LOS CANARIOS was a Spanish band that started playing back in the late 60's. At the beginning, they played Soul and R&B influenced music, singing mostly in English. Recorded in the Seventies, "Circlos" shows an adaptation of VIVALDI's "Four Seasons" with a rock and Hispanic flavour. This is a concept album with an interesting story line that goes from the creation of the Earth to the Apocalypse in 2700 A.C. The music reminds of this era, with a predominant Hammond organ, a blend of rock and classical music in the style of THE NICE and other EKSEPTION. This album is a heavy and dynamic work in its own right with plenty of synth and organ work as well as guitar. Vocals (in English) are heard throughout but the album is dominated by instrumental sections. "Ciclos" is a classic of the Spanish progressive scene. Line-up / Musicians Alain Richard/drums,percussion Antonio Garcia de Diego/guitar,vibraphone,vocals Mathias Sanvellian/Hammond,piano,violin Christian Mellies/bass,synthesizer Alfredo Carrion/choral arrangement and conducting Teddy Bautista/keyboards,synthesizers,vocals Rudmini Sukmawati/vocals Discography(Album) Ciclos 1974
An obscure and rare record from this folk act led by James Harpham, (who plays the recorder, an ancient flute-like instrument) A Handful Of Pleasant Delites was originally released by Middle Earth in 1969 – the same label as Arcanum and Writing On The Wall – and featured an interesting blend of acoustic folk, baroque medleys, jazz improvisations and experimental music constantly shifting from pastoral atmospheres to urban neurosis. Line-up / Musicians Hugo Dalton/mandolin James Harpham/recorder David Snell/harp Christopher Taylor/recorder Arthur Watts/bass Discography A Handful of Pleasant Delites 1969
Brazilian band The Bubbles became the toast of the underground Rio de Janeiro scene, backing Tropicalist singer Gal Costa's residence at the Sucata night club in 1970. They won the "Best Band of the Festival" award at the VII FIC of 1971 (International Festival of Songs), the same year they appeared on Leno's "Vida y obra de Johnny McCartney" album. After venturing to England to attend the Isle of Wight Festival, they decided to experiment with a heavier sound, more akin to UK bands of that era (Deep Purple, Cream, King Crimson, Humble Pie, with a little Beatles' "White Album" in for good measure) than that of their Brazilian cohorts. At this point they changed their name to A Bolha. Still loaded with verve, swagger, and fueled by drugs, they recorded their first album, which has secured a permanent place as one of the best hard psych rock albums to ever emerge from South America. The LP, "Um Passo a frente" (A step forward), was released in 1973 by the Continental label, in a gatefold cover which was quite luxurious for the era. This masterpiece, now impossibly hard to find as an original, certainly made a name for A Bolha in the pantheon of 1970's Brazilian rock. But success in the early 1970's was not like it had once been in the old Jovem Guarda or Tropicalist days, when bands had weekly TV shows to help them become well-known nationwide—and eventually, worldwide. In other words, the meager abilities of Continental to promote the album made it a collector's item, not the fate a band would actively seek for their recordings. Luckily, we at Lion Productions are able to present these recordings to the world all over again, with the additional benefit of a 20-page booklet with band history, photos, and comments on the songs by band leader Renato Ledeira. Includes both sides of the band's infamous hard-rocking 1971 single as bonus tracks. Line-up / Musicians Renato Ladeira/guitar,keyboards,vocals Lincoln Bittencourt/bass Pedro Lima/guitar Gustavo Schroeter/drums Discography(Album) Um passo a frente 1973
1.Um passo a frente 2.Razão de existir 3.Bye My Friend 4.Epitáfio 5.Tempos constantes 6.A esfera 7.Neste rock forever
The original lineup of Seatrain was John Gregory (lead vocals/guitar), Richard Greene (fiddle), Andy Kulberg (bass/flute), Don Kretmar (sax/bass), Roy Blumenfeld (drums/percussion) and Jim Roberts (lyrics). Though Sea Train is seen as their debut, they had actually already released one album by 1969 - Planned Obsolescence had been put out under the Blues Project name. Kulberg and Blumenfeld had been members of the Blues Project, and after all the other members left they had formed their new group, but contractual complications restricted them from using the Seatrain name until their second album together. Anyway, Sea Train was a continuation of the interesting fusion of genres of Planned Obsolescence, but arguably a more successful mix, with more focus and stronger songs - a progressive blend of rock, classical, jazz and folk. The combination of fiddle, flute and sax was hardly typical rock instrumentation, and Roberts' lyrics fused with the sophisticated, intelligent musical structures to make for a really unique sound Seatrain could call their own.Perhaps it was best that Planned Obsolescene wasn't released as Seatrain, as it could be seen as them finding their feet first before they committed themselves with a superior product. Line-up / Musicians Andy Kulberg/bass,flute Roy Blumenfeld/drums John Gregory/guitar,vocals Don Kretmar/saxophone,bass Richard Greene/violin Jim Roberts/vocals Teddy Irwin/guitar Red Shepherd/vocals Bob Moses/drums Elliot Randall/guitar Billy Williams/drums Peter Rowan/guitar,vocals Larry Atamanuik/drums Lloyd Baskin/keyboards,vocals Discography(Album) Sea Train 1969
1.Sea Train 2.Let the Duchess No 3.Pudding Street 4.Portrait of the Lady as a Young Artist 5.As I Lay Losing 6.Rondo 7.Sweet Creek's Suite 8.Outwear the Hills
BRAST BURN, one of the most obscure and the most mysterious outfits in Japan, burst with only one prochronistic album into Japanese psychedelic rock scene and soon disappeared from this world. There is another report that Nakano record shop, a Japanese local specialty store of Krautrock, released two psychedelic albums from the independent label Voice Records and after a short while went bankrupt because of their debt by these releases and promotions. Anyhow there is no information except the fact BRAST BURN could release their one and only album Debon in 1975 (or in late 1974) and an uncertain report BRAST BURN might be a solo project by Michiro Sakurai, a Japanese unknown artist. Line-up / Musicians Konimara/vocals Masabuni/synthesizer Rey Ohara/percussion,drums Discography Debon 1975
Portuguese project SAGA was the creative vehicle of composer and musician João Luis Tinoco. Under his leadership some of the finest musicians in Portugal at the time gave realized his thematic oriented production revolving around issues such as war and the use of atomic weapons. While crafted with a minute attention to detail, the end result didn't strike a nerve with the mainstream audience when "Homo Sapiens" was released in 1976, and Tinoco left the realm of the recording artists soon after to concentrate on songwriting. Line-up / Musicians Jose Luis Tinoco/piano,synthesizer,organ,guitar Ze da Ponte/bass,guitar,vocals Fernando Falle/drums Vasco Henriques/synthesizer,flute Rao Kyao/saxophones Fernando Girao/percussion, vocals Carlos Rodrigues/vocals Jose Fardilha/vocals Jose Themudo Barata/vocals Clara/vocals Dulce Neves/vocals Sinde Filipe/declamation Discography Homo Sapiens 1976
1.6. Dia 2.Filius Domini, Filius Hominis 3.Hiroxima 4.Cantiga de Imigo 5.Invasao 6.Guerra 7.Carta 8.No 20. Aniversario da Morte do Poeta 9.Aprendiz de Feiticeiro 10.Duna
Vox Dei (Latin: God’s Voice) is an Argentine rock band. Its most prolific years were the 1970s, having recorded 10 albums. The band’s original members were Juan Carlos “Yody” Godoy (guitar and vocals), Ricardo Soulé (guitar and vocals), Rubén Basoalto (drums) and Willy Quiroga (bass and vocals). In 1968 they recorded a version of Percy Sledge’s “When a Man Loves a Woman”, and the company Mandioca organized an audition for them in the Payró theatre. The members of Manal and Almendra were also present, and a few hours later they played together. In 1970 they recorded for Mandioca their first album Caliente. In the B.A. Rock Festival Vox Dei played the first part of the theme “Genesis”, which had no lyrics yet. In February 1971 they released La Biblia (‘The Bible’) the second and best-known album. Being the first Argentine concept album, it became a turning point in the history of Argentine rock; Based (as the title suggests) on the Biblical story (similar to other concept albums on that subject) it presents an apocalyptic tale of the world. The music is truly exceptional as are the instrumental parts, especially the guitar solos. At the time of recording this album, which was a double vinyl LP, the group was a quartet, with lead guitarist / violinist / vocalists Ricardo Soule, bassist Willie Quiroga, drummer Ruben Basoalto and rhythm guitarist Juan Carlos Godoy, who left the group after this album was recorded, leaving them as a trio. Some of the tracks on the album include orchestral arrangements. This expanded edition adds to the original album a plethora of additional tracks from the album's sessions and some live performances. Line-up / Musicians Willy Quiroga/bass,guitar,piano,vocals Rubén Basoalto/drums Ricardo Soulé/guitar,bass,violin,piano,harmonica,vocals Juan Carlos "Yody" Godoy/guitar,vocals Ignacio "Nacho" Smilari/guitar,vocals Discography(Album) La Biblia 1971
1.Génesis 2.Moisés 3.Las guerras 4.Profecías 5.Libros sapienciales 6.Cristo y nacimiento 7.Cristo - Muerte y resurrección 8.Apocalipsis
This UK acoustic folk rock ensemble comprised Ray Wright, Trevor Sandford, Peter McMum, Judy Slater and William Thorp. The band is generally considered part of the loosely-formed 'Jesus Movement' of musicians who proselytized through popular music. Contemporaries included CAEDMON and MALCOM AND ALWYN in the UK, and groups such as PETRA and CHILDREN OF THE DAY in the United States. The band was formed while the four members were students at Cambridge University in 1971, and became a full-time venture in 1974. The band's first album 'Hill Climbing for Beginners' was released in the UK that year, but Myrrh (a Love Records label) was concerned the music would not be well-received by fundamentalists in the U.S. so remixed the album before releasing it the following year. The band went on to produce a second album, but by then the Jesus movement had already largely faded amid both scandals and changing lifestyles. The band released 'Harvest Time' as a small-run private pressing in 1976, shortly before the group disbanded. Line-up / Musicians Peter McMunn/vocals,guitar Trevor Sandford/vocals,guitar,bass William Thorp/vocals,violin,piano,bongos,bass,tenor recorder,tuning fork Ray Wright/vocals,guitar,bass,bongos with: Bobbie Graham/congas,drums,tambourine,cymbals Gari Williams/flute George Caird/oboe John Payne/clarinet Nigel Robson/horn Jeremy Ward/bassoon Frances Kelly/harp Stephen Jones/violin Wilf Treasure/viola Darrell Davison/cello Mike Wade/drums,percussion Discography(Album) Hill Climbing for Beginners 1973
1.Stranger in the World 2.I Used To Be Blind 3.Jesus I've Been Walking 4.Hill Climbing For Beginners 5.Start of a Run 6.Song of The Cross 7.I Have Seen the Lord
Gunder Hägg [1967-1971] was a Swedish progg-band (not to be confused with progressive) with their lyrics cover a wide range, from marxist analysis and invitations to revolution to satire, art criticism, 1940s childhood nostalgia, images from daily life and experimental pop art works. Despite the political view the members mainly had upper-middle class/upperclass background. The group took the name from Gunder Hägg (December 31, 1918 – November 27, 2004) who was a Swedish runner and multiple world record breaker of the 1940s. He later forced the group to change the name to Blå Tåget 1972. Band members: Torkel Rasmusson (vocals, accordion, harmonica), Leif Nylén (drums), Mats G. Bengtsson (keyboards), Tore Berger (vocals, clarinet), Roland Keijser (saxophone, flute), Göran von Matérn (guitar, 1968-70), Urban Yman (bass, violin, 1968-72), Kjell Westling (guitar, violin, winds, 1968-72), Carl-Johan De Geer (trombone, accordion, vocals, 1970-72). Line-up / Musicians Torkel Rasmusson/vocals,accordion,harmonica Leif Nylén/drums Mats G. Bengtsson/keyboards Tore Berger/vocals,clarinet Roland Keijser/saxophone,flute Göran von Matérn/guitar Urban Yman/bass,violin Kjell Westling/guitar,violin,winds Carl-Johan De Geer/trombone,accordion,vocals Discography(Album) Vargatider 1970
1.I stället för - så länge 2.Bröderna Surf 3.Ligga lågt 4.En höstbild 5.Tyck synd om mig nu 6.Alienation 7.Tio Svarta Pantrar 8.En främling stiger in 9.I Guds frånvaro 10.I vargatider
DULCIMER were a longstanding collective consisting of three musicians, all multi-instrumentalists: Dave Eaves, Pete Hodges and Jem North. The trio debuted with 1971’s oddly titled “And I Turned As I Had As a Boy” produced by Page and released on Nepentha (Mercury acquiring American distribution rights). Best described as acoustic folk-rock, it attracted favourable reviews for its intriguing blend of English folk (including several references to the group’s local Cotswolds environment) and varied instrumentation. Melody Maker magazine, in particular, was effusive, comparing the duo favourably with Simon And Garfunkel. The album additionally featured Richard Todd reading poetry on two of the tracks. It sold well in the USA, Europe and Japan. The band recorded twice more in the early seventies before fading into obscurity, but neither 'Room for Thought' or 'A Land Fit for Heroes' (with rural English author Fred Archer) would find their way into official release until years later. DULCIMER had a resurgence of sorts in the nineties thanks to the small President Records label, who released a trio of the band's albums as well as the shelved 'Room for Thought' project on CD ('A Land Fit for Heroes' had been issued thanks to the band's own financing in 1980).Their music has been described as folk-rock and is mostly acoustic, but the band's penchant for odd themes, creative arrangements and occasional progressive forays merits them inclusion here in the Archives. DULCIMER will appeal to fans of understated, acoustic-driven music with classic folk instrumentation such as mandolins, acoustic guitars, flutes and of course dulcimers. Line-up / Musicians Dave Eaves/guitars,woodwinds,vocals Pete Hodge/guitars,mandolin,dulcimer,vocals Jem North/bass,percussion Discography And I Turned As I Had Turned As A Boy 1970
1.Sonnett to the Fall 2.Pilgrim from the City 3.Morman's Casket 4.Ghost of the Wandering Minstrel Boy 5.Glochester City 6.Starlight 7.Caravan 8.Lisa's Song 9.Time Is My Life 10.Fruit of the Musical Tree 11.While It Lasted 12.Suzanne
Welsh band Aquila arose from the ashes of late 1960's band BLONDE ON BLONDE. Founding guitarist Ralph Denyer left that band in 1970 to work on his Aquila project. Blonde on Blonde recruited new vocalist/guitarist David Thomas (an old school friend of Denyer) to replace Denyer, and went on to record their best album "Rebirth". Aquila's music, while substantially based in art rock, draws in influences from a diverse range of influences, including jazz and heavy rock. Deyner was the clear leader of the band, writing all the songs on their sole release, a self titled album. Quite what happened to the band thereafter, and why they split up so quickly is something of a mystery, especially since they were signed to a major label (RCA). Wind instrumentalist George Lee joined ARRIVAL, a mainly vocal collaboration who enjoyed brief singles success before his arrival with the song "Friends". No photos of the band appear to exist, even the images on the album sleeve are sketches of each band member. The image on this page is taken from the LP sleeve. The sole "Aquila" album ended up in the bargain bins of the UK, but ironically, is now a sought after rarity. Line-up / Musicians Ralph Denyer/vocals,guitars Phil Childs/bass,piano George Lee/flute,saxes Martin Woodward/organ James Smith/drums,timpani,percussion Discography Aquila 1970
1.Change your ways 2.How many more times 3.While you were sleeping 4.We can make it if we try 5.The Aquila suite
Latin Soul Rock with twangy guitar riffs, hip-shaking percussion and a big funky brass section. Features founding member of Blood Sweat and Tears, Jerry Weiss (bass and piano).Other notable names include Jimmy Maelen (vocals & percussion) who played with John Lennon, the Jacksons, Talking Heads, Alice Cooper, Marlena Shaw, Jimi Hendrix, Peter Gabriel, Buddy Rich & too many others to mention. Lewis Kahn (trombone / violin) who later played live with Tito Puente. Larry Harlow (piano, organ & percussion) who had previously put out releases on the lauded Fania label and would much later record with the Mars Volta. Produced and engineered by founding member of Booker T & The MG's, Steve Cropper. Line-up / Musicians Jerry Weiss/bass,keyboards Larry Harlow/keyboards Charlie Camillari/trumpet Harry Max/trumpet,bass Jimmy Maelen/vocals Billy Shay/guitar,harmonica Lewis Kahn/trombone Glenn Jon Miller/trombone Gil Fields/drums Discography Ambergris 1970
1.Something Happened Here 2.Play On Player 3.Gotta Find Her 4.Chocolate Pudding 5.Forget It, I Got It 6.Walking on the Water 7.Sunday Lady 8.Home Groan 9.Soul Food 10.Endless Night
VELUDO started as VELUDO ELETRICO; they're Brasilian band formed in '74 and disbanded in '78. They have no official releases save for the live recording 'Ao Vivo' from 1975. Later, they regrouped around 2000 and released a new CD, named "A Re-Volta", in 2002.The sound of VELUDO could be described as a progressive rock with heavy tendencies and predominant organ, but also elements of symphonic prog and krautrock. However a Brasilian prog momentum is also present, since one can here OS MUTANTES influences. The original band members were Nelsinho Laranjeiras on bass, Elias Mizrahi on keyboards (he suggested the band's name to be shortened), Paul de Castro on guitar and Gustavo Schroeter on drums. Line-up / Musicians Nelsinho Laranjeiras/bass Elias Mizrahi/keyboards,vocals Paul de Castro/guitar,violin Gustavo Schroeter/drums Discography(Album) Ao Vivo 1974
1.Veludeando 2.Egoísmo 3.Antenoriun II 4.A Chama Da Vida 5.A Unica
Dreams band was founded in late sixties as trio, but soon added brass section and became the brass-rock band in a manner of Chicago or Blood Sweat and Tears. Even if they didn't receive big popularity in their time, they became a great starting place for some well known fusion musicians as Billy Cobham, John Abercrombie, Brecker brothers, etc. Differently from other brass-rock bands of the time, their music was more improv based in New Orleans tradition. The band released just two studio albums and was disbanded, but many members became great musicians in future. Line-up / Musicians Michael Brecker/Sax,Flute Randy Brecker/Trumpet,Flugelhorn Billy Cobham/Drums,Percussion Jeff Kent/Keyboards,Guitar,Vocals Doug Lubahn/Bass,vocals Barry Rogers/Trombone,Wagner Tuba Edward Vernon/Vocals John Abercrombie/Guitar Discography(Album) Dreams 1970
1.Devil Lady 2.15 Miles to Provo 3.Maryanne 4.Holli Be Home 5.Try Me 6.Dream Suite: Asset Stop/Jane/Crunchy Granola 7.New York
Almendra was one of the most important rock and roll groups from Buenos Aires, Argentina in the late 1960s.Led by guitarist and lyricist Luis Alberto Spinetta, Almendra released between 1968 and 1971 a few singles and two albums that revolutionized the sound of Argentine rock for the remainder of the 20th century and almost single-handedly changed the way local rock music was perceived by critics and audiences. Almendra’s extraordinary debut album was released on November 29, 1969. It included an insert with lyrics and technical information. The black & white back cover pictured the group live at the Pinap Festival. By the end of 1969 the record company released a new single featuring "Tema de Pototo" and "Final". The latter was originally scheduled to end their debut album, but could not make it due to time length limitations. The group wanted "Gabinetes espaciales" to be the a-side of this single but RCA wished to promote "Pototo" instead. "Gabinetes..." was eventually included on the compilation LP Mis conjuntos preferidos (RCA Vik 3836).In early 1970 another single was released with two songs from the album. Meanwhile, Spinetta was working on a highly ambitious -though not original at that time- project: a rock opera about mankind’s inner search. But while they were working on this new album the group split. Widely compared to The Beatles by their local contemporaries, Almendra did not survive the 1960s and the making of the difficult second album, though all individual members went on to form the backbone of Argentine rock in the 1970s. Line-up / Musicians Luis Alberto Spinetta/guitar,vocals Edelmiro Molinari/guitar,vocals Emilio Del Güercio/bass,vocals,flute Rodolfo García/drums,vocals) Discography(Album) Almendra 1969
1.Muchacha (Ojos de papel) 2.Color humano 3.Figuración 4.Ana no duerme 5.Fermin 6.Plegaria para un niño dormido 7.A estos hombres tristes 8.Que el viento borro tus manos 9.Laura va
Formed in Ireland by Taylor (ex-Eire Apparent), the original vinyl of their mildly flavoured folksy album is surprisingly hard to find. The music is gentle and contains some nice melodic patterns. They were obviously influenced by The Byrds. The album begins with a good version of their 'Rock'n'Roll Star'. 'Bad Lands Of Ardguth' is full of ringing guitars. Best of the melodic, folky songs are 'The Trapper' and 'The Good Life I Have Known'. There's also a heavy rockin' version of Dion's 'Daddy Rowlin'. When the group split, the Jones brothers formed Jonesy, Taylor joined Brown & O'Brien, while Mercer went solo and Scott joined T.F.Much and later Bruno AD. Line-up / Musicians David "Tiger" Taylor/guitar,vocals Dave Mercer/guitar,bass,vocals John Evan-Jones/guitar Trevor "Gypsy" Jones/bass Kerry Scott/vocals,harmonica,percussion Discography On This New Day 1971
1.So You Want to Be a Rock'n Roll Star 2.On This New Day 3.Bad Lands Of Ardguth 4.Regency Days 5.Hitchcock Railway 6.The Good Life I Have Known 7.The Trapper 8.Daddy Rowlin 9.Five O' Clock in the Morning 10.June Tremayne
LA MAQUINA DE HACER PAJAROS was the band created by Charly García after dissolution of SUI GENERIS. It was a project which leave the folk genre of SUI GENERIS to achieve the symphonic rock. In the short life of this band, two LP's were recorded: "La Máquina de Hacer Pájaros" (1976) and "Películas" (1977). Inspired on the "elaborated" rock of STEELY DAN and the GENESIS "symphonism", Charly García formed the best of the Argentine bands in the progressive genre. «We are the YES of Third World», synthesizes García. But for that time, none of the LP's was successful, being recognized after. LA MAQUINA was the most deep and complex intent of the symphonic rock in Argentina, and García introduced in it the new of two simultaneous keyboardists (himself and Cutaia). Maybe this new style was the most significant barrier between the band and the people, habitued to most simple SUI GENERIS. LA MAQUINA DE HACER PAJAROS dissolved by internal trouble, nearest 1977. El Festival del Amor was the last show of LA MAQUINA, at a full Luna Park, in november 11, 1977, where they played together with Nito Mestre, León Gieco, Raúl Porchetto, Gustavo Santaolalla, Markoff brothers, and other. Between the musicians that formed part of the band in the show were David Lebón, the SUI GENERIS acoustic basement (Rinaldo Rafanelli - Juan Rodríguez), and the CRUCIS musicians Aníbal Kerpel and Pino Marrone. The highlight of the show was the beautiful version of Violeta Parra's "Volver a los diecisiete", which wasn't succesful between the audience, not habitued to South American folk music.Charly García, after failed attempts to create la BANDA DEL AMOR (with David Lebón and other musicians), convinces David Lebón to go to Brasil and create the project of his new band, SERÚ GIRÁN. Line-up / Musicians Oscar Moro/drums,percussion Jose Luis Fernandez/bass,guitar,vocals Gustavo Bazterrica/guitar,vocals Carlos Cutaia/organ,Mellotron,piano, Charly Garcia/piano,synthesizer,guitar,vocals Discography(Album) La Máquina de Hacer Pájaros 1976
1.Bubulina 2.Como mata el viento norte 3.Boletos, pases y abonos 4.No puedo verme más 5.Rock and roll 6.Por probar el vino y el agua salada 7.Ah, te ví entre las luces
