“We Had To Let You Have It" is the only recorded output from Britain's first all-black rock band, a band which broke up before the album was released.There is virtually no information about this group - that's about all the 'liner notes' tell us,that not much is known about Noir. Noir in their short career had gigs opening up for the Rolling Stones and Cream,and for a time were Alexis Korner's backing band. The record was never completed but the label decided to release it anyway, hence the album title. All the songs definitely sound finished, and the running time is long for those days, a little over 48 minutes. Although these guys backed up Alexis Korner, the music on this CD isn't 'bluesy' at all. The tracks are sometimes funky, sometimes smoky and inspirited, sometimes a tribal percussive thing pops up,all the cuts have a deep soulful feeling and the guitar playing is above reproach.Their version of "Indian Rope Man" is awesome, though one of the best track is "The System", which creeps over into jazzy territory. Line-up / Musicians Tony Cole/organ,piano,ocals Barry Ford/drums,percussion,vocals Gordon Hunte/guitar,vocals Roy Williams/bass,vocals Discography We Had to Let You Have It 1971
1.Rain 2.Hard Labour 3.Beggar Man 4.In Memory of Lady X 5.How Long 6.The System 7.Indian Rope Man 8.Ju Ju Man
A heavy rock group which formed in 1972. The first Flax album sold poorly at the time of release in 1976 and has become something of a collector's item. It contained theatrical heavy rock (vocalist Hermod Falch was occasionally dressed in a skeleton costume when the group performed live), strongly influenced by Deep Purple (at the time of Machine Head) and, to a lesser degree, Uriah Heep and Queen. Their music also had some symphonic elements.Flax disbanded in 1975 some months before their debut album was released but a new line-up appeared in 1978. Line-up / Musicians Hermod Falch/vocals John Hesla/guitar,flute Bruce C. Rasmussen/drums Arve Sakariassen/bass Lars Hesla/keyboards Discography One 1976
1.Demon in Your Heart 2.The Way Here 3.Have You Seen My Friend 4.Hell on Earth 5.Wanna Rock You 6.Pain in the Ass 7.Clever Man 8.Crusaders 9.Leaving Home 10.Mirrors
Having roots as far back as 1959 with The Scavers and later releasing a single Arman Stumpe Dur Express, this Norwegian quintet that released two albums under the Popol Vuh moniker (a Maya mythology-related name), until they became aware of a German band using the same name, they changed their names to Popol Ace. The group went on to release another two albums before folding at the end of the decade. Musically, they sounded much straighter progressive rock than their German mystical homonyms: mellotrons and flute parts, funky jazz-rock and softer ballads were among their usual tricks found in their first two albums (S/T and Quiche Maya) under the Vuh name. In 75, with the name change to Popol Ace, the group embarked in their most ambitious project the expensive and studio time demanding Stolen From Time, a concept album strongly influenced by Genesis, but too rigidly produced to gather the hoped-for international success. Lead singer Jan Teigen then left the group to become one of the country's leading pop singer and entertainer. The group hired a new vocalist in 78, but their last album is best forgotten by everyone (PV/PA included) and the group disbanded later that year. Line-up / Musicians Arne Schulze/guitar Pete Knutsen/guitar,keyboards Thor Andreassen/drums Terje Methi/bass Jahn Teigen/vocals Discography(Album) Stolen From Time 1976
1.Bury Me Dead 2.Today Another Day 3.Jester 4.Soft Shoe Dancer 5.Mr. Bigalow 6.Sweet Tune 7.Sleepwalker 8.I Can See Tears 9.Suicide
PRUDENCE was one the most important bands on the Norwegian prog scene in the 1970s, a scene that included the likes of AUNT MARY, JUNIPHER GREENE, TITANIC, POPOL VUH (ACE), RUPHUS, FOLQUE and HØST. They fused rock with old party/dance music from Trøndelag and (on their last album) sang in their local dialect, thereby creating a rock style dubbed Trønderrock.Hailing from Namsos, a small town in Nord-Trøndelag county in Middle Norway, their roots can be traced to 1967 and the band THE TUNES, later named WHOOPEE CHOOP. At that time the band consisted of Kaare SKEVIK jr. (drums), Per Erik Prikken WALLUM (vocals and later also flute), Sturla HUSTAD (keyboards), Per FORMO, Hans Jacob BUSCH (both guitar) and Terje TYSLAND (bass), who left to work as a sailor and was replaced by Kjell Ove Nille RISETH (bass) shortly before Åge ALEKSANDERSEN (vocals and guitar) joined in October of 1968. In 1970 PRUDENCE released their first of three singles on the newly formed label, Experience Records. Side A was a cover of DEEP PURPLE's "Into the Fire", while side B contained an original composition "Kom, bli med til København" (Come to Copenhagen), a song about having fun with drugs in the Danish capital that was banned from radio airplay. PRUDENCE's sound was created from three equal approaches. ALEKSANDERSEN mostly listened to Bob DYLAN and American rock and TYSLAND had a strong relationship with jazz, gammaldans and the music of Jimi HENDRIX, while WALLUM was obsessed with JETHRO TULL and British folkrock. Other significant influnces were THE BEATLES, BLACK SABBATH, BLODWYN PIG, KING CRIMSON and DEEP PURPLE. This mix made their sound unique and something not heard before in and from Norway.Two new singles were released on Experience - "Small Things in Life"/"Happy Fairies" and "My New Day"/"The Sky Gets Blue" before the band signed with Polydor and released their first LP 'Tomorrow May Be Vanished', cryptically subtitled 'Victoria Så bærre pass dæ!' (Victoria so just watch out!) in 1972. The album received great reviews, in which the band was compared to greats as JETHRO TULL and THE BAND.The album hit the market the week after PRUDENCE's very successful performance at The Kalvøya Festival where they, according to Paul KARLSEN (the man behind the festival) went on stage as total unknowns and left half an hour later as Norway's most popular band, upstaging the headlining act FAMILY in the process.In 1973 they released their second LP 'Drunk and Happy' which opened doors in Denmark, where the band was a great succes at The Roskilde Festival of that year. There were talks of launching the band in Europe, but instead of getting rich and famous PRUDENCE ended up disappointed, and also broke, because they were always investing in the newest equipment available even though success outside of Scandinavia eluded them. The following year they released their third LP simply called 'No. 3', which was a great success in Denmark. But with increasing debt the band had to tour nonstop all around the country and some of the members also had to get side jobs to make a living. The rough life on the road, RISETH's tragedy and the fact that the label wasn't going to launch the band in Europe after all were the most important reasons for the band deciding to break up, but not before releasing a fourth album, with Norwegian lyrics this time, and going on a farewell tour. Frode VIKEN (later a member of the popular trønderrock band D.D.E.) had a short period in the band as bassist, before RISETH was permanently replaced by Jan DEVIK.Their fourth and last studio album, released in 1975 'Takk te dokk' (Thank You). The last tour was a triumph where ever they went. Their last concert, at Studentersamfunnet in Trondheim, 11. December 1975, was recorded, with Jahn TEIGEN (of POPOL ACE and, later, one of Norway's most popular pop artists) as producer, and released as a double LP.In February 1976 after the band had split up, they won Spellemannsprisen (the Norwegian equivalent to the Grammys) for best pop/rock album with 'Takk te dokk'. Line-up / Musicians Age Aleksandersen/guitar,vocals Per Erik Wallum/flute,vocals Terje Tysland/guitar,accordion,vocals Kaare Skevik jr./drums Johan Tangen/mandolin,congas,vocals Kjell Ove Riseth/bass,vocals Discography(Album) Tomorrow May Be Vanished 1972
1.North in the Country 2.Mild Grey Fog 3.Tomorrow May Be Vanished 4.What Man Has Made of Man 5.14 Pages 6.Going Through This Life 7.Oh, Grandpa 8.Lost in the Forest 9.Kerre Volin 10.Daida
Taking their name from the Disney cartoon character, Pluto were formed in North London in 1970. The key members, Gardner and Alan Warner were two highly experienced campaigners from widely disparate musical backgrounds. Following extensive and exhausting auditions, the rhythm section was in place.On the road; their bluesy, hard-rock set quickly won them a fair old reputation and a loyal following on the university/college circuit, which they quickly expanded upon, eventually establishing themselves as regulars at many of the more prestigious gigs. They toured with just about everybody, whose sound was clearly reflected in Pluto’s set. Finally, the Dawn label signed them for their only studio album, recorded in early 1971.“Rag A Bone Joe”, the only track not written by Gardner/Warner in the album, features the bulk of their live set, albeit in a considerably less manic vein than their live performance. Gardner’s material (on which he takes the lead vocals) tends to be the more mainstream rock material: “Down And Out” (with its typically powerful riffing), “Stealing My Thunder” (featuring some tasty slide guitar), “Cross Fire” (which brings to mind early Black Sabbath), and “Bare Lady” (ditto) all being outstanding.Warner’s tracks (on which he sings lead) tend to be heavier and more menacing, notably “And My Old Rocking Horse”; “She’s Innocent” and “Road To Glory” with their power chords, riffing and liberal use of fuzzbox.A few tracks find them experimenting with vocal harmonies, somewhat in the manner of early ELO: “Mr. Westwood”, “Beauty Queen” and “Something That You Loved”.The standout of the outing is easily “I Really Want It”, built on a familiar riff (sounding remarkably like some of the early 70s glam rock), it’s easy to see why it picked up the airplay. In early 1972 the band began recording their second album, but recorded only a single and broke up. Line-up / Musicians Paul Gardner/guitar,vocals Derek Jervis/drums Alan Warner/guitar,vocals Michael Worth/bass Discography Pluto 1971
1.Crossfire 2.And My Old Rocking Horse 3.Down and Out 4.She's Innocent 5.Road to Glory 6.Stealing My Thunder 7.Beauty Queen 8.Mister Westwood 9.Rag a Bone Joe 10.Bare Lady
This unknown german artist released this first album in 1971. Deuter is classified as "new age" cause that's what most of his records are. But his two first albums -D and AUM- have nothing to do with insipid relaxation music.This is psychedelic experimental prog entirely done by the master himself, showing there its great skills as a musician, composer and producer.The first long piece "Babylon" is crossed by psychedelic guitar, while bass offers a hypnotic and slow rhythmic pattern. Electronic effects and sound illustrations (baby's cry, distorted bell's ring) show the heavy LSD influence. Not surprisingly, the mood is very cerebral and requires to be in a similar state of consciousness than Deuter when composing it, or at least to be very open-minded, in order to fully enjoy it.The others short pieces use water sound as a rhythmic element and much sitar, also rolling percussion showing there the world, natural side of his music. The last one "Gammastrahlen-Lamm" features cyclical repetitive synthe. Widely known as the first new age composer, Georg Deuter started out as one of the most inventive musician, mixing eastern folk music with electronic sound collage and his first two albums are widely regarded as the equivalent of Tangerine Dream or Klaus Schulze's best works. This stunning debut is the work comes after many trip to Persia and further, to study the music and the philosophies. Those of you aware of Deuter's later New Age works (from 76 onwards), please be aware his first two albums are NOTHING AT ALL like that. And what stunning works they are even if it has not aged all that well. Most of his discography will be released on the legendary Munich-based Kuckuck label, and his records are probably the main reason for this label's long life.The first side of the album is dominated by an almost 15-min Babylon soundscape that will have you completely charmed as it alternates between Indian classical music and some of the best synth sounds that TD or early Popol Vuh could've dreamed of. The stylus lifts off the wax after the second track, on a repetitive fuzzed out guitar sounds. The other cornerstone from D is the funny but aptly-titled Krishna Eating F&C. Before turning to something more peaceful, soft and accessible with terribly boring "new age" efforts, Deuter made a name in the krautrock scene with the absolutely marvellous "D", essentially made of extended "tribal", "droning" and noisy improvisations. All tracks provide an ecstatic, glorious and sacred dimension that allows a comparison with the pioneering "Inside of the dream syndicate" and some archetypal psychedelic stuffs from Germany (Cluster at their beginning and Amon Duul at their most experimental moments). "Babylon" is an amazing, freaky composition with bizarre, strange, concrete "manipulated" sounds and fuzzy spacey guitar parts. "Der Turm/Fluchtpunkt" develops a ritual stoned theme always bringing to the fore some fuzzy guitars, tribal percussions and chaotic noises. With its large, cyclical organ sound and its patterns for sitar "Krishna Eating Fish and Chips" is a small interlude dedicated to spiritual music. The last track, "Atlantis" is the pick of Deuter's musical creativity: an intense, abstract dreamscape mixed with tribal, ritual percussions. "Gammastrahlen-Lamm" is a ferocious, dense level of transcendent sounds obtained by organic collages & loops; something nostalgic with ultra psychedelic effects. A progressive rock masterpiece and one the best effort produced during Krautrock's golden years. Line-up / Musicians Georg Deuter(Deuter)/Guitar,Bass,Keyboards,Electronics,Sitar,Percussion Discography(Album) D 1971
1.Babylon: Andantino/Allegro 138 A/Andante/Allegro 138 B 2.Der Turm/Fluchtpunkt 3.Krishna Eating Fish and Chips 4.Atlantis 5.Gammastrahlen-Lamm 6.Krishna Eating Fish and Chips 7.Atlantis 8.Gammastrahlen-Lamm
This early British folk duo of Mike Oldfield and sister Sally were 'discovered' by PENTANGLE guitarist John Renbourn in 1967 when Mike and his sister were both still in their teens and playing acoustic music in regional clubs. The two recorded a lone album ('Children of the Sun') for Transatlantic in 1969, and disbanded shortly after following a brief tour.Both would go on to lengthy musical careers, Mike with hugely successful experimental music chart-toppers such as 'Tubular Bells' and 'Hergest Ridge'; and Sally as a less well-known but prolific folk artist. The brief carnation of THE SALLYANGIE also included PENTANGLE drummer Terry Cox and NICK DRAKE flautist Ray Warleigh, with arrangements by future JETHRO TULL keyboardist David Palmer (aka Dee Palmer). The album was remastered and reissued in 2002 with updated arrangements and several previously unreleased tracks.THE SALLYANGIE were a brief and early stepping-stone for both Mike and Sally Oldfield and, while not long-lived or well-known, but left a solid memoriam in the form of their lone studio release.
Line-up / Musicians Sally Oldfield/Vocals Mike Oldfield/Guitar,vocals Terry Cox/Percussion Ray Warleigh/Flute Discography Children of the Sun 1968
1.Strangers 2.Lady Mary 3.Children of the Sun 4.A Lover for All Seasons 5.River Song 6.Banquet on the Water 7.Balloons 8.Midsummer Night's Happening 9.Love in Ice Crystals 10.Changing Colours 11.Chameleon 12.Milk Bottle 13.Murder of the Children of San Francisco 14.Strangers (reprise)
The French outfit MYHYBRIS was founded back in December 2003. In 2006 their first effort was issued, the EP "Pretty Scares". Late in 2008 their full length debut was released, titled "The Sweet Melody of Resilience". This is a concept album - one piece of music divided into eight parts - and by the sound of it it's a good concept too. The album is mostly instrumental, a varied constellation of tunes; from atmospheric mood explorations to jazz-tinged workouts, from majestic symphonic creations to powerful progressive metal of the slower variety. The band moved back and forth between these style variations to create compelling as well as disturbing sonic images; and apart from a production that a few times lets the band down in terms of mood creation this is a beautifully crafted effort. Line-up / Musicians Morgane Falaize/keyboards Sylvain Mazeau/bass Nicolas Pascal/guitars Olivier Riva/drums Amelie Festa/vocals Christophe Denhez/vocals Jean-Pierre Riva/keyboards Patrick Quartenoud/sax Aurore/vocals Caroline/vocals Clelia/vocals Dorothee/vocals Laetitia/vocals Discography The Sweet Melody Of Resilience 2008
1.Intro 2.Chapter 1:Children's Games 3.Chapter 2:The Pursuit 4.On The Edge Of Madness 5.Chapter 3:The Sweet Melody Of Resilience 6.Only A Path 7.Chapter 4:The Shining Truth 8.Outro
UNDERTAKERS CIRCUS is a jazz-rock band from Lillestrøm, Norway, with their most active period between 1967 and 1976. With a full horn section accompanying traditional rock instruments their sound resembles bands like CHICAGO and BLOOD, SWEAT & TEARS, but with melodies and harmonies more of the BARCLAY JAMES HARVEST and THE MOODY BLUES mode.They were one of the first rock bands in Norway to sing in their native language, and they often wrote lyrics with political and social content. Undertakers Circus differed from many other Norwegian rock bands because of their characteristic horn section and the fact that they are influenced by jazz. The first single released 1968 is named “Little Boy Blue/Gotta Get Away”, but their first LP, which was a revolutionary release, was released as long as five years later by Polydor Records and got the name “Ragnarock”. At the time the band counted 11 members: Thor S. GRENI (vocals), Per Kristian LINDSTAD (guitar), Frank MYRSETH (guitar), Stein GUDMUNDSEN (vocals, congas), Erik THOEN (bass), Frode KILDAL (drums), Øystein BJØRK (trumpet), Johnny TORP (trombone), Kjell KRISTOFFERSEN (trumpet), Ivar HOVDEN (tenor sax) and Wiggo NILSEN (trombone). Line-up / Musicians Thor S. Greni/vocals Erik Thoen/bass Per Kristian Lindstad/guitar Øystein Bjørk/trumpet Frank Myrseth/guitar Stein Gudmundsen/vocals,congas Johnny Torp/trombone Kjell Kristoffersen/trumpet Ivar Hovden/tenor sax Frode Kildal/drums Wiggo Nilsen/trombone Discography(Album) Ragnarock 1973
1.Ragnarock 2.Løfte 3.Nettenes prinsesse 4.På Stiklested 5.Nå sitter vi og venter 6.Menuett silikose 7.2007 8.Arbeidsløs jul igjen 9.Mor Norge
In 1975 Jim and Mick Kenny formed Crossfire, Australia's most successful jazz-rock fusion band. Crossfire toured extensively and cut seven Albums, including a live album with American singer Michael Franks and Australia's first direct-to-disc LP. The self titled, debut was released on the Harvest Record Label in 1975. Its their best album and actually a rare piece of Australian 70s jazz. The majority of the album’s style is instrumental jazz / fusion that gets pretty funky at times. On Side One there is a nice blend of funky uptempo Jazz / Fusion. The three best tracks (in my opinion) are on this side. These are “Nobody Nose” a funky Weather Report inspired cut, “Freddy Funkbump” and “Perverted Pavanne”. Line-up / Musicians Jim Kelly/guitar Michael J. Kenny/keyboards Tony Buchanan/saxophone,shakers Greg Lyon/bass Ian Bloxsom/percussion,mallets Mark Riley/drums Discography(Album) Crossfire 1975
1.Remember the Trees 2.Nobody Nose 3.Freddy Funkbump 4.Perverted Pavanne 5.Inside Out 6.Nada 7.Stygian Night 8.You Gotta Make It
Lotus was a Swedish five piece band with additional musicians on saxophone, piano, bass and drums. In 1974 they released their eponymous debut album, in 1976 followed by this second effort entitled Vera O'Flera. The style of this little-known Swedish quartet is hard to describe as it escapes most comparisons; the closest would be FINNFOREST, and perhaps Danish fusion band SECRET OYSTER. This is fusion at its best: energetic instrumental jazz-rock featuring dual guitars, electric piano/Hammond organ, bass and drums, and stunning musicianship all around. After the release of their second album in 1976, the band, alas, split up. Although the tracks on their first album are rather short, each one is chock full of ideas and beautiful catchy melodies based on tight, 70ish-like jazzy grooves, all charmingly and distinctively Swedish. Their second album, "Vera O'Flera", which features a guest musician on sax, is in the same vein but much more fusion oriented and perhaps a bit less convincing. Line-up / Musicians Anders Lindvall/guitar,vocals Robert Larsson/guitar Claes Ericsson/keyboards Stefan Berggrensson/bass Henning Öfverbeck/drums Discography(Album) Lotus 1974
Group from Iceland, combining in his album heavy blues - rock (Songur Satans and Eg Horfi A Brimid), hard (Lif Pitt) and heavy prog. There is also a ballad Litli Fuglinn and symphonic instrumental Preludia I A-Moll with violins and flutes . Top tracks are at the end of the album - heavy prog Sandkorn Pridja Heimsstyrjoldin. Manar were one of the groups that followed Trubrot, but the self-titled album Manar surpassed any albums of Trubrot. 11 songs cover a wide range of northern senses, offering powerful electric guitars gashes and melancholic vocals and Hammond. Some tracks are closer to folk-rock with their vocals, acoustic guitar, flute and piano ("Litli Fuglinn"). This classic album is recommended to fans of Old Man & The Sea and Junipher Greene. Line-up / Musicians Oiafur Porarinsson/Vocals,Guitar,Flute Bjorn Porarinsson/Organ Guomundur Benediktsson/Vocals,Piano Smari Kristjansson/Bass Ragnar Sigurjonsson/Drums Discography Manar 1971
1.Lif Pitt 2.Hvers Vegna 3.Songur Satans 4.Litli Fuglinn 5.Eg Horfi A Brimid 6.Leikur Ad Vonum 7.Haustregn 8.Villi Verkamadur 9.Sandkorn 10.Preludia I A-Moll 11.Pridja Heimsstyrjoldin
Simon Finn's Pass the Distance is a legendary acid folk recording from the psychedelic era. Originally issued on the Mushroom label in 1970, the LP was embroiled in legal hassles and withdrawn from circulation. David Tibet of Current 93 became obsessed with it upon hearing a bootleg copy in 1995, and along with Simon and the Canadian Jnana imprint, has reissued it on Durtro as a CD. Finn, a Canadian native, made the record in 1969 in Vic Keary's Chalk Farm Studios with some new jamming mates including David Toop and Paul Burwell! Pass the Distance is not a drippy peace and love record. It is a nocturnal, nightmarish album full of extremes as well as aesthetically beautiful textures and subtleties. Finn was obsessed with Christian themes (both redemptive and apocalyptic), history, the environment, and strange, oblique love songs. The centerpiece is the epic "Jerusalem." With maniacally strummed acoustic guitars, a swirling church organ, hand drums, and a muddy bassline, Finn iterates the vision of Christ as he walked through the city and was crucified by the very people who praised his name, and he equates Christ with the 1960s counterculture ideals. The crux of the song is the terror and rage that Christ would feel were he to return and be crucified in the current millennium by those who profess his name. Finn begins softly, sadly, and soon begins ranting and screaming as the music gathers in intensity and menace until it becomes utterly frightening. It is followed by "Where's Your Master Gone," a song about Satan, articulated with Toop's electric guitar lilting in the backdrop with Burwell popping the accents with his tables. Finn croons sweetly and confusingly about the transformation and redemption of Satan. And so it goes -- whether Finn is singing about love found and lost, sex, new age revelation, or Gnostic Christianity; there is in his gentleness, a darker, more sinister edge, one that can set one's teeth to grinding or make one see things in the dark. But there is also great tenderness and vulnerability as well, as evidenced by "Patrice," or "What a Day." Taken as a whole, it is creepy and beautiful and poetic and crazy and utterly wonderful. It is a maverick recording from a time far wilder and more imaginative than our own. The CD contains the ten-track original album, an unreleased single, and two completely unreleased studio tracks -- one of which is a recording of the first song Finn ever wrote. Line-up / Musicians Simon Finn/Vocals,Guitar,Percussion David Toop/Guitar,Mandolin,Bass,Flute,Piano,Organ,Accordion,Violin,Percussion Paul Burwell/Drums,Tabla,Percussion Discography(Album) Pass the Distance 1970
1.Very Close Friend 2.The Courtyard 3.What a Day 4.Fades (Pass the Distance) 5.Jerusalem 6.Where's Your Master Gone 7.Laughing 'Til Tomorrow 8.Hiawatha 9.Patrice 10.Big White Car
Formed in 1964 in the Italian city of Urbino, ANONIMA SOUND were a beat-pop trio that recorded four singles, including the hit single "Fuori piove", released in 1967. In 1970, lead vocalist and guitarist Ivan Graziani left to pursue a career as a solo artist, which would see him become one of the most popular Italian singer-songwriters of the Eighties. At this point, after having recruited new members, the band changed its name in ANONIMA SOUND LTD. After the release of the single "Io prendo amore" in 1971, they became a seven-piece that included one English and two American musicians, and completely changed their musical orientation. In 1972 they released an album, "Red Tape Machine", entirely sung in English and influenced by British psychedelia and progressive rock. This album contains 8 songs around and a total time of 40 minutes, there is just one song above 7 minutes, the other ones goes from 4 to 5 minutes average. It starts with the title track Red Tape Machine, since the first vocals you will find that this is not the typical Italian band, despite it features some nice flute making that sligh folkish tone, this is mostly a psych song with nice guitar riffs. The Last Debutante is a catchy song. Window on the City for some reason reminds a bit to Jethro Tull, this is an acoustic guitar driven song with some acid organs and nice bass lines and some flute here and there. Metro`s Song, again an acoustic guitar driven song, this time with a bluesy sound at the beginning. Then it turns faster just in order to return to the same sound as in the beginning a plain song in my opinion. Dog`s Life follows the same bluesy line again reminding to some Tull passages, nice guitar riffs. Triangle is the longest song, the music actually its pretty similar to the English bands of the late 60s early 70s, so this is nothing original, but interesting anyway. Freedom actually its like the 2nd part of Triangle, the guitar sound is really similar, so are the vocals, but it suddenly becomes into a song with a happier feeling. The Roofer at last the last song of an album which lacks of originality and progressiveness, this song is maybe the heavier of them, psychedelic oriented music. ANONIMA SOUND LTD. were one of the most distinctive-sounding bands on the Italian prog scene of the early Seventies. Line-up / Musicians Piero Cecchini/bass,vocals Lamberto Clementi/guitar Peter Dobson/guitar Velio Galazzi/drums Richard Ingersoll/vocals,flute Massimo Meloni/guitar,vocals Claudine Reiner/vocals,percussion Discography The Red Tape Machine 1972
1.The Red Tape Machine 2.The Last Debutante 3.Window On The City 4.Metro Song 5.Dog's Life 6.Triangle 7.Freedom 8.The Roofer
In 1968 German Martin Thurn (guitar) went to an international school in Varese (North Italy) where he founded a band named SONS OF GIOVE. Other members were Wolfgang Schoene, Thomas Schmidt (later PELL MELL) and Jutta Nienhaus. Renamed to JOICE (due to a misprint later YOICE) the band went on in 1970 with drummer Hermann-Jürgen Nienhaus (brother of Jutta) and Mauro Rattaggi (bass), the only italian member of the band. After a lot of gigs in the south of Swiss and North Italy they were able to buy some professional equipment and in 1971 JOICE got a contract with an italian label. During a festival in Arona a spontanous collaboration happened with keyboarder Nikola Pankoff whilst playing a free interpretation of Pink Floyd's "Atom Heart Mother". Pankoff became a band member afterwards. Their first release was the Single "Sold Out/God's Own Land", two songs written by Thurn. At the end of the year Rattaggi had to join the army and left the band. Schoene changed to the bass.The recordings for their first LP started early 1972 in Milan and they finally renamed to ANALOGY corresponding to the title of their most important song. Soon some trouble occured about the sleeve pictures. The band wanted an artwork illustrated by Pankoff but the label demanded on some nude photos which had been taken for the former single production. Rattaggi was covered by the blue vertical bar which includes the band logo. The songs of their debut are gradually developed with a more psychedelic and experimental style provided with a dark atmosphere. ANALOGY's distinctions were Jutta Nienhaus' unique vocals, Thurn's and Pankoff's impressive instrumental skills on guitar and Hammond organ. In Italy the band now could reach some attention and appreciation. They played at a Rock festival in Rome with 30.000 spectators, appeared during some RAI radio sessions and could also be seen on TV. But ANALOGY remained practically unknown outside of Italy though.In September 1972 Pankoff left the band because of some disagreements about the musical direction. 1973 it came to a new collaboration with flute player Rocco Abate, member of the Milano Scala Orchestra, who was searching for new experiences. Martin Thurn and Wolfgang Schoene composed a 30 minute set of thematically-linked musical pieces simply entitled "The Suite". In this work the classical music of the Renaissance-period was combined with Progressive Rock. ANALOGY played this several times live and received good reviews. The band had successful performances together with ATOMIC ROOSTER and CURVED AIR but nevertheless problems with the money were growing. Additionally Rocco Abate's issues increased to perform his obligations. So in November 1973 ANALOGY had the last live performance and disbanded at the end of the year. Line-up / Musicians H. J. "Mops" Nienhaus/drums Jutta Nienhaus/vocals Nicola Pankoff/keyboards Wolfgang Schoene/bass Martin Thurn/guitars,flute,bongos Discography(Album) Analogy 1972
1.Dark Reflections 2.Weeping May Endure 3.Indian Meditation 4.Tin's Song 5.Analogy 6.The Year's At The Spring 7.Pan-Am Flight 249
