13-08-06 - 20-08-06
Thursday, August 17, 2006
Wednesday, August 16, 2006
The Mystic Tide (US) - Solid Sound (1965-1967)
MYSTIC TIDE-SOLID SOUND 1965-1967Formed 1965
Disbanded 1967
Styles Garage Rock, Psychedelic
Of the many garage bands who released unrecognized and obscure singles in the mid-'60s, the Mystic Tide were one of the very best. The Long Island group released four singles on their own labels in 1966 and 1967, mostly for distribution at their own gigs (and apparently they didn't sell too well there, either). While the production on these is fairly raw, the group had genuine original talent, pursuing a dark, psychedelic vision with overloaded distorted guitar breaks. Their tunes (all written by guitarist Joe Docko) combined the minor-key melodies of British Invasion groups like the Zombies with the raunch of acts like Them. Unlike most other American groups following this path, however, they added a mysterioso (at times vaguely Middle Eastern) element that echoed the innovations of groups like the Doors, the Velvet Underground, and the very early Pink Floyd and Soft Machine, though the Mystic Tide most likely didn't hear any of these groups. Their sound and outlook were perhaps too foreboding for even local success, and the group disbanded in 1967, ironically finding a much greater audience when their singles were reissued for psych/garage collectors in the '80s. — Richie Unterberger
GRAB IT
(posted by Arcadium)
or
Get it here (thanks to jhlee69)
Part 1 ~ Part 2
Disbanded 1967
Styles Garage Rock, Psychedelic
Of the many garage bands who released unrecognized and obscure singles in the mid-'60s, the Mystic Tide were one of the very best. The Long Island group released four singles on their own labels in 1966 and 1967, mostly for distribution at their own gigs (and apparently they didn't sell too well there, either). While the production on these is fairly raw, the group had genuine original talent, pursuing a dark, psychedelic vision with overloaded distorted guitar breaks. Their tunes (all written by guitarist Joe Docko) combined the minor-key melodies of British Invasion groups like the Zombies with the raunch of acts like Them. Unlike most other American groups following this path, however, they added a mysterioso (at times vaguely Middle Eastern) element that echoed the innovations of groups like the Doors, the Velvet Underground, and the very early Pink Floyd and Soft Machine, though the Mystic Tide most likely didn't hear any of these groups. Their sound and outlook were perhaps too foreboding for even local success, and the group disbanded in 1967, ironically finding a much greater audience when their singles were reissued for psych/garage collectors in the '80s. — Richie Unterberger
GRAB IT
(posted by Arcadium)
or
Get it here (thanks to jhlee69)
Part 1 ~ Part 2
Tuesday, August 15, 2006
AKRITAS-Same (1973, Polydor 521 197-2)
(Greek Prog Monster)
Freak Emporium in the UK had this to say:
” Amongst the most ambitious and best Greek progressive albums, this 1973 release is a tremendous concoction of dynamic and effortlessly shifting complex rhythm changes, multi-instrumental layers and musical textures. With individual segments ranging from Garcia-like guitar, pomp chuch organ, jazz, baroque, piano recital, thundering drums, soaring melodic vocals... And probably a kitchen sink, it is somewhat comparable with the finest ELP, Gentle Giant and Zappa, but at the same time totally unique! A mega prog killer!!”
…while Dutch prog specialists Hemispheres stumbled through this pretty lofty praise:
” The album that outshone all others in 1973(A huge call, but this album has attracted this sort of praise from MANY other prog fanatics, and reviewers.), was without any doubt the only one by AKRITAS, which moves within an unpredictable experimental progressive direction. The many elements from the Greek traditional folk music, especially in guitar playing, the unusual and excellent compositions, and the intense improvisation put the record in the first line of importance.(They’re not wrong there!) The principal composer of the group was Stavros Logaridis while the few lyrics were signed by the director Kostas Ferris, who had also written the lyrics for Aphrodite’s Child’s “666” concept double album.
The Akritas line-up was
Giorgos Tsoupakis - drums,
Stavros Logaridis - vocal, bass, acoustic guitar,
Aris Tasoulis - piano, organ, VSC 3 synthesizer,
and Dimos Papachristou - electric guitar”
…and our Crohinga Well buddies expounded thus:
” Akritas must surely rank among the best groups ever to have hit the Greek scene, if one is to judge by their - admittedly very rare - eponymous debut album. The LP is chock-full of underground progressive rock akin to the sounds that can be found on albums by Aardvark, Arcadium and even Emerson Lake & Palmer. Apart from Logarides, other people in the band were keyboards player Aris Tasoulis (ex-Despina Glezou), guitarist Dimis Papachristou, drummer Giorgos Tsoupakis (who in the eighties went on to play with Panos Dracos) and organist John Papadopoulos). Sadly, apart from a single, this 1973 release was to be their only re-corded output, for soon after this excellent band split up due to general indifference. A part of that era's rock press is on record as describing Akritas' music as "music for Chinese people", because of the intrinsically difficult and complex rhythmic patterns they wove.”
A mega prog killer!!
Second Hand - 1971 - Death May Be Your Santa Claus
SECOND HAND - Death May Be Your Santa Claus (1971)1968's Reality (Second Hand Reality, I suppose), is a typical late-ish period psych album, with all the usual influences, including the music-hall of Denis James The Clown and the rather overwrought balladry of The Bath Song (which reminds me of Simon Dupree, for some reason), amongst others. The album appears to be as good as dedicated to a gentleman by the name of Denis James (a friend? A fictional character?), with no fewer than three songs referencing him, including the sad tale of his untimely passing. Elliott gets plenty of MkII 'Tron onto the album, with flutes, strings and brass on opener A Fairy Tale, fairly heavy string use on Steam Tugs and a very upfront flute melody on Denis James (Ode To D.J.), distinctly different to the real flute to be heard in places. More strings and flutes in The Bath Song, including a 'Psycho'-style discordant string chord at one point, and finally more strings in the closing A Fairy Tale, a heavily-rearranged version of the album's opener. All in all, this is an excellent, rather overlooked psych gem from an undeservedly obscure outfit, with plenty of 'Tron to boot.
It took the band another three years to come up with the strangely-titled Death May Be Your Santa Claus, by which time, of course, the world (music and otherwise) had moved on noticeably. Second Hand's answer to this was to produce an odd little album of shortish material, not exactly psych, or prog, or mainstream pop/rock; not exactly anything, really, and all the better for it if you ask me. Saying that, it's not that fantastic an album, but it definitely has its moments (Revelations stands out particularly), despite being slightly uncohesive. I've no idea if Elliott had a new M400, or whether the old MkII was still in use, but he gets some strings in on all the highlighted tracks above, with some excellent pitchbend work on Hangin' On An Eyelid, and an odd, choppy flute part on Death May Be Your Santa Claus (Reprise), along with some brass (so is that the MkII?). Unfortunately, the two bonus tracks Elliott (presumably) has elected to add to the disc are largely a waste of time, and to add insult to injury, are stuck in the middle of the running order, rather than at the end, where you'd expect, and could easily flick the 'off' switch.
After splitting up acrimoniously after the Chillum album, Elliott and O'Connor eventually got back together as Seventh Wave, recording another two albums with minor 'Tron action in the mid-'70s before a final parting of the ways. Sadly, O'Connor has subsequently died, but Elliott continues to work in the business, playing sessions, as he did in the early' 70s. So; Reality is probably the better of the two albums, although if late-'60s psych isn't your bag, you're not going to like it, simple as that. Death May Be Your Santa Claus is odder, and possibly more adventurous, though I suspect it'll take rather more work to get into. Better 'Tron on the former than the latter, but not bad throughout.
GET IT
Demis Roussos - 1971 - On The Greek Side Of My Mind
After your demand, here is the requsted album.....
DEMIS ROUSSOS - On The Greek Side Of My Mind (1971)
Tracks:
The Roussos had been in Egypt for two generations and on 15 June 1946 Artemios Venturis Roussos was born in Alexandria. His mother, Olga, and his father, George, both of Greek extraction, had also been born in the country their parents had come to in the 1920s. Following the Greek custom, the baby was named after his paternal grandfather, Demis being a pet name for Artemios. In the heart of an orthodox community, he lived in the middle of a Muslim city. From his early childhood he was immersed in folk music, exposed to Byzantine and Arabic influences. Attracted to singing, he joined the choir of the Greek Byzantine Church with which he sang for five years as a soloist. At the same time he studied musical theory and learnt how to play the guitar and the trumpet. Everything was going well when the Suez crisis blew up in 1961. Residents in Egypt had to leave the country and the Roussos – Mr Roussos was an engineer with a property construction company – returned to their native land, Greece. At the age of 17, with only music in his head and to the great disappointment of his mother who was hoping to send him to the best school in Athens, Demis formed his first band, ‘The Idols’, in which he played guitar and bass. At that time the band members were his cousin Jo, Natis Lalaitis, Nikos Tsiloyan and Anthony. A chance happening meant that one day Demis had to replace the group’s singer for a short time and he sang an Afro-American spiritual, ‘The house of the rising sun’, and another popular success of the time, ‘When a man loves a woman’. The public was immediately won over by his voice. Overcome by a great desire for independence, he began to feel the need to take control of his own life. Henceforth, bands and clubs became part of his daily life. Meeting Lucas Sideras and Argyris Koulouris lead him to play the international successes of the moment in clubs and night- clubs. The great turning point of his musical career was his meeting with Vangelis Papathanassiou in the summer of 1966. One particular song introduced Vangelis to Demis’ unique voice. Within his group he began to sing more and more often, frequently as a soloist. However, a few meetings with Vangelis did take place. These young musicians, cut off from the international music scene, soon realised that an interesting career could only be accomplished outside their country.
Demis left his group and began to practice new songs with Vangelis. At the end of March 1968, Lucas and Demis took the train to London. Vangelis was supposed to join them a few days later. Fate decided otherwise. When they arrived in Dover, at the English border, with no work permits, customs officers discovered photos and tapes in their luggage and quickly realised what their true intentions were. The young musicians cut short their journey. Back in Paris, trapped by the circumstances, their savings melted away day by day. Unable to leave Paris where unrest was brewing, only a recording could get them out of a tight spot. They learnt that Phonogram was holding an international conference and, plucking up all the courage they could find, they went to meet with the executives and explained their situation. A draconian contract, which promised exclusivity for six years, was drawn up. Confronted by the necessity to get by, they signed the contract and were able to begin recording. Their dream was at last coming true. It was in the 4m² cellar near the Porte d’Italie where they practised that ‘Rain and tears’, composed by Vangelis, was born. The lyrics were written by Boris Bergman, a young song-write introduced to them by the record company. The recording of the single took place in extremis in rather unusual circumstances. The following day the studio closed due to the general strike. A few weeks later ‘Rain and Tears’ was number one in the charts. They had made a hit! They themselves saw very little difference in what they were doing but they began to receive proposals for concerts and they were swept up in success. In June a week of performing at Olympia as Sylvie Vartan’s opening act was a real success. They spent the summer in the clubs of the South of France. Their success continued to grow. Hundreds of thousands of copies of their first album were sold and Demis’ fantastic voice brought them a great many more successes with ‘It’s five o’clock’, ‘I want to live’, ‘End of the world’ and ‘Spring, summer, winter and fall’. These five hit singles were accompanied by two albums, one of which became number one. The group climbed to number one in Germany, Holland, Belgium, France and Italy… ‘Aphrodite’s Child’ lasted for two years. They made 239 television appearances over this period. Demis married Monique with whom he had a daughter, Emilie. Vangelis however was dissatisfied. He wanted a more serious music, more like the music he composed alone. He wished to confront the English and American markets, to stop touring and devote his time to studio work. The recording of the double album ‘666’, based on the texts of Saint John’s Apocalypse, was the materialisation of this desire for change. It was a critical moment for the group: after three months of costly recording, the record company panicked. The break-up of the group became inevitable after a heated argument between Vangelis and Lucas. In the end it was Vangelis alone who, one year later, finished the album which was seen at the time as a classical masterpiece. Supported by the record company Phonogram, Demis began a solo career.
Inspired by the numerous folk themes in his head and using the sounds and instruments of pop music Demis fulfilled his dream. Two months in the studio were required to complete this first LP. He composed some of the melodies and conceived some of the arrangements. Named ‘Fire and Ice’, love, life and death are its major components. This twelve track album was released in 1971. Demis was already no longer totally unknown, his first single, ‘We shall dance’, having been one of the biggest hits of summer 1971 not only in France, but all over Europe. His international career took off straightaway. 1972 was a year of travelling. Spain, Italy, the Netherlands, Greece and Germany welcomed him. In June ‘My Reason’ was released and for several weeks Demis was once again at the top of the singles’ charts in France. In September he achieved national consecration with a performance at Olympia that revealed his talent. His vocal potential was fantastic and his stage presence extraordinary. In front of 30 000 people he performed ‘Velvet Morning’, a song composed specially for the occasion by Lakis Vlavianos, a Greek born in Athens on 7 July 1947. He composed most of Demis’ songs, ‘My friend the wind’, ‘Someday, somewhere’… Accompanist and conductor, he played the organ, Melotron and Moog Synthesizer. A trip to South America lead to a big tour in 1973, the year which saw the release of his second album, ‘Forever and ever’ comprising songs that would nearly all become great hits just like ‘Forever and ever’, ‘My friend the wind’, ‘Lovely sunny days’, ‘My reason’, ‘When I was a kid’, ‘Goodbye my love, goodbye’… Two million records had already been sold in one year of solo career and the Demis Roussos phenomenon was only just beginning. That year I heard a lot about him on the radio and I often listened to old Aphrodite’s Child records and to my great surprise I learnt that he was going to give a recital in my home town as the opening act for Joe Dassin. That was my first meeting with Demis. Until then I had never seen him on stage but he was in my imagination, omnipresent, all-powerful. His entrance was announced by an instrumental from his orchestra, a mixture of Wagnerian and Byzantine music added to by an impressive sound system. Demis appeared on stage. His stature was impressive, his long tousled beard flowing like a prophet’s, lightning in his eyes, his smile confident and satisfied. Demis, the Pope of pop, with the physique, the majestic gestures, the lofty allure, appeared shrouded in a cloud of smoke. That night he mixed a harmonious cocktail of both Greek and Byzantine music with sublime nuances. Steeped in this music, the public was captivated by his technical perfection. Demis Roussos had a musical style without improvisation, full of finesse and beauty. On stage the colours were perfectly matched to the music: tender, gentle, nothing aggressive. One of the songs, the unknown ‘Thousand years of wondering’, lasted six minutes. Composed by Lakis Vlavianos, it fluctuated between Bach, Led Zeppelin and the Yardbirds. This fantastic recital ended with a journey through Greece with ‘My reason’. His music moved the public, stirring in peoples’ hearts the strange charm procured by religious chants and the aggressive rhythm of Arabic chants. People let themselves be overcome by his extraordinary voice.
Really amazing voice !!
In Future we are gonna upload the first two marvellous albums of Aphrodite's Child that that constituting from more well international psychedelic records of 60's !!
grab and enjoy it !!!
Tracks:
- On the Greek Side of My Mind
- She Came Up from the North
- Good Days Have Gone
- We Shall Dance
- I Know I'll Do It Again
- Fire and Ice
- End of the Line
- My Blue Ship's A-Sailin'
- Mountains Beyond
- O My Friends You've Been Untrue to Me
- Lord of the Flies
- Without You
The Roussos had been in Egypt for two generations and on 15 June 1946 Artemios Venturis Roussos was born in Alexandria. His mother, Olga, and his father, George, both of Greek extraction, had also been born in the country their parents had come to in the 1920s. Following the Greek custom, the baby was named after his paternal grandfather, Demis being a pet name for Artemios. In the heart of an orthodox community, he lived in the middle of a Muslim city. From his early childhood he was immersed in folk music, exposed to Byzantine and Arabic influences. Attracted to singing, he joined the choir of the Greek Byzantine Church with which he sang for five years as a soloist. At the same time he studied musical theory and learnt how to play the guitar and the trumpet. Everything was going well when the Suez crisis blew up in 1961. Residents in Egypt had to leave the country and the Roussos – Mr Roussos was an engineer with a property construction company – returned to their native land, Greece. At the age of 17, with only music in his head and to the great disappointment of his mother who was hoping to send him to the best school in Athens, Demis formed his first band, ‘The Idols’, in which he played guitar and bass. At that time the band members were his cousin Jo, Natis Lalaitis, Nikos Tsiloyan and Anthony. A chance happening meant that one day Demis had to replace the group’s singer for a short time and he sang an Afro-American spiritual, ‘The house of the rising sun’, and another popular success of the time, ‘When a man loves a woman’. The public was immediately won over by his voice. Overcome by a great desire for independence, he began to feel the need to take control of his own life. Henceforth, bands and clubs became part of his daily life. Meeting Lucas Sideras and Argyris Koulouris lead him to play the international successes of the moment in clubs and night- clubs. The great turning point of his musical career was his meeting with Vangelis Papathanassiou in the summer of 1966. One particular song introduced Vangelis to Demis’ unique voice. Within his group he began to sing more and more often, frequently as a soloist. However, a few meetings with Vangelis did take place. These young musicians, cut off from the international music scene, soon realised that an interesting career could only be accomplished outside their country.
Demis left his group and began to practice new songs with Vangelis. At the end of March 1968, Lucas and Demis took the train to London. Vangelis was supposed to join them a few days later. Fate decided otherwise. When they arrived in Dover, at the English border, with no work permits, customs officers discovered photos and tapes in their luggage and quickly realised what their true intentions were. The young musicians cut short their journey. Back in Paris, trapped by the circumstances, their savings melted away day by day. Unable to leave Paris where unrest was brewing, only a recording could get them out of a tight spot. They learnt that Phonogram was holding an international conference and, plucking up all the courage they could find, they went to meet with the executives and explained their situation. A draconian contract, which promised exclusivity for six years, was drawn up. Confronted by the necessity to get by, they signed the contract and were able to begin recording. Their dream was at last coming true. It was in the 4m² cellar near the Porte d’Italie where they practised that ‘Rain and tears’, composed by Vangelis, was born. The lyrics were written by Boris Bergman, a young song-write introduced to them by the record company. The recording of the single took place in extremis in rather unusual circumstances. The following day the studio closed due to the general strike. A few weeks later ‘Rain and Tears’ was number one in the charts. They had made a hit! They themselves saw very little difference in what they were doing but they began to receive proposals for concerts and they were swept up in success. In June a week of performing at Olympia as Sylvie Vartan’s opening act was a real success. They spent the summer in the clubs of the South of France. Their success continued to grow. Hundreds of thousands of copies of their first album were sold and Demis’ fantastic voice brought them a great many more successes with ‘It’s five o’clock’, ‘I want to live’, ‘End of the world’ and ‘Spring, summer, winter and fall’. These five hit singles were accompanied by two albums, one of which became number one. The group climbed to number one in Germany, Holland, Belgium, France and Italy… ‘Aphrodite’s Child’ lasted for two years. They made 239 television appearances over this period. Demis married Monique with whom he had a daughter, Emilie. Vangelis however was dissatisfied. He wanted a more serious music, more like the music he composed alone. He wished to confront the English and American markets, to stop touring and devote his time to studio work. The recording of the double album ‘666’, based on the texts of Saint John’s Apocalypse, was the materialisation of this desire for change. It was a critical moment for the group: after three months of costly recording, the record company panicked. The break-up of the group became inevitable after a heated argument between Vangelis and Lucas. In the end it was Vangelis alone who, one year later, finished the album which was seen at the time as a classical masterpiece. Supported by the record company Phonogram, Demis began a solo career.
Inspired by the numerous folk themes in his head and using the sounds and instruments of pop music Demis fulfilled his dream. Two months in the studio were required to complete this first LP. He composed some of the melodies and conceived some of the arrangements. Named ‘Fire and Ice’, love, life and death are its major components. This twelve track album was released in 1971. Demis was already no longer totally unknown, his first single, ‘We shall dance’, having been one of the biggest hits of summer 1971 not only in France, but all over Europe. His international career took off straightaway. 1972 was a year of travelling. Spain, Italy, the Netherlands, Greece and Germany welcomed him. In June ‘My Reason’ was released and for several weeks Demis was once again at the top of the singles’ charts in France. In September he achieved national consecration with a performance at Olympia that revealed his talent. His vocal potential was fantastic and his stage presence extraordinary. In front of 30 000 people he performed ‘Velvet Morning’, a song composed specially for the occasion by Lakis Vlavianos, a Greek born in Athens on 7 July 1947. He composed most of Demis’ songs, ‘My friend the wind’, ‘Someday, somewhere’… Accompanist and conductor, he played the organ, Melotron and Moog Synthesizer. A trip to South America lead to a big tour in 1973, the year which saw the release of his second album, ‘Forever and ever’ comprising songs that would nearly all become great hits just like ‘Forever and ever’, ‘My friend the wind’, ‘Lovely sunny days’, ‘My reason’, ‘When I was a kid’, ‘Goodbye my love, goodbye’… Two million records had already been sold in one year of solo career and the Demis Roussos phenomenon was only just beginning. That year I heard a lot about him on the radio and I often listened to old Aphrodite’s Child records and to my great surprise I learnt that he was going to give a recital in my home town as the opening act for Joe Dassin. That was my first meeting with Demis. Until then I had never seen him on stage but he was in my imagination, omnipresent, all-powerful. His entrance was announced by an instrumental from his orchestra, a mixture of Wagnerian and Byzantine music added to by an impressive sound system. Demis appeared on stage. His stature was impressive, his long tousled beard flowing like a prophet’s, lightning in his eyes, his smile confident and satisfied. Demis, the Pope of pop, with the physique, the majestic gestures, the lofty allure, appeared shrouded in a cloud of smoke. That night he mixed a harmonious cocktail of both Greek and Byzantine music with sublime nuances. Steeped in this music, the public was captivated by his technical perfection. Demis Roussos had a musical style without improvisation, full of finesse and beauty. On stage the colours were perfectly matched to the music: tender, gentle, nothing aggressive. One of the songs, the unknown ‘Thousand years of wondering’, lasted six minutes. Composed by Lakis Vlavianos, it fluctuated between Bach, Led Zeppelin and the Yardbirds. This fantastic recital ended with a journey through Greece with ‘My reason’. His music moved the public, stirring in peoples’ hearts the strange charm procured by religious chants and the aggressive rhythm of Arabic chants. People let themselves be overcome by his extraordinary voice.
Really amazing voice !!
In Future we are gonna upload the first two marvellous albums of Aphrodite's Child that that constituting from more well international psychedelic records of 60's !!
grab and enjoy it !!!
Labels: D, Optical Sound, R 
Magical Power Mako (Japan) - 1975 - Super Record
MAGICAL POWER MAKO - Super Record (1975)Tracks:
1. Andromeda
2. Tundra
3. Silk Road
4. Woman in South Island
5. Pink Butch (Lalala)
6. Sound 3
7. Rock Baby in Meadow
8. Sound 3
9. Majorica Resistance Song
10. Sound 3
11. Cosmos Sandglass
12. Sound 3
13. Sound, Mother Earth
14. Sound 3
1. Andromeda
2. Tundra
3. Silk Road
4. Woman in South Island
5. Pink Butch (Lalala)
6. Sound 3
7. Rock Baby in Meadow
8. Sound 3
9. Majorica Resistance Song
10. Sound 3
11. Cosmos Sandglass
12. Sound 3
13. Sound, Mother Earth
14. Sound 3
Magical Power Mako is the Japanese underground legend who made a batch of
amazingly dusted psych LPs for the Japanese Polydor label in the 70s,
sometimes referred to in terms of "the Japanese Faust". His first 2 records
in particular, the Magical Power debut from 1973 & Super Record from 1975
are as excellent as it gets.
PS: Make a comment(s), to not feel lonely at all !!amazingly dusted psych LPs for the Japanese Polydor label in the 70s,
sometimes referred to in terms of "the Japanese Faust". His first 2 records
in particular, the Magical Power debut from 1973 & Super Record from 1975
are as excellent as it gets.
This specific album, ''Super Record'', the second of magical power mako's 20-plus recordings, is considered by those that know to be his finest, combining as it does strong elements of japanese folk music alongside innovative psychedelic sounds and broad musical vistas of extraordinary imagination.
Realized in Mako's private studio on a quadraphonic tape machine, the eccentric
multi-instrumentalist created the definitive document of mid-'70s far
eastern rock exploration.
Mako was born in Shuzeni Izu in Japan in 1956, and after commencing his musical education at a young age, making his first public performance in 1973 at the age of 16 with his band genge in the famous Shibuya club.
Based on these impressive public performances, the precocious Mako was invited to play with one of Japan's foremost contemporary composers, Toru Takemistu, playing alongside the composer in 3 film scores, inheritance for the future, petrified forest and himiko. The response to his performances was overwhelmingly enthusiastic, elevating Mako to almost god-like status in his native country.
Mako's music has often baffled pundits keen to place him in a particular musical slot.
As one perplexed scribe opined "Mako's music possesses a certain strange kind of texture.
It is certainly what they call rock, but contains elements we can't describe so succinctly.
It clearly goes beyond the various genres of music and while full of them all, it sends forth a fierce glow".
Another critic wrote "adding to the variety of folk music from India, Turkey and Russia, his mandolin or taisho koto, and especially his marvellously-performed guitar, expresses fully the odour of the soil and mankind's universality".
Realized in Mako's private studio on a quadraphonic tape machine, the eccentric
multi-instrumentalist created the definitive document of mid-'70s far
eastern rock exploration.
Mako was born in Shuzeni Izu in Japan in 1956, and after commencing his musical education at a young age, making his first public performance in 1973 at the age of 16 with his band genge in the famous Shibuya club.
Based on these impressive public performances, the precocious Mako was invited to play with one of Japan's foremost contemporary composers, Toru Takemistu, playing alongside the composer in 3 film scores, inheritance for the future, petrified forest and himiko. The response to his performances was overwhelmingly enthusiastic, elevating Mako to almost god-like status in his native country.
Mako's music has often baffled pundits keen to place him in a particular musical slot.
As one perplexed scribe opined "Mako's music possesses a certain strange kind of texture.
It is certainly what they call rock, but contains elements we can't describe so succinctly.
It clearly goes beyond the various genres of music and while full of them all, it sends forth a fierce glow".
Another critic wrote "adding to the variety of folk music from India, Turkey and Russia, his mandolin or taisho koto, and especially his marvellously-performed guitar, expresses fully the odour of the soil and mankind's universality".
Labels: M, Optical Sound
Kaleidoscope (USA) - Pulsating Dream 1967-1970
Kaleidoscope (USA) - Pulsating Dream [3cd's] (1967-1970)Jimmy Page himself calls Kaleidoscope “my favorite band of all time,” and no wonder—with the multi-instrumental wizardry of David Lindley leading the way, Kaleidoscope weaved ethnic music exotica into rock songs better than anybody before or since (including Led Zep—where do you think they got the idea for 'Kashmir'?!). This 3-CD set presents their COMPLETE recordings, including all four albums—'Side Trips, Beacon from Mars, Incredible Kaleidoscope' and 'Bernice'—they recorded for Epic, plus a bunch of hard-to-find singles and B-sides. 45 mind-and string-bending tracks!
Song's Titles
Disc: 1
01. Egyptian Garden
02. If the Night
03. Hesitation Blues
04. Please
05. Keep Your Mind Open
06. Pulsating Dream
07. Oh Death
08. Come on In
09. Why Try
10. Minnie the Moocher
11. Elevator Man
12. Little Orphan Nannie
13. I Found Out
14. Greenwood Sidee
15. Life Will Pass You By
16. Taxim
17. Baldhead End of a Broom
18. Louisiana Man
19. You Don't Love Me
Disc: 2
01. Beacon from Mars
02. Rampι, Rampι
03. Nobody
04. Love Games
05. Egyptian Candy
06. Hello, Trouble
07. Just a Taste
08. Lie to Me
09. Let the Good Love Flow
10. Killing Floor (AKA Tempe Arizona)
11. Petit Fleur
12. Banjo
13. Cuckoo
14. Seven-Ate Sweet
Disc: 3
01. Sefan
02. Chocolate Whale
03. Another Lover
04. Sneakin' Thru the Ghetto
05. To Know Is Not to Be
06. Lulu Arfin Nanny
07. Lie and Hide
08. Ballad of Tommy Udo
09. Bernice
10. Soft and Easy
11. New Blue Ooze
12. Why Try [Single Version]
1967-1970
It's a little surprising that a cult band like Kaleidoscope would get honored with an all-out three-CD set, considering the limited market. But here it is, and it certainly leaves no stone unturned, including the entire recorded output of the band while they were on Epic. That essentially covers the entire period of interest to most fans, spanning the band's formation to their breakup in the early '70s (though they subsequently reunited for some albums that aren't represented here). In addition to everything from their albums Side Trips, A Beacon from Mars, Incredible, and Bernice, it has quite a few tracks that only showed up on non-LP singles or as outtakes on posthumous compilations. And some of those extras aren't even easily found on Kaleidoscope compilations, namely the old-timey psychedelia of the early B-side "Little Orphan Nannie" and the less impressive, heavily bluesy 1968 B-side "Just a Taste." The problem with this compilation is not so much to do with the music as whether it might be suitable for either the completist or neophyte. The completist might well already have virtually all of this on the albums and scattered comps, and resent having to fork out for a three-CD set just to get those two B-sides; the neophyte might find it way too much to start (and end) with, both in length and expense. But — if you want the complete works of Kaleidoscope in their first and best incarnation, it's all here, down to the crazy psychedelic soul single they did with Larry Williams and Johnny "Guitar" Watson, "Nobody." It's also well annotated, and contains plenty of exhilarating psychedelic world fusion highs, though the band's incredibly eclectic scope means there are some turkeys as well. Plus, some of those non-LP items aren't mere frivolities — the B-side "Rampe, Rampe," for instance, is a superb Greek-like instrumental that winds itself up into a frenzy.~AMG
Part 1 Part 2 Part 3 Part 4
Monday, August 14, 2006
Orient Express - 1969 - Orient Express
ORIENT EXPRESS-Same (1969)Classic Middle Eastern US 60's psych in a similar vein to the American Kaleidoscope, John Berberian etc.
Loads of exotic instruments including lashings of oud and clay drum percussion. A trippy mixture of European rock and Middle Eastern promise.
Real Trippy Album!
My fave track from this album is ''Cobra Fever''
(Do you agree ?)
Stongly recommended !
Loads of exotic instruments including lashings of oud and clay drum percussion. A trippy mixture of European rock and Middle Eastern promise.
Real Trippy Album!
My fave track from this album is ''Cobra Fever''
(Do you agree ?)
Stongly recommended !
Members of Orient Express are:
GUY DURIS sitar, electric oud, vocals
BRUNO GIET electric minitar, vocals
FARSHID GOLESORKHI electric melodica, dumbek, tympani, vcls
Originally from Europe this band moved to the States. Guy Duris was actually born on the Left Bank and later met Golesorkhi, who had been decorated by the Shah of Iran for his drumming and was interested in applying Eastern rhythms to Western music, in Iran. They met Bruno Giet, a Belgian pilot and guitarist, in Paris while travelling around Europe. Soon the three members headed for America and settled in New York's East Village initially but ended up in California where their album was recorded. It's powerful Eastern-influenced psychedelia. Particularly fine examples of their marriage of Eastern and Western music are Train To Bombay and For A Moment. This album is highly recommended. They did not release any singles on Mainstream.
NOTE:
This act should not be confused with Liz Damon's Orient Express, who were from Hawaii and played cabaret music. They issued one album Liz Damon And The Orient Express (Anthem) 1970, and at least three singles.
This act should not be confused with Liz Damon's Orient Express, who were from Hawaii and played cabaret music. They issued one album Liz Damon And The Orient Express (Anthem) 1970, and at least three singles.
PS: Make comment(s), if you feel it !!
Labels: O, Optical Sound
The Peep Show - Maze 1967-1968
The Peep Show - Maze 1967-1968bitrate: 256 size: 79 mb
Personnel incl:
PATRICK BURSTON
45s:
1 Mazy/Your Servant, Steven (Polydor BM 56196) 1967
2 Esprit De Corps/Mino In A Mix-Up (Polydor BM 52226)
1968
This obscure London-based four-piece group is best remembered for Mazy, a dreamy, rather haunting slice of flower power. Apparently, their 45s were jointly produced by Peter Meadon, who'd helped mould The Who in their early days as The High Numbers, and Norman Jopling, who worked at 'Record Mirror'. Your Servent, Steven was also recorded by The Blues Magoos.
Compilation coverage has included:
Mazy on Rubble Vol. 13: Freakbeat Fantoms (LP), Rubble Vol. 7 (CD),
Visions Of The Past, Vol. 2 (LP & CD),
We Can Fly (CD)
and The Best Of Rubble Collection Vol. 1 (CD).
Tracks :
01 - Your Servant Stephen
02 - Maze
03 - Big Giant Man
04 - Lost My Lover
05 - Lovey Dovey Feeling
06 - Silver Queen Of The Screen
07 - When You're Getting Tired
08 - Rum Sensation
09 - Called And Chosen
10 - Esprit De Corps
11 - The Hovercraft Song
12 - Goodbye Child
13 - Morning
14 - Do Not Wait For Better Times
15 - Maze # 2
16 - My Friends And I
Tenth Planet TP043
GET IT
Personnel incl:
PATRICK BURSTON
45s:
1 Mazy/Your Servant, Steven (Polydor BM 56196) 1967
2 Esprit De Corps/Mino In A Mix-Up (Polydor BM 52226)
1968
This obscure London-based four-piece group is best remembered for Mazy, a dreamy, rather haunting slice of flower power. Apparently, their 45s were jointly produced by Peter Meadon, who'd helped mould The Who in their early days as The High Numbers, and Norman Jopling, who worked at 'Record Mirror'. Your Servent, Steven was also recorded by The Blues Magoos.
Compilation coverage has included:
Mazy on Rubble Vol. 13: Freakbeat Fantoms (LP), Rubble Vol. 7 (CD),
Visions Of The Past, Vol. 2 (LP & CD),
We Can Fly (CD)
and The Best Of Rubble Collection Vol. 1 (CD).
Tracks :
01 - Your Servant Stephen
02 - Maze
03 - Big Giant Man
04 - Lost My Lover
05 - Lovey Dovey Feeling
06 - Silver Queen Of The Screen
07 - When You're Getting Tired
08 - Rum Sensation
09 - Called And Chosen
10 - Esprit De Corps
11 - The Hovercraft Song
12 - Goodbye Child
13 - Morning
14 - Do Not Wait For Better Times
15 - Maze # 2
16 - My Friends And I
Tenth Planet TP043
GET IT
