Gila -night works (1999-krautrock)
Dull Knife - Electric Indian (1971 kraut)
Disco contraddittorio...non tanto nella musica che è un heavy psych con forti accenti al prog ma piuttosto per le canzoni proposte...
si dice che questo sia in realtà una sorta di "ghost group" di blackmore piece e lord dei purple che hanno provato a suonare delle loro cose in completo
anonimato in modo tale da assestare il loro sound...questo è dimostrato dall song a "time for races" che in realtà
non è altro che una versione più rude di "Living wreck"!disco buono nel complesso anche se non vi aspettate i classici standard alla purple!
Pretty good early progressive guitar and organ music. Short album complete with some good freakout jams and some throwaway tracks. Both of the "Time Race" songs are very good as is the more bluesy "Let Me Shoot You." "We Like the White Man" is one of the worst songs I have heard in a while. Most of the tracks are adequate though not amazing, but interesting when one sees that the album was made in 1968.
Fairly decent psych with prominent organs and some decent guitar playing and average vocals, though the vocals arent what detract from the overall score. The opening cover of "For What Its Worth" is alright, not near as good as Buffalo Springfield's original. "December" is a softer song that proves to be one of the best. Most of the other tracks are all about the same in quality.
TOP DRAWER - SOLID OAK (1969 us)
Nice rock/psych album from this Kentucky band. The opening track "Song of a Sinner" is an atmospheric stunner, featuring the fine guitar of John Baker and the moody organ of Ron Linn. A little cheesy at times, it's definitely worth a listen. The last track "Lies" is great early 70's rock.
This, Dillingers debut album was released in 1974 on 'Daffodil' records. The band are from Quebec and Ontario, and formed by brothers Robert Harrison(drums, vocals) and Jacques Harrison(keyboard, vocals). The rest of the band featured; Paul Cockburn(guitars,vocal) and Terry Bramhall(bass, vocals). This was a great mix of hard rock with progressive rock leanings. The album featured four songs, one a 17 minute suite called 'Live and Return' is my favorite. Very cool intrumental passages on this number, with some heavy style symphonic prog influences. These guys can be really heavy, or very melodic at the flip of a coin! They also cover the 'Spirit' classic 'Natures Way', which they doe quite well. I'm pretty sure both Dillinger albums have been reissued on CD by the Canadian label Unidisc a few years back.
Great one and only LP by this early 70s band from Calgary Alberta Canada.
They were formed from the ashes of a 60s psych band called 'The 49th Parallel, also from Calgary.
Danny Lowe-Lead Guitar, Doran Beattie-Vocals, Wayne Morice-Bass & Vocals,
Barry Allen-Rhythm Guitar & Vocals, and Bob Ego-Drums.
Their music was heavy rock, in the style of BTO or April Wine, and played just as well.
Both Canadian and US pressings give no indication of where these guys hale from, and I'm pretty sure that's intentional. The album was recorded in Seattle Washington.
After it's release in '73, the band did the bar and club circuit, as well as opening for some pretty big names. A couple years later, Danny & Doran founded another Canadian hard rock group called 'Hammersmith', who took the same heavy rock formula and released a couple of LPs and achieved some moderate success.
Barry Allen, who was originally from Edmonton, had a bit of a solo career before 'Painter'. He was given a US recording contract by Capitol Records, and released several singles in the mid 60s. He then recorded a couple of albums, one of which was produced by, and featured the guitar work of Randy Bachman in 69/70. Bachman suggested he join the newly formed 'Painter'.
In 1982, Danny Lowe experienced what he called "an industrial accident" while placing 14 microphones in a sound studio. In playing back the recording made that day, he discovered he had inadvertently created an auditory illusion that he was surrounded by sound. The effect resembled how the human ear actually hears.
Over the next eight years, he and electro-technician John Lees worked together to fine-tune the system. In 1986, the pair formed a partnership with Larry Ryckman, a former Calgary real estate developer, and formed Archer Communications Inc.
QSound was patented in 1990, and the recording system was quickly embraced by music artists such as Sting, Madonna, INXS, Pink Floyd, Kate Bush, Paula Abdul, Julian Lennon, Wilson Phillips and Luther Vandross.
There's a quick history lesson on some good 'ol local boys!
I don't think the 'Painter' album is available on CD, at least it wasn't the last time I checked about a year ago.
Doran Beattie went on to have somewhat of a succesful country music career!
Ancora Kraut per voi...io amo questo disco anche se oltrealpe è un po' controverso perchè il sound è un filino più accessibile...cazzate, non amo misurare la bellezze dei dischi in base al fatto di una maggiore o minore fruibilità da parte del pubblico...tanto più che secondo me ci sono molte idee particolari...IO amo La prima song "Me and my Girlfriend" la pinkfloydeggiante "No Freak out" e la ottima "rising up"ma anche il resto non è male...a voi!
Now, here's a band that have always puzzled me. They made what has become a highly rated hard-rock album, yet SPERRMÜLL doesn't really warrant its reputation. Why? Well, although it does contain some excellent freaky Krautrock, notably "No Freak Out" which contrary to its title is a superb kind of Hendrixy-Hawkwind type mixture, much of the album, however, is rather straight in comparison. Lyrically Sperrmüll were only a step above pop music, and even sounded like Status Quo on a couple of numbers! Obviously the hype behind Sperrmüll is from those with more conventional hard-rock tastes. It's a good album, but not an essential Brain classic.
Helmut Krieg (guitars, mandolin, vocals), Harald Kaiser (bass, vocals), Reinhold Breuer (drums, percussion), Peter Schneider (organ, electric piano, synthesizer)
Ancora roba tedesca!scusate ma ho poco tempo per recensioni e roba simile, tenete presente che è un album abbastanza "scuro" tanto che il titolo è abbastanza esplicativo (consigli su come commettere un suicidio).Altra cosa, volevo informarvi che probalbilmente mi toccherà tornare a rapidshare (forse verso dicembre, ho ancora roba uppata su megaupload che posterò) anche se probabilmente non cambierà di molto la situazione visto che anche un blog "mentore" come "8 days in april" sta attraversando un brutto momento per colpa di chi non ha niente di meglio da fare che rompere gli altrui coglioni!...è una cosa quantomeno frustrante...vabbè lasciamo perdere e a voi il disco! Il prossimo post è l'ultima (per ora) puntata del krautrock con uno spazio alle Kraut-richieste! ciao ciao!
the only kraut recording darker than this is ''pater noster''...or perhaps GERMAN OAK's infamous ''bunker''/''german oak''. disorienting, nauseating but always fascinating with some FLOYDian inclinations (of course not indulged to an ELOY degree)....''tips on how to commit suicide''?
dopo la parentesi heavy torniamo nei profondi anni 70!
Il post di oggi riguarda il secondo lavoro di questo gruppo del quale, perdonatemi, ma non riesco proprio a pronunciare il nome! Il disco è un sano psych- hard rock molto molto bello con dei momente assolutamente imperdibili, uno su tutti "Black Magician's Daughter" con un ritornello da strillare (anche se mi sa che non è proprio originalissimo!)!
Ok alla prossima!
Excellent band, their sound is not too much like Deep Purple or Sabbath, they have their own sound and their own composotion level and taste. Very recomended for fans of good Hard Rock and proto metal of early 70´s. The keyboard "touch" make their sound a little bite "similar" to Deep Purple but they have their own personality. Great guitar playing, drumming, great Vocal work. Really a excellent Hard Rock album.A must have album !!!
Why does Warhorse sound much like Deep Purple? Well, after Nick Simper left DP in ’69, he had to do something, and that thing was Warhorse. Normally I hate to say that one band sounds exceedingly like another, but with these two, it can almost be a mirror image at times. Unfortunately, success only cast a reflection on one of them. The other may as well have been a vampire. Churchy keyboard tones evolve “Vulture’s Blood” from silence, a provocative track with a stirring gait and a guitar/piano rhythm mixture that blends surprisingly well together. More DP-like keyboard winds its way in there, forming a braided effect with the enthusiastic drum work of Mac Poole. “No Chance” is a slower, lyrically driven number with moaning keyboards and vocals that try to passionately embellish the story, but Ashley Holt’s low, more untamed lungs are out of their element there. The lyrics themselves (like the sympathetic blurb below the heading) stretch the boundary of the term ‘ballad’ or even ‘sympathetic writing’, and is another reason the band should remain on the outskirts of that realm. “Burning” triumphantly charges out of the gate with Holt’s manly vocal aggression and a belting riff while “St. Louis” is centered around a swift pace and backing vocal-dominated chorus that Sly and the Family Stone could’ve used to some effect. “Ritual” and its animated tempo continues the album’s mostly hectic pace, that is until “Solitude” (ever hear a joyous song with this title?) drones through with more churchy keys and more of Holt’s heartfelt intones that still sound like he’s treading water. That’s not to say a dramatic moment or two isn’t heaved into the mix, like when the chorus-like verse “…they only want me to lie” rises to a head on a gallant wave of heavy beats. The lengthy “Woman of the Devil” has, I hate to say it, DP written all over it; murmuring, ominous keys…slowly building dynamic rhythm…maracas chanting a tribal nuance around a roiling main riff…some great piercing wails that may even give Rob Halford of Judas Priest pause – I wish that Warhorse had more its own sound, for the artists’ sake, so the credit can be given to them directly and not a shade of another band. The cd features five bonus tracks: supposedly live versions of “Ritual”, “Solitude”, “Woman of the Devil”, and “Burning” and a demo version of the unreleased, more commercially viable “Mrs. Jane”, which incidentally isn’t that bad at all with its high spirited veneer and cool intertwining guitar/keyboard solo. The live tracks aren’t live in the conventional sense, like with an audience, but are recorded on one track and come across as strong alternate versions, accentuating or italicizing certain aspects that may have been overlooked in the original.
Continuiamo sulla Purple family! questo disco l'ho cercato per 2 anni in tutti i negozi e ovviamente non "esisteva" nemmeno!...sono riuscito a comprarlo in america ad un prezzo stracciato...vi consiglio anche a voi di comprarlo!è un hard rock spaziale con chiare influenze deeppurpliane (infatti Rod Evans, il primo cantante dei purple è il cantante di questo supergruppo) Il disco è un concetto unico che segue una sua logica (tanto che potrebbe essere ascoltato tutto insieme di un fiato)inutile parlare delle singole canzoni...no, una ve la devo dire!ascoltate la 4 traccia!
ciao a tutti!
A short trip through space. This music is full of heavy riffs and cosmic lyrics. The record drives quickly through its 35-minute length. Most of the work is done in a "standard" rock way, with lots of guitars and drums, but occasionally bells and vocal harmonies make the music light and delicate. The record is actually a series of songs and interludes forming one large song, and it's concise and varied enough to avoid the droning excesses of bands like Hawkwind. In conclusion, a very good space rock album.
This album rocks from start to finish. The best way to categorize this would be progressive/southern rock, I say southern primarily because of the vocals and "Allman" like guitar. Not surprising since this was released on the Allman's Capricorn label. In fact, this album was dedicated to Duane Allman. All the cuts flow together and are laden with hard rock guitar and frequent time changes. This is an essential listen if one has a proclivity for heavy progressive rock
CAPTAIN BEYOND-SUFFICENTLY BREATHLESS
(masterpiece -space-hard rock 1973)
i Capt. beyond hanno fatto a distanza di un anno l'uno dall'altro 2 capolavori anche se differenti tra loro!il primo un po' più inspirato che seguiva una idea fino alla fine del disco, mentre questo più solido e forse meno "spaziale"rispetto al primo, ma nonostante tutto è un capolavoro!dalla title trak fino alla fine è un disco che vi stupirà!
Wow, I really wish this band would have recorded more. This album is quite different than their debut. If you can imagine an amalgamate of Santana, The Allman Brothers, and a touch of Return to Forever, then that should give you a pretty good idea about the overall sound of this album. These guys were definitely unique. This 1973 offering is simply fantastic and is a testament to the exemplary musicianship and eclecticism inherent in this band. Highlights of this recording are the radio friendly title track (an adventurous acoustic cut), "Everything's a Circle" (a progressive cut with a latin groove), and "Distant Sun" (another proggish track bordering on fusion and my personal favourite). The album cover is awesome as well. Check it!!!
Private Eyes (1976) is a solid follow-up to the excellent Teaser recording. Unfortunately this was the last recorded studio effort from Tommy Bolin, as he passed away on December 4, 1976, following a performance in Miami. Private Eyes was recorded six months before Bolin's unexpected death. The flagship cut from this effort is "Post Toastee", a nine-minute track which stands out as an AOR masterpiece from the '70's. Other hot songs from this disc include "Bustin' Out For Rosey", "Shake The Devil" and "You Told Me That You Loved Me". Unlike Teaser, Private Eyes was laid down with the official Tommy Bolin Band, which at that time included Norma Jean Bell, Reggie McBride, Mark Stein, and Bobby Berge. In the end Private Eyes is not quite as diverse as Teaser, however is an exceptional set of songs, from a truly great rock artist. Tommy Bolin left this world much too young... his music lives on forever.
Ancora una richiesta!questo disco è molto bello ma decisamente meno intrigante e prorompente di "eulenspygel 2" ma ovviamente lo standard e molto elevato!
Another request! This album is a great krautalbum but in my humble opinion it's a little bit far from their fisrt record "eulenspygel 2"...!!tell me what you think about!bye!
Sto divenendo sempre più stringato con le recensioni ma purtroppo sto girando molto questo giorni ed ho poco tempo!Il disco è molto bello ed esprime tantissimi stili diversi (jazz-kraut-psych-prog) e mi trovo a condividere l'idea del reviwer qui sotto con la 4 song che un po sminuisce le prime 2...ma ascoltate da voi!
Through the first three songs of this instrumental album, I was very entertained as the band utilized many different types of music from jazz to psychedelia to experimental-early Krautrock. The fourth song, which clocks in at over eighteen minutes fails to retain the excitement of the first three tracks.
Annexus Quam - Beziehungen