good definition of Kraut Rock with strong psychedelic and Folk influences.Again the vocals are rather weak, but the music is pretty interesting with some great organ runs and sax interventions, Drechsler's guitar solos are absolutely efficient and the piece alternates between smooth and punchy segments with a fantastic ending section in the vein of early ELOY, characterized by tremendous energy and featuring Drechsler, Hering and Neumueller's active battle on individual solos.

Solid Kraut Rock with jazzy influences and nods to Folk Music.Passionate, efficient material, even if it lacks some great moments.Recommended.

1. What Can A Poor Boy Do (5:53)
2. It's Your Life (4:31)
3. Whispering (13:34)
4. Blue Sunday Morning (8:20)
5. Fly Bird Fly (5:09)
6. Television Program (11:45)
Total time: 49:12

Line Up:
Remingius Drechsler - guitars, stylophone, tenor saxophone, flutes, voice
Hennes Hering - organ, piano
Moran Neumüller - soprano saxophone, vocals
Klaus Spöri - drums
Stephen Wishen - bass

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Streetwalkers - Red Card (1976) + Vicious But Fair (1977) [2 on 1]

Streetwalkers / Red Card (76)+ Vicious But Fair (77)[2 on 1]2005
Style: Rock
Country: Great Britain

  BGO Records BGOCD669

After Family (one of the best loved British 'underground' acts) split up, the two main people, (singer Roger 'Chappo' Chapman and guitarist John 'Charlie' Whitney) recorded an album called 'Streetwalkers' then formed a band of the same name. That band recorded three studio albums and a live album. This CD contains the second and the third studio albums.

Red Card is the better album. I first heard most of the songs from it when Streetwalkers supported the Who in Swansea. The songs are more straightforward rock than Family, not quite as good (well, better than the final Family album) but good none-the-less. Standouts include the opening track and the slightly humerous (or is that tragic - it would be for the main character) Me An' Me Horse An' Me Rum. It features one cover, 'Daddy Rolling Stone', which is a good version of that song (ironically, the Who also recorded this on the 'b' side of one of their singles - I forget which).

Vicious but Fair is almost as good, with the tongue-in-cheek Chilli Con Carne (Chappo always was good at tongue-in-cheek lyrics), the well controlled 'Dice Man' and the rallying-cry of 'Can't Come In' - which would carry over into the start of Chappo's solo career (virtually forgotten at home, very successful on the continent, particularly Germany).
(By Mr. Clifton Jones Amazone review)
buy it on:


01 Run For Cover - 5:48
02 Ma An' Me Horse An' Me Rum - 4:04
03 Crazy Charade - 5:29
04 Daddy Rolling Stone - 3:15
05 Roll Up, Roll Up - 3:31
06 Between Us - 3:50
07 Shotgun Massiah - 4:50
08 Decadence Code - 6:41

Line Up:

Roger Chapman - vocals [lead], percussion, 

Uncle Al's Pals Choir - choir
Nicko McBrain - drums, percussion
Jonathan Plotel - bass, backing vocals
Bobby Tench - electric guitar, vocals, keyboards, percussion,
Charlie Whitney - electric guitar, guitar [slide]

09 Mama Was Mad
10 Chilli-Con-Carne
11 Dice Man
12 But You're Beautiful
13 Can't Come In
14 Belle Star
15 Sam (Maybe He Can Come To Some Arrangement)
16 Cross Time Woman

Time: 1:17:17

Streetwalkers - Downtown Flyers 1975

Genre :  Blues rock, hard rock, Pop/Rock
Charlie Whitney and Roger Chapman formed Streetwalkers late in 1973. This new band included vocalist and guitarist Bobby Tench from The Jeff Beck Group and Hummingbird and future Iron Maiden drummer, Nicko McBrain. Streetwalkers was a polished AOR band with more elements of white soul than Family. They signed to the Vertigo label as Chapman Whitney Streetwalkers recording an album simply entitled Streetwalkers, released on the Reprise label in 1974, with a line up including other members of Family and King Crimson. Chapman and Whitney morphed their band into the "Streetwalkers" which comprised five members including Bobby Tench, drummer Nicko McBrain, who later moved onto play with Iron Maiden and bassist Jon Plotel. Tench, McBain and Plotel appeared on Rockpalast in 1975,[3] alongside Roger Chapman and Charley Whitney, billed as "The Whitney Chapman Streetwalkers" just before the band name was shortened. Their next album was entitled Downtown flyers which was released in USA during 1975. The groove heavy album Red Card[4] was released in the UK during 1976 and remains a much respected album.[5] Vicious but fair was also released by Vertigo in the same year and a final album Live Streetwalkers in 1977 followed, purely to fulfill contractual obligations.[6] Streetwalkers became highly respected by music fans and the music press. The band broke up in 1977, ending eleven years of the Whitney-Chapman musical partnership.(From wikipedia)

Streetwalkers - Downtown Flyers (1975)

Track Listing:

1. Downtown Flyers
2. Toenail Draggin'
3. Raingame
4. Miller
5. Crawfish
6. Walking On Waters
7. Gypsy Moon
8. Burn It Down
9. Ace O'Spades

Artist    Credit:
Roger Chapman    Composer, Harmonica, Percussion, Vocals
Nicko McBrain    Drums, Percussion
Pete Wingfield    Keyboards
Jon Plotel    Bass, Vocals (Background)
Jonathan Plotel    Guitar (Bass), Vocals (Background)
Bob Tench    Guitar (Acoustic), Guitar (Electric), Vocals, Vocals (Background)
Charlie Whitney    Guitar (Acoustic), Guitar (Electric), Slide Guitar
John "Charlie" Whitney    Composer, Guitar (Acoustic), Guitar (Electric), Slide Guitar
Paul Wingfield    Additional Personnel, Keyboards
Max Middleton    Additional Personnel, Keyboards
John "Poli" Palmer    Additional Personnel, Synthesizer, Vocals (Background)

String Cheese - String Cheese 1971

String Cheese biography
Before he awkwardly replaced David LaFlamme in IT'S A BEAUTIFUL DAY, Greg Bloch had his own shot at early seventies psych-folk fame with STRING CHEESE, a band whose early promise but quick demise was undoubtedly influenced by the fortunes of their label (Wooden Nickel), which started to unravel even before marquee act STYX began to be courted by A&M Records.

Blessed with a lead vocalist (Sally Smaller) much in the vein of IABD's Patti Santos, the band's music bears a striking resemblance to many of the Haight-Ashbury stable of psychedelic and folk bands of the late sixties and early seventies. The group also featured drummer John Maggi, whose prior group IOWA BY THE SEA became a footnote for being the band that launched Michael Wood's career with the seventies folk-rock band AMERICA.

The band's debut was heralded with a feature article in Billboard magazine announcing Jerry Weintraub's collaboration of his Wooden Nickel label with RCA (the band was mistakenly referred to as a "West Coast" act despite both them and the label being anchored in Chicago). Weak sales and scant promotion left the group with little choice but to fade away in 1973. 12-string guitarist Lawrence W. Wendelken would go on to a studio production career including film credits, and Bloch landed a stint with MARK-ALMOND in addition to his one album with IABD; the rest of the group would fade into musical obscurity.

Another lost prog folk band of the early seventies, STRING CHEESE nonetheless left behind one great album proving that quality psych-laced folk rock was not limited to San Francisco circa 1971.

>>Bio by Bob Moore (aka ClemofNazareth)<<

01. For Now
02. Crystal
03. We Share
04. Here Am I
05. Empty Streets
06. Forage
07. Soul Of Man
08. Certain Kind Of Day
09. Woke Up This Morning,Coming

Time: 37:01


- John Maggi / Drums
- Gregory Bloch / Electric Violin
- Louis Constantino / Bass
- William Dalton / Organ, Piano, Celeste, Guitar, Harpsichord, Keyboards, Sitar, Orator
- Sally Smaller / Vocals
- Larry Wendelken / 12-String Guitar, Vocals

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Bull Angus - Bull Angus - 1971

Quite solid album this one I have come to quite accidentally. You will find here the highlights that made great bands like Rooster, Heep, Purple or even Lynyrd Skynyrd, such mix is thrown in these pieces of music. Maybe this band did not have the recognition I think they should have had because there's not a single track that really stands out over the rest (maybe CY sets a different mood for its acoustic nature (great tune by the way!)), so due to low commercial success they delivered just two albums
Hammonds and double guitars are present in all the album, delivered in an energetic way, with good interplay, riffing and crunchy soloing. The doble guitar attack and the flavour is sometimes more sabbat, zep or purple but sometimes they threw some souther flavours ala Lynyrd Skynyrd. Quite tasty mix, let me tell you. There's even some flute every now and then that really fits the themes. The songs are complex and dynamic enough to consider this prog in the same terms as, for example, Uriah Heep.
Songwriting is ok, maybe not superb, but this is a very pleasant listen to everyone who loves heavy prog hammond and guitar driven.
There are also good vocal harmonies even in the backing vocals, and the lead singer reminds to Gillan or Byron, and is quite dynamic.
All in all, I'm having a really good time listening to this, and it is leaving me in a very good mood so...I'll give it a weak 4 stars, give them a try!
Review from
01. Run Don't Stop
02. Mother's Favorite Lover (Margaret)
03. Uncle Duggie's Fun Bus Ride
04. A Time Like Ours
05. Miss Casey
06. Pot of Gold
07. Cy
08. No Cream for the Maid
Time:     42:40

Geno Charles (drums, percussion)
Larry LaFalce (guitar, vocals)
Dino Paolillo (guitar, vocals)
Frankie Previte (vocals, recorder, percussion)
Ron Piccolo (organ, piano, vocals)
Lenni Venditti (bass)

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Corporal Gander's Fire Dog Brigade - On The Rocks (1970)

If you like the idea of the legendary group WIND playing in a more straight
forward heavy rock style, this is the album for you!
 The moniker Corporal Gander's Fire Dog Brigade was invented by the budget
 price label EUROPA , who realised ON THE ROCKS lp in early 1971.
The album was produced by Jochen Petersen (in December 1970),
 who later produced SEASONS. The best lp's of Exploitation Music are from U.S.A
& Germany .An example from Germany ... Corporal Gander's Fire Dog Brigade (pre WIND)group.

Corporal Gander's Fire Dog Brigade (pre-Wind) / On The Rocks 1970 (1997 Green Tree /Trick Music)
Genre: Psychedelic/Heavy Psych
Country: Germany
Label: Green Tree Records/Trick Music Records
Catalog number: TM 9702/GTR-056


1.Paranoid [Iommi, Ward, Butler, Osbourne]
2.I Hear You Knocking [Bartolomew/King]
3.Come Back Here [Scott, Talby]
4.On The Rocks [Scott]

5.Hey You [Talby](3:57)
6.Stealer [Rodgers, Frser, Kossoff]
7.Run For Life [Talby]
8.Do You Think It's Alright [Scott, Talby]
9.Love Song [Scott, Talby]
10.Don't Tell Me [Talby]


Line Up:

Thomas Leidenberg : guitars,vocals
Lucian Bueler : organ, piano
Andreas Bueler : bass, vocals
Lucky Schmidt :drums

Eneide - 1972 - Uomini Umili Popoli Liberi

Progressive rock

Country: Italy

Review by loserboy
4 stars Excellent classic 70's Ital-prog with complex yet melodic compositions reminding me somewhat of elements of PFM, JUMBO and perhaps even BIGLIETTO PER L'INFERN0. ENEIDE juxtapose a liberal amount of organ, Hammond and Moog and flute throughout even some violin. The most amazing parts IMHO are when ENEIDE get into their groove and then they really take off. Bass and drum lay a fantastic backdrop for keyboard, electric guitar and flute to overlay. Songs are well written and offer a nice array of mood and tempo changes with some grand well thought out melodies. Considering this album has been hidden away for a large number of years the sound quality is quite amazing. Vocals are shared among the band and are quite good with lots of emotive character and clever harmonies. Overall an excellent slice of 70's Italian Progressive Rock.

Tracks Listing

1. Cantico alle stelle - traccia I (2:49)
2. Il male (3:19)
3. Non voglio catene (7:48)
4. Canto della rassegnazione (2:30)
5. Oppressione e disperazione (3:03)
6. Ecce omo (4:06)
7. Uomini umili popoli liberi (3:20)
8. Viaggia cosmico (3:48)
9. Un mondo nuovo (2:38)
10. Cantico alle stelle - traccia II (1:36)

Total Time: 35:27


Gianluigi Cavaliere (vocals, guitar)
Adriano Pegoraro (guitar, flute, vocals)
Carlo Barnini (keyboards, vocals)
Romeo Pegoraro (bass, vocals)
Moreno Diego Polato (drums, percussion, vocals) 

Korai Öröm-1995

Psychedelic/Space Rock 

Korai Öröm biography
Imagine a more organic-sounding OZRIC TENTACLES where the electronics, synths and drum machines are replaced by a didgeridoo, the occasional chant and lots of percussion. This tripped-out Budapest outfit comprises a dozen or so musicians whose albums consist of improvised material recorded on stage and then remixed in the studio. They are known for their dynamic live concerts (often in unusual places such as around swimming pools or in the great outdoors) accompanied by video projections. Their SANTANA-like percussion and wicked, trance-like grooves actually make their music quite danceable. In the words of one of their founding members, Emil Biljarszki: ".(our) CD's are good but sterile, better to come to our concerts and let's feel together that things, which happen from themselves and make us stay alive."

Unfortunately, the band never title any of their albums or even their album tracks, which makes it difficult to refer to any of them individually. A general description would be long-flowing, cosmic space-rock jams with hypnotic atmospheres and superb percussion, with bits of trumpet and flute added on. The fusion-like atmosphere, the blend of Eastern and jazz influences and the constant interplay between burning guitar leads, synths and bass all make for an exhilirating listening experience which fans of OZRIC TENTACLES can't fail to appreciate..


Review by Joolz
SPECIAL COLLABORATOR Honorary Collaborator
4 stars This is Korai Öröm's debut album, and a fine effort owing much to the organic textures of Brainticket and the more modern synths-and-samplers of Ozric Tentacles. These comparisons are valid, but the addition of unexpected instruments like brass, didgeridoo and jaws harp take them into the realm of ethnic-fusion veering through psych work-outs, via latin percussion to tribal-dance [think Baka Beyond]. It says something for the skill of the musicians that they can successfully combine elements from so many different disparate cultures and come up with a sound that is not only unique but entertaining too. Guitar, bass and drums form a familiar rock foundation for this mélange of sound, but surprisingly keyboards play a muted role.

Typically, the music employs slow atmospheric build-ups using ethereal flute and other ambient textures, leading to classic jams built on repetitive rock beats and delicate fills, though lacking the searing energy of bands like Hawkwind. Neither do the jams descend into endless wall-of-sound space-grooves as the traditional instruments are given space to breathe and flourish without ever becoming over-extended, while the power is often diffused by additional assorted percussion that accompanies many sequences.

The album abounds with exciting sounds and inventive ways of integrating them into a musical collage, yet ultimately it fails to be entirely satisfying, as if they have all these ideas but haven't quite worked out how they want to use them. Great for use as a backdrop for some other activity, but less stimulating as a listening experience than some of the band's later work. Partly, this can be attributed to lack of structure and vocals, and for me, is a common complaint with instrumental music of this kind.

From, the ultimate progressive rock music website :

1. 1 (7:48)
2. 2 (12:35)
3. 3 (10:01)
4. 4 (4:11)
5. 5 (7:49)
6. 6 (4:17)
7. 7 (8:59)
Total Time: 55:24

Line Up:

Biljarski Emil / keyboards
Csányi Viktor / drums
Jöcsik János / percussion
Nádasdi Zsolt / percussion
Vécsi Tibor / vocals, bells
Horváth György / guitar
Takács Péter / guitar, vocals, trumpet, flute
Kilián Zoltán / bass
Palzs Miklós / dorombének, fuyara, doromb, didgeridoo, fütéscsö
Vajdai Vilmos / didgeridoo, marimba
Lukács Levente / saxophone


For lossless go here below:

Korai Öröm - Korai Öröm 1995

Sweetwater - Sweetwater 1968

Sweetwater is the debut studio album by the Los Angeles band, Sweetwater. The album is musically enriched by several influences from different genres that the band sought to experiment with. Much of the band's resemblance came from Jefferson Airplane, the group that successfully integrated jazz fusion into their compositions. Upon the album's release, it was largely unnoticed, but still became the band's only work to chart in the Billboard 200. Their most acclaimed track is the opening cover version of "Motherless Child"
Sweetwater formed from eight individuals of different ethnicities performing in coffeehouses in Los Angeles. With psychedelic music at the height of its popularity in 1968, Reprise Records decided to sign the band to their label to capitalize on it. The band was not just limited to the psychedelic scene though, as Sweetwater involved itself in multiple genres ranging from folk rock, latin rock, and classical music.[2] Reprise knowingly produced for the band, despite the fact their sound was not marketable to the general public.[3]

Recording commenced at the Sound Factory in Hollywood, California with producer Dave Hassinger, notable for producing other musical groups like The Electric Prunes.[4] The tracks included original material along with covers of traditional pieces. The band was highly versatile as it had eight musicians who played a wide variety of instruments including congas, percussion, and bongos.[5] The congas, in particular, were peculiar to a band at the time as Santana had not yet come to prominence with its take on latin rock. Another interesting aspect regarding recordings, was the total lack of electric guitar. There were instances of electronic music, yet the band disregarded the use of the instrument, even in live performances. Arrangements of the instrumentals were conducted by Alex del Zoppo and Frank Herrera, and, in all aspects, the two utililized the capabilities of their bandmates as they were involved in the process of each track. For that reason, there was complexity in their instrumentals in both the psychedelic tense of tracks like "My Crystal Spider", and the classical one of tracks like "Motherless Child".[6] Nansi Nevins was the lead vocalist on all tracks, and is noted for her performance on the debut, especially on the opening track. Sweetwater is the only album that Nevins was apart of throughout. Nevins was involved in a car accident in December 1969 which prevented her from completing future albums.[7]

Sweetwater was released in 1968 with the catalog number RS #6313, just getting in to the national charts at number 200 were in would stay for two weeks. With the album, two singles, "Motherless Child b/w "Why Oh Why and "My Crystal Spider" b/w "What's Wrong" preceded it, both of which failed to chart. Still, "Motherless Child" became popular in Los Angeles when it was constantly played on FM Radio. The band's take on the traditional blues song became a favorite associated with group. The cover features the group in their usual live attire, and their primary instruments in hand.[7] Despite the limited success of their debut effort, Sweetwater, in 1969, would partake in the proceedings at the Woodstock Festival, and became remembered as the first band to perform.


Track listing

    Motherless Child - 5:04
    Here We Go Again - 2:32
    For Pete's Sake - 2:50
    Come Take a Walk - 3:48
    What's Wrong - 4:00
    In a Rainbox - 3:17
    My Crystal Spider - 3:52
    Rondeau - 1:15
    Two Worlds - 3:56
    Through an Old Storybook - 2:32
    Why Oh Why - 3:00


    Nansi Nevins - lead vocals
    Frank Herrera - bass guitar, backing vocals
    August Burns - cello
    Elpidio Cobian - congas, percussion
    Alan Malarowitz - drums
    Albert Moore - flute, backing vocals
    R.G. Carlyle - acoustic guitar, bongos, backing vocals
    Alex Del Zoppo - keyboards, backing vocals


Big Big Train - The Difference Machine 2007

 What they were saying about 'The Difference Machine'

Splendidly mellifluous UK prog, featuring appearances from Marillion's Pete Trewavas and Nick D'Virgilio from Spock's Beard.
Dave Ling, Classic Rock and Metal Hammer magazines

The Bournemouth band have extra locomotive power for their fifth album, with guest Pete Trewavas (Marillion), Nick D'Virgilio (Spock's Beard, Genesis, Tears For Fears) and Dave Meros (Spock's Beard.) This is finely crafted and acutely involving, especially the chilling Salt Water Falling On Uneven Ground.
Geoff Barton, Classic Rock

It's f***ing brilliant.
Jem Godfrey, Frost

You should definitely check it out. In my humble opinion it is one of the best prog releases of the decade.
Dave Meros, Spock's Beard

Here's a tasty slab of pure prog, the fifth album from a band that continues to plough its own considerable furrow without the aid of label support. This is an English garden variety of progressive rock, not the brutal 21st century insanity of LA's Upsilon Acrux, and Genesis and Marillion are your references (indeed, Pete Trewavas can be found guesting). Expect tracks in excess of 10 minutes, fuzz guitar of every colour, serious rocking out, Beatlesque Mellotronisms, grandiose organs and perhaps just a bit too much saxophone. But then nothing's perfect...
Guitar and Bass magazine

Unashamed, unreconstructed PROG F***IN' ROCK. The Difference Machine is bound to please fans of Yes, The Enid and early Genesis. This one's an epic...sit back and lose yourself.

  RE-ISSUED 2010 with a bonus track and additional artwork


   1. Hope This Finds You (3.12)
   2. Perfect Cosmic Storm (14.40) 
   3. Breathing Space (1.47)
   4. Pick Up If You're There (13.39) bonus track
   5. From The Wide Open Sea (1.20)
   6. Hope You Made It (3:46) [*]
   7. Salt Water falling on uneven ground (12.38)
   8. Summer's Lease (7.34)

Line-up / Musicians

- Sean Filkins / vocals
- Steve Hughes / drums
- Becca King / viola
- Andy Poole / bass
- Gregory Spawton / guitars, keyboards, vocals
- Tony Wright / alto and tenor saxophone, flute

Guest musicians:
- Dave Meros / bass
- Nick D'Virgilio / drums, vocals
- Pete Trewavas / bass


Axis - It's A Circus World 1978

Axis - It's a Circus World CD. Reissue of 1978 record by hard rock power trio featuring drummer Vinnie Appice & guitarist Danny Johnston.
Over the years, rock & roll has had its share of one-album wonders-artists who only recorded one album when it seemed like they should have built a large catalogue. Axis turned out be one of those one-album wonders, which came as a surprise because the late 1970s power trio had potential. Consisting of Vinny Appice (Carmine Appice's brother) on drums and background vocals, Jay Davis on bass and lead vocals and Danny Johnson on guitar and lead vocals, Axis boasted talented musicians even though its material fell short of mind-blowing. It's A Circus World isn't a gem, but it's a decent collection of commercial arena rock. Catchy, if unremarkable, tunes like "Ray's Electric Farm" and "Cats in the Alley" gave one reason to believe that Axis might be around for awhile-the listener figured that even though this 1978 LP is imperfect, Axis could easily develop into a major force in arena rock on subsequent albums. But there were no subsequent albums for Axis, whose first album was also its last.
-AllMusic Review by Alex Henderson-

 Daniel Lars 4 years ago:
After Danny Johnson left Derringer this way unrated power trio comes together to form Axis and only releases this debut record (what a shame it didn't last longer).  Pound for pound this LP rocks like nobody's business and was a damn bummer it didn't get the light of day promotion it deserved.  You can tell there was song writing direction still lingering from the Sweet Evil sessions.  Think some of these songs would have ended up on the next Derringer LP, if Danny & Vinnie stayed in the band. 

Track listing

    1 Brown Eyes 4:21
    2 Busted Love 3:51
    3 Juggler 3:29
    4 Soldier of Love 3:44
    5 Train 4:54
    6 Armageddon 2:53
    7 Ray's Electric Farm 3:08
    8 Stormy Weather 2:50
    9 Cats in the Alley 2:56
    10 Bandits of Rock 3:55
    11 Circus World 3:42

Jay Davis:bass guitar, vocals
Vinny Appice:drums, background vocals
Danny Johnson:guitar, vocals

(Johnson & Appice are both ex Derringer side men. This is really good 70's hard rock.. )

Cairo - Conflict and Dreams 1998

Depending on your point of view, you are either going to categorise this CD as either "A musical tour de force" or "A load of self indulgent tosh." Whatever, Cairo have unreservedly and irrevocably nailed their colours to the Progressive Rock mast. From the classic combination of Hammond C3 organ and Moog synthesiser to the bewildering changes of key and time signatures this album bears all the hallmarks of classic prog. Cairo's keyboard player is a real revelation. If you like Keith Emerson, then you will love what this guy does with a HammondIt kicks off with Angels and Rage, which to my mind is the least accessible track on the album with style and virtuosity taking centre stage, and tunefulness taking a bit of a back seat. Then things start to kick into gear with Corridors. Western Desert is a prog masterpiece, over 17 minutes long with one of the best keyboard solos I've heard in a long while. Imagine is a lovely piano and guitar interlude before the high energy stuff is back with Then you were Gone. The final track Valley of the Shadow is everything prog. A song that tells a story, over 15 minutes long, full of key and time signature changes, virtuoso solos. Phew!OK so as you can probably tell I'm in the "musical tour de force" camp on this one. It's not a perfect album. The vocals are OK (But not world class, like Anderson, Lake or Gabriel) The instrumentation is fabulous, the performances range from great to brilliant, but I found the production lacked real sparkle. However that said it's an excellent addition to the Prog Rock cannon.Other bands worth a listen: Spocks Beard, Transatlantic, Dream Theatre, Liquid Tension Experiment, Arena.
Review by progrules
5 stars Cairo is known as a band that sounds like EMERSON LAKE & PALMER and YES. I can agree to this in a way but they are certainly no immitation of any band. Cairo has a unique own sound mainly because of the singer. It's a fast operating band and it almost seems as if they improvise especially during their longer tracks . This is probably not the case but it shows that these are great musicians, best example is Mark Robertson with his almost endless organsolos. Best track to me is Western Desert, a fantastic epic. Another fine song is Then you were gone which brings out a great atmosphere. Angels and Rage as well as Valley of the Shadow are somewhat heavier and are fairly accessible songs. Corridors is a slightly less impressive one but still good.

Overall a fantastic effort from these American proggers that can only be rewarded with 5 stars

1. Angels And Rage (10:23)
2. Corridors (11:56)
3. Western Desert (17:08)
4. Image (1:25)
5. Then You Were Gone (8:25)
6. Valley Of The Shadow (15:52)

Total Time: 64:29

- Mark Robertson / synthesizers, Hammond organ, grand piano, vocals
- Jeff Brockman / drums
- Alec Fuhrman/ guitars, vocals
- Bret Douglas / lead vocals
- Jamie Browne / bass


Areknames - Live At Burg Herzberg Festival 2007


This interesting new Italian formation invites us for a trip with their musical time-machine to the early Seventies. In those days most of the big record companies had small sub-labels in order to host their progressive rock acts (like EMI had Harvest for Pink Floyd), there they got room for adventure and experiments. Well, listening to Areknames you can easily confuse this for a Seventies rooted band. This live CD was recorded during the Burg Herzberg Festival 2007, I hope a DVD will follow soon, what a stunning sound!

1. Dateless Diary : After a dreamy climate with wonderful violin-Mellotron and a bit melancholical vocals (evoking Peter Hamill),we can enjoy powerful Hammond organ, propulsive guitarwork and fat synthesizer flights in a compelling atmosphere. In the end the dreamy climate returns delivering Mellotron, Hammond and flowing electric guitar.

2. A Prison That Few Can See : The first part is mellow, the music reminds me of Anekdoten because of the violin-Mellotron and warm but a bit dark vocals. Gradually the sound turns int more lush with powerful Jammond waves, strong drumming and howling electric guitar runs, followed by a long and very compelling Hammond solo similar to Dave Greenslade his work during Colosseum and Greenslade, what a lovely early vintage sound!

3. A New Song : It starts with a slow rhythm and fragile guitarplay, mellow organ and warm vocals (again evoking Anekdoten), then a mid-tempo with majestic Hammond and powerful guitar, culminating in a kind of bombastic psychedelia. Again we can enjoy a long Hammond solo, this time swirling with great support of the rhythm-section. The final part contains soaring Mellotron, it is short but I get goose bumps!

4. Outcast : This short piece sounds a bit psychedelic with propulsive drums, fiery vocals, heavy guitar and hypnotizing organ work, it reminds me of early Italian gem Il Balletto Di Bronzo, very dynamic!

5. Boredom : Again the focus is on the Hammond (along a sensitive electric guitar solo, fat synthesizer flights and wonderful violin-Mellotron): from fluent runs and sumptuous eruptions to a swirling solo with psychedelic undertones, this man know how to push the right buttons!

Don't expect elaborate music but let you carry away by Areknames their compelling vintage sound, loaded with mindblowing work on the Hammond organ!
Erik Neuteboom, PROG REVIEWER

 Tracks  :

1. Dateless diary (6.18)
2. The prison that few can see (17.57)
3. A new song (9.02)
4. Outcast (3.43)
5. Boredom (13.31)


- Michele Epifani / voice, keyboards
- Piero Ranalli / electric bass
- Simone Antonini / drums & percussions
- Stefano Colombi / acoustic & electric guitar

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Areknames - Live At Burg Herzberg Festival 2007