Peter's first big music industry break came in 1969, when Epic Records signed him to record his debut solo LP, Knight of the Blue Communion.In addition to playing harmonica and providing backing vocals, Peter acted as arranger and composer, while his friend Tim Mayer provided all the lyrics. Ivers assembled a fascinating group of musicians to play on his record. On drums was Cleve Frank Pozar, with Richard Youngstein on contrabass, and Tony Ackerman on guitar. The horn section featured Steve Kowarsky on bassoon, Henry Schuman on oboe and Paul Balmuth on sax.However, the icing on the cake was chanteuse Yolande Bavan and the way in which Peter used her as lead vocalist on the album. Bavan was a singer and actress who was born in Sri Lanka and had started her professional career working as a vocalist with renowned pianist Graeme Bell.Knight of the Blue Communion drew comparisons with Captain Beefheart and Frank Zappa, with Yolanda appearing to be the conventional vocalist cast in what was often a sea of avant-garde madness, a blend of blues, rock & jazz. Line-up / Musicians Steve Kowarsky/Bassoon Richard Youngstein/Contrabass Joe Seale/Electronics Tony Ackerman/Guitar Peter Ivers/Harmonica,Conductor Harry Schuman/Oboe R. Frank Pozar/Percussion Paul BalmuthSaxophone Yolande Bavan/Vocals Discography(Album) Knight of the Blue Communion 1969
1.Cat Scratch Fever 2.Water Curtain 3.Dark Illumination 4.Confession 5.Travelling Lightly 6.Showroom Model 7.Tobacco 8.Lord God Love 9.Knight of the Blue Communion 10.Gentle Jesus
Franco Falsini had been in 1966 one of the founder members of the legendary power trio Noi Tre, that also featured a future member of Triade, Agostino Nobile and drummer Pino Pini. The group, equally influenced by the British models of the time, only released a single , Un posto dove, in 1966, after which Falsini left them, replaced by another future legend of the Italian progressive rock, Paolo Tofani, later with Area and also known as Electric Frankenstein.Relocatign in England, Falsini formed Flying with bassist Dave Anderson (later with Hawkwind and Amon Düül II) and a drummer whose name was Chris and came back to Italy with this group after a year in London, but the trio soon broke up. After another short-lived group, Le Madri Superiori, Falsini moved to the USA with the American wife and knew here drummer Keith Edwards, starting his experiments with multitrack recording and electronic instruments. Back in Italy, he had some solo concerts at the Space Electronic in Florence, then he had an offer for a recording deal by Polydor, that had received his demo tapes and formed Sensations' Fix, calling Edwards and former Campo di Marte Italo-American bass player Richard Ursillo.The record company published the demo recordings made by Falsini, releasing in 1974 a first album entitled Fragments of light and another with no title with the name of the group wrongly spelt (Sensation's Fix) only issued as a promo.In the same year, the first proper album by the group was issued, entitled Portable madness. The group was based in a farm near Florence, and had a krautrock-like attitude that leaves them as a unique band in the Italian prog field. Mainly an electronic band, based on keyboards and with very little use of voice, their albums were self-produced and recorded in the band's own studio, often with an amateurish sound quality.In 1975 Falsini also released a solo album, Cold nose, soundtrack to a short film called Naso freddo by Filippo Milani, producer of the group and designer of their albums' covers. This album contains long tracks based on keyboards and space guitars effects.Issued in 1976, with the entrance of keyboardist Stephen Head, the fourth album Finest finger is their first containing many vocal parts, a more accessible work than their previous ones. In the same direction their next LP, Boxes paradise.Falsin and Edwards went back to the USA, where another album, Vision's fugitives, was released, with no success by a small Californian label. The most American-sounding of their album, this also includes former Campo di Marte drummer Carlo Felice Marcovecchio (credited as Marco Marcovecchio) in a couple of tracks. Their last album in Italy was Flying tapes, released in 1978 and including reworkings of tracks from their earlier LP's.Changing name to Sheriff and now firmly based in Virgina, the group, composed by Falsini, Ursillo and Edwards, helped by second guitarist Frank Filfoyt, issued an US-only LP, with a much rock-inspired sound.When Ursillo left the band to go back to Italy, the group went on as a trio nearly all of 1979 with new bassist Gary Falwell, but only playing live once. The break-up followed, at the end of that year, when Falsini decided to move to New York to work as studio engineer. Line-up / Musicians Keith Edwards/drums,percussion Franco Falsini/guitars,synthesizers,vocals Richard Ursillo/bass Discography(Album) Portable Madness 1974
1.Smooth and round 2.Fullglast 3.Phase one and phase two 4.Underwater 5.The next place of nobody 6.Party day resistance 7.Leave my chemistry alone 8.Strange about the hands 9.Relative jump into water
Czesław Niemen (the real name is Czesław Juliusz Wydrzycki) was born in Stare Wasiliszki (Old Vasilishki), a village in Byelorussia, Soviet Union, in 1939. In 1958 he has repatriated to Poland. His scenical name is a pseudonym taken after the name of the river Niemen. Debuted as a rock and soul singer in the early 1960's. He recorded "Dziwny jest ten świat" (Strange Is This World) as a major Polish protest song in 1967, and was an early pioneer of psychedelic music in communist Poland in the late 60's. He recorded three albums with the band Akwarele, as well as later works with Enigmatic, Grupa Niemen, and Aerolit. His first self-acclaimed progressive work was entitled "Enigmatic", and was released in 1969. The most notable song from it was "Bema pamięci żałobny - rapsod" (A Mournful Rhapsody, in memory of Jozef Bem, a Polish solider who served as a Polish Army general in the Polish War of Independence (November Uprising). Like "Rhapsody", many of the other songs from "Enigmatic" were based Polish folk poetry. During his progressive period Niemen played keyboards extensively, including a Hammond, and later a mellotron and finally a Moog synthesizer.In the early 70's Niemen recorded three albums for CBS International (Schaelplatten), including a 1974 release entitled Mourner's Rhapsody with Jan Hammer and Rick Laird of Mahavishnu Orchestra, electric violin and saxophonist Michal Urbaniak of Fusion, bassist the late Seldon Powell of the Buddy Rich Band, and session pianist the late Don Grolnick. The album featured a fifteen minute version of "A Mournful Rhapsody". In the latter 70's Niemen's musical work tended more toward jazz/fusion, and even electronica. He released seven additional albums and a retrospective collection before he passed of cancer in 2004. Line-up / Musicians Czesław Niemen/vocals,Hammond Zbigniew Namysłowski/saxophone Janusz Zieliński/bass Tomasz Jaśkiewicz/guitar Czesław "Mały" Bartkowski/drums Zbigniew Sztyc/saxophone Michał Urbaniak/saxophone,flute Alibabki/choir Discography(Album) Enigmatic 1970
1.Bema pamięci żałobny rapsod 2.Jednego serca 3.Kwiaty ojczyste 4.Mów do mnie jeszcze
Here's a legendary band from the Early British Progressive Rock Movement, the sixtet SPRING including Pat Moran (vocals, Mellotron), Ray Martinez (lead guitar, Mellotron, 12-string guitar), Adrian Maloney (bass guitar), Pique Withers (drums, Glockenspiel) and Kips Brown (piano, organ and Mellotron). Peter Decindis played bass on two tracks. This is a one-shot band that released the album "Spring" in 1971 and put on CD by Laser's Edge in '92. It contains 3 previously unreleased bonustracks. The sound of SPRING is a 'Mellotron's heaven', no less than three members use this marvellous instrument! So it ain't no surprise that this album is loaded with Mellotron (flute - and violin-sound) but it doesn't harm the compositions, there's no overkill. This sole album beats almost everything in the UK progressive field. Side one is a sheer delight with natural, yet deeply moving melodies over a background of lavish but tasteful mellotron, supported by an able rhythm section, in which the drummer employs uncommon military rhythms in an inobtrusive but very effective way. The vocals are extremely personal but never self-indulgent. These are a blissful 15 minutes. Side two doesn't reach quite such a high standard, but is still very enjoyable and never less than good. This album could defend the right to exist for the whole genre. Line-up / Musicians Pat Moran/vocals,mellotron Ray Martinez/guitars,mellotron Adrian 'Bone' Maloney/bass Pick Withers/drums Kipps Brown/piano,organ,mellotron Discography(Album) Spring 1971
1.The Prisoner (Eight By Ten) 2.Grail 3.Boats 4.Shipwrecked Soldier 5.Golden Fleece 6.Inside Out 7.Song To Absent Friends (The Island) 8.Gazing
The late '60s and, most especially, the 70s have inspirited the music and the rock from all over the place, so that it evolved all the way up to contributing to the appearance of the most prestigious and prodigious ensembles. LOCOMOTIV GT is a band that's legendary in the Hungarian Rock scene, but also in the Occident, lighting up an irresistible and torrential rock, in a way that made them classic. For the culture of rock, LOCOMOTIV GT marks moreover an independent and styled breath than something typical and inspiring - nevertheless, it goes as a defining reference. LOCOMOTIV GT processed, during the classic period, all the fantasy and the asperities of hard and blues rock. Yet, in almost the same general way, their music consistently caught a much more artistic brightness (and all sorts of jazz, pop, melodic, lyrical and experimental accents). The next periods, along with their transitions, didn't shattered their spirit, but only changed their personality, their musical greatness and their perfection. The band was founded in 1971 having a core of four great musicians: Gábor Presser and József Laux from OMEGA, Károly Frenreisz from METRO and Tamás Barta, a guitarist finally finding his way with this ensemble. The pressure of the music, at this beginning phase, was put on sophisticated expression, powerful rhythms and gullible orientations. Playing with familiar rock groups, selling out minimal music through different clubs plus some worthy festivals, was their first good steps up rock's slipstream. Their debut was considered experimental and hazy in Hungary, but the Western side saw it as the best new music that could come from the East. In 1972, the band was invited to play along legendary Joe COCKER or, right from the progressive top scene, with GENESIS. They also spend the year in London, recording a second album, "Ringasd el magad", or producing several music projects. With Tamás Somló replacing Frenreisz, and with a wide-popular tour through North America, LOCOMOTIV GT became a worthy big name.High tours and important projects continued in the next years, music itself finding probably the best expressions and wild maturity of all the style and fusion that was, so intimately, used. As oppose to this, the career break was slipping every time. More than a rumor or a hint, it seems LOCOMOTIV GT faced a lot of oppressive taste from the authorities, at least until the end of the 70s. Nevertheless, their portrait was constantly breaking the full standard and emotion of rock and interpretive art. Having always a lyricist by their side, LOCOMOTIV GT played colorful fictions and complex poetries, in a rustling frame of coolness, until they reached out from the blaze of hard rock (and, implicitly, of heavy thoughts) and continued to mix frictions of pure rock or, lastly, pop rock.The 80s seemed refreshing, thanks to a better contract and an already indubitable fame, but the taste for rock and pop reached, well enough, a lower and colder level, so that the band departed for good after their 1984 studio release. They re-joined in 1992, only with the intention of making a farewell concert out of a big concert in Budapest. Up in 1997, the odds finally stopped being bitter, when the group reunited for good, recording a new studio album and deciding to continue their music journey, through big and important festivals or different projects and productions. Nothing of modern art, but, all the same, something of modern times, when LOCOMOTIVE GT stays legendary and can cheer up the endless taste towards their music and phenomenon. Line-up / Musicians Barta Thomas/vocals,guitars,banjo Frenreisz Carl/vocals,Fender bass,saxophone Laux Joseph/drums Presser Gábor/vocals,Hammond organ,piano,vibraphone,marimba Adamis Ann/lyrics Discography(Album) Ringasd el magad 1972
1.Cirkusz 2.A szerelem börtöneben 3.Szerenad - szerelmemnek, ha lenne 4.A semmi kertje 5.Lincoln fesztival blues 6.Ne szedit 7.Kakukkos karora 8.Kotta nelkül 9.Azt hittem 10.Megvarlak ma delben 11.Ringasd el magad
Anna Själv Tredje (also, and commonly, Anna Själv Tredje) is a classic electronic duo from Sweden, with strong influences in the entire Berlin School electronic music adaptation, with several other characters of music being an artificial art and with the taste to steep all the fine touches and typesets into an original obscure (though dappled) style. The two musicians started the music work around 1976 and stood firm in the experiment till 1979, when the duo disbanded. Very rare (and unprinted enough, once the years settled on the dust) but properly impressive, their sole composed and released album, Tussilago Fanfara, stands for meta-inspiration, expansive electronic and experimental dark sensations. The duo consists of Ingemar Ljungström and Mikael Bojen. Afterwards the split, Ingemar Ljungström also played in Cosmic Overdose (from 1977-1981) or Twice A Man, bands that used, sortly, experimental synth / post-punk nuances with sometimes vocals in Swedish.Mikael Bojen worked on even more popular tendencies. The combination of the music, the style and the electronic influence/presence can be diversified, well enough, into different movements and appointments. A Swedish krautrock extension or impulse isn't far (but neither ever fundamental); the recordings and the precision of this electronic band are vastly in the auspices of some mid-classic experiences from Klaus SCHULZE, either from the soft touches of Moondawn or the entirely accurate Mirage minimal findings. The tiny "modern" experiments lead to something between ambient winds, cosmic surround and hypnosis of sound-fragments. Minimalism is a trademark improvised in ubiquitous expressions, reaching the post-influence of Peter Michael HAMEL, REICH or RILEY, but also some acoustic and synth-dynamic characteristics of meditation (most commonly, GLASS being appointed). Between there is the occupied synthesizing attitude, there's the sound-unveiling, there is an organ profusion or some small guitar works, made by Bojen in a tranquil and atomic way. The concept and contrast of sequencing resembles some late 70s ASHRA glance as well. Lastly (and really the last to be considered), TANGERINE DREAM's resembling electronic tempo, the space jams offbeats of the music evolve to a distant distinction. The Tussilago Fanfara project is prolific, deep but not hollow, intrinsic but never too mindless, exploring electronic music of the classic School, but also of the new-performance experimentalism. Line-up / Musicians Ingemar Ljungstrom/Keyboards,synthesizers Mikael Bojen/Keyboards,Synthesizers,guitar Discography Tussilago Fanfara 1977
1.Mossen 2.Inte utanfor tiden 3.Den barbariska sondagen 4.Tusen ar & sju timmar
The Düde Dürst album is a solo project by the Krokodil drummer. The album contains two long tracks. The album features typical German rock fusion of the era (Ibliss, Kollektiv, Os Mundi, Niagara, Out of Focus, etc.), but unsurprisingly turns out to be very percussion oriented. Some of the percussion-dominated sections (especially on the first track) get rather tedious as they are much too repetitive and not that original. The second track has a lot of percussive "action" as well, but it is mostly embedded in the harmonic and melodic presence of other instruments which works much better. The album has a few good moments, but unfortunately there are too much dull stretches. Line-up / Musicians Brew Bruckner/guitar Düde Dürst/drums,percussion Jonas Häfeli/flute,sax Terry Stevens/bass,piano,percussion Discography(Album) Krokodil Solo 1971
Early 70's krautrock band from Berlin, Hanuman was formed by Peter Barth (flute, sax, vocals), Jörg Hahnfeld (bass), Thomas Holm (drums) and Wolf-Rüdiger Uhlig (organ, piano, vocals). In 1972 the band will change the name to Lied des Teufels. Rüdiger Uhlig will join the legendary heavy progressive rock band Murphy Blend. The band released an unique album in 1971, largely made of extravagant, colourful, tastefull hybrid rockin' compositions with discreet influences from Van Der Graaf Generator. Line-up / Musicians Peter Barth/flute,sax,vocals Jorg Hahnfeld/bass Thomas Holm/drums Wolf-Rudiger Uhlig/organ,piano,vocals Ralf Schultze/guitar,vocals Discography Hanuman / Lied des Teufels 1971/1973
1.Schadelstatten 2.Machtwechsel 3.Lied des Teufels 4.Taue der Fremdheit 5.Sonnenaufgang
1.Wenn Du Fragst 2.Nichts 3.Steht Nicht Abseits 4.Gott, Geld Und Freiheit 5.Ich Bin Nur Ein Kind 6.Das Lied Des Teufels
The legendary Serbian act was found in 1975 in Beograd by ex-Opus bassist Dusan Cucuz.He gathered keyboardist Djordje Ilijin, guitarist Sava Bojic from Pop Masina and drummer Milan Lolic for the originaol line-up of the band. Initially Tako played covers of Jimi Hendrix Experience and Santana and soon had to face the departure of Lolic and Bojic (he went to the army).They were replaced by Slobodan Felekatovic and Miroslav Dukic respectively and Tako became a live beast the following years.With a difficult style they found it hard to sign with a label, eventually ZKP showed interest in them and released their self-titled debut in 1978.This one is definitely among the best Classic Prog LP's to ever come out from Eastern Europe with a fantastic sound and a variety of influences.The opening ''Probudi se'' is a marvellous piece of vocal-led Space Rock with nice deep synth work, but the following ''Sinteza'' is even better with its unique Symphonic/Jazz/Space Rock sound, somewhere between the electric piano approach of RETURN TO FOREVER and the melodic delicacy of CAMEL with occasional heavy interplays and even some harmonica solo.Things will get even more heavier with ''Utapanje sunceve svetlosti u pescanu memoriju''.Fiery interplays and multiple breaks scan the territory of Heavy Italian-styled Prog in the vein of MUSEO ROSENBACH and the Canterbury Fusion style of CAMEL and NATIONAL HEALTH, fantastic performance to say the least.''Lena'' is the most emotional and dramatic track of the album.A pounding low-tempo rhythm section supports Ilijin's deep synths, piano and organ and Dukic'es FOCUS-like emotional guitar soloing, while the middle-part flute solo is the best.The short instrumental ''Minijatura'' follows the vein of OSANNA/JETHRO TULL with flute in evidence and having strong Classical leanings.And we head for the 16-min. ''Druga strana mene'' (the other side of myself) and its perfect sound.Incorporating influences from Classical Prog, Jazz/Fusion, flute-based Prog and Space Rock, Tako manage to offer one of the better epics.The composition is extremely tight and well-built around symphonic synths, jazzy interludes, Classical breaks, driving flutes, emotional guitars and spacey floating atmospheres, resulting to a magnificent and thrilling piece of inspired music. Line-up / Musicians Dusan Cucuz/bass,vocals Miroslav Dukic/guitar,vocals Slobodan Felekatovic/drums Djordje Ilijin/keyboards,flute,harp Discography(Album) Tako 1978
1.Probudi se/Wake up 2.Sinteza/Synthesis 3.Utapanje sunceve svetlosti u pescanu memoriju/Merging of sunlight into the memory of sand 4.Lena 5.Minijatura/Miniature 6.Druga strana mene/Second side of me 7.Put na jug/Journey to the South
Ton Stein Scherben were formed in 1970 by the vocalist, guitarist and frontman Rio Reiser, R.P.S. Lanrue, Kai Sichtermann (bass guitar), Wolfgang Seidel (drums). They are considered to be among the most notorious German kraut polit-rock next to bands such as Floh de Cologne (...) During the 70's the band were known for their social and political critics but also for their amazingly challenging live performances. During this active period of their career they published three albums. Theit debut album Warum Geht Es Mir So Dreckig?(Why am I so badly off?) sounds like an edgy garage rock affair. With wild cacophonous rhythm and blues riffing, ballsy attitudes and some raging Germanic fuelled vocals - you get the feeling of being thrown into a sonic punk rock bar with barf on the walls and black n white painted faces staring at you with glances of darts.When Reiser decides to embellish on this black backyard feel, he whips out the good ol wah wah pedal and storms through the music with his hair on fire and a back country of musicians that grow ever more sludgy and reckless. Think Ash Ra Tempel without the use of peyote and electronic trickery. On the 6th of September 1970 the group played their first major gig on the Fehmarn stage shortly after Jimi Hendrix had performed his last show on the exact same venue. The story goes that on the night of their gig, the house residing right next to the stage caught on fire during the show. Subsequent rumours will have you believe that the fire was instigated by the security personnel, because the organizers had fled with all the proceeds. Back then though, people thought the band had started the fire, which in turn gave them tons of credibility with the predominantly anarchistic population of their fan-base.This debut is however more than the overt in-your-face garage proto punk, as you additionally get small acoustic segments that take you gently by the hand and leads you through 60s like protest songs. The bone crunching tempo that takes up most of this album benefits immensely from these quieter moments, where we really get to hear the imaginative playing from both guitarists. Especially Reise's brief gentle guitar sprees are a thing of beauty. In many ways he reminds me of a more reckless Manuel Göttsching. Line-up / Musicians R.P.S. Lanrue/guitar Rio Reiser/guitar, vocals Wolfgang Seidel/drums Kai Sichtermann/bass Discography(Album) Warum Geht Es Mir So Dreckig? 1972
1.Ich Will Nicht Werden Was Mein Alter Ist 2.Warum Geht Es Mir So Dreckig? 3.Der Kampf Geht Weiter 4.Macht Kaputt Was Euch Kaputt Macht 5.Mein Name Ist Mensch 6.Sklavenhandler 7.Alles Verandert Sich 8.Solidaritat
Musica Elettronica Viva could not be easily defined as one band. Instead, MEV were closer to a movement based around the idea of free improvisation in the form of experimental, electronic jazz. In the early '70s, there were three different (but related) bands that went by the name: one in New York that included Richard Teitelbaum and Frederic Rzewski; one in Paris, led by Patricia and Ivan Coaquette (before his Spacecraft days); and one in Rome, founded by Alvin Curran. In 1970, the French label BYG issued two recordings that included members from each of the branches of MEV. The first of these, Sound Pool, is a live 1969 performance -- both this and Leave the City were reissued in the late '90s by Spalax2. Leave the City is far less noisy than the earlier Sound Pool, though still highly improvised and only slightly less undisciplined. "Message" begins with the sounds of the seashore -- ocean waves and seagulls -- before the group slowly adds percussion, electronics, flutes, and other noises. Droning sounds are plentiful throughout the piece, especially on the second half where instruments and voices create a massive sustained drone that has an almost mystical spiritual feel, while primitive percussion clanks in the background. On the other piece, "Cosmic Communion," Nona Howard and Stephano Giolitti join the trio for an even more fascinating track. It begins like an industrial noisescape, with gritty electronic pulses, beeps, scrapes, and white-noise growls, while mostly female voices shout -- at times even scream -- about destruction, power, and greed. After about 15 minutes of this stark, brutal noise, the piece shifts 180 degrees to gentle acoustic guitar, odd harmonious singing, and earthy vocal drones, with environmental sounds of crickets and birds in the background, and then listeners finally return to the seashore where the album began. The second part of "Cosmic Communion" is breathtakingly beautiful, especially in contrast to the stark industrial beginning, and is like nothing else that MEV, in any formation, has ever done. Line-up / Musicians Alvin Curran Richard Teitelbaum Frederic Rzewski Allan Bryant Ivan Vandor Jon Phetteplace Steve Lacy Garrett List Franco Cataldi Gunther Carius Discography(Album) Leave the City 1970
Another of those mystery groups that were so common in Italy at the end of the 60's, Fourth Sensation only appeared on an album released on the Ricordi International label, as if they were a foreign group. No names are mentioned on the cover though there are four musicians pictured on the back, but two of the band members may have been Vince Tempera (later with The Pleasure Machine and Il Volo) and Ares Tavolazzi (Area).All the tracks are composed by Massimo Catalano (that was one of The Flippers, a very popular beat band of the early 60's).Musically speaking the album has the same style as The Underground Set or Blue Phantom, a totallly instrumental psych-influenced acid-jazz sound, with the Hammond organ in evidence. The ten tracks have all women names. Line-up / Musicians Vince Tempera/organ Ares Tavolazzi/guitar Angelo Vaggi/bass Ellade Bandini/drums Discography Fourth Sensation 1970
Another fairly unknown band heading from Italy, Gruppo D'alternativa was formed in Milano in the early 70's and managed to release one album (named "Ipotesi") before they splitted and drowned into futher obscurity. Some could consider them as a 'proto-RIO' band due to their activity long before the first RIO movement in the late 70's, and their alternative and experimental prog-rock sound confirms this well although they also reveal some notable Jazz-Rock/Canterbury influences in their sound. Ipotesi was based on the death of a friend of the band who was killed in a road accident some time before the album was written, but whenever this explains the bands musical approach is unknown. After a request for a more commercial second album from the record company, the band decided to disband. They are a very unpredictable and playful band musically, but at the same time quite challenging, especially for more unexperienced listeners. They have a typical Italian sound, something that could easily associate them with other Italian Progressive Rock bands, but their experimental and RIO-ish music gained them a place in the RIO/Avant genre. This band should especially appeal to fans of Etron Fou Leloublan, Slapp Happy and Henry Cow/Art Bears. Line-up / Musicians Tino Guasconi/Vocals Gianfranco Fumagalli/Flute Leonardo Dosso/Bassoon,guitar Rodolfo Pace/Guitar Roberto Romano/Keyboards Paolo Rizzi/Bass Nino Flenda/Drums,percussion Discography Ipotesi 1972
1.Quando Le Parole 2.Incidente 3.Infanzia 4.Voglia Di Essere 5.Solitudine 6.Appare La Forma 7.La Tua Lotta 8.Messaggio Libero 9.Ipotesi
The great New Jersey band who recorded their self-titled album in 1969. At Mod Sound Studios. Great late '60s psychedelic music with distorted guitars and heavy organ." "Originally released as a 50 copy test press way back in 1969, the band was from Philadelphia. This is a 600 press with glossy color psychedelic cover and photos of the band on the back. The album contains all original songs and is mostly psychedelic with a couple progressive instrumental cuts, 11 songs in all. The band features a great singer and future guitar legend Rick Iannaconne, who later made a big name for himself in the world of jazz, playing with Coltrane, Miles Davis etc. The recording came from the bands' original tapes and sounds very good. Songs include 'High on a Happy', 'Walk on Mister', and the classic 'Dit Dewey Man', which is psychy, funky and flat out cool. The original test presses have been a coveted collectors item for a long time fetching hundreds of dollars making this reissue an instant classic. The album also features an insert and the 45 release of 'Dit Dewey Man' as a bonus cut. Line-up / Musicians Raymond Bozarth/vocals Rick Iannaconne/Guitar Edward Monroe/guitar Joseph Mingori/keyboards William Vespe/drums Discography(Album) Chaplin Harness 1969
1.Chances 2.Dit Dewey Man 3.Without You 4.Stitch 5.Walk on Mister 6.3/4 Plaything 7.High on a Happy 8.Sheila 9.Peat Moss 10.Sure Am Sorry
