Kennedy is an active band in the 80's. Guitar player's Mutsuhiko Izumi and player on the piano's two person Kenji Konishi was centered and Kennedy was formed.These two people were on the register in the band that was called Dada in 1977. The band with shape that cancels before long progressively by this band, succeeds to the style, and promotes it is Kennedy.The band announced Twinkling Nasa in 1986. However, Hitoshi Usami of the drum player of the band has seceded the band after announcing the album. And, Takashi Yasuda joined the band as a successor.Kennedy! in 1987 The called album is announced. This album is recorded by four person organization.The music character that makes the synthesizer that can be listened as a music character of the band at an initial stage a center has shifted to the part with the element of Jazz Rock mainly composed of improvisation gradually.Keyboard player's Atsushi Kitaoka supported their music characters and it participated in the band. However, Atsushi Kitaoka dissolves as a result in 1989 and the band is dissolving because it died by the traffic accident.Kenji Konishi participates in the band that is called P-Model after the dissolution of the band. And, Mutshhiko Izumi participates in the band that is called After Dinner. Line-up / Musicians Izumi Mutsuhiko/synthesizer,guitar Ito Koji/sax Usami Hitoshi/drums Ota Yumi/vocals Fukami Seiichi/keyboard Senba Motoi/keyboard Kitaoka Atsushi/Keyboard Discography(Album) Twinkling NASA 1986
1.Twinkling NASA 2.Burning Days 3.Flying Ship part.1 4.Elliptic Orbit 5.Explorer 1958 ALFA 6.Boctok 7.Prelude 8.Flying Ship part.2 9.Florida
Basque Psych/Folk-Rock group, active between mid- to late-70's.Members were Alfonso Guillok on bass/vocals, Gabi Agirregomezkorta and Txerra Gurrutxaga on electric guitars/vocals, Luis Diego on acoustic guitar and Endika Iriondo on drums. Their eponymous debut was released in 1976 on the Basque label IZ.Without speaking the Basque dialect of course, but looking at the front cover, this Psychedelic Rock album had to contain strong political lyrics, as the letters of the band's name build the form of the Basque flag.The style on the opening tracks is Heavy Psychedelic Rock with fuzz guitars and interplays with the acoustic ones, while the vocal arrangements are simply excellent.Later on the Folk elements become more prominent with more space for acoustic passages and light use of percussions and flutes every now and then, but the electric guitars still deliver some decent solos and lead the way.Not much of a great music quality, but everything in ''Koska'' is played with heart, while the vocals seems to be the stronger point of the band. Line-up / Musicians Alfonso Guillok/bass,vocals Gabi Agirregomezkorta/guitars,vocals Txerra Gurrutxaga/guitars,vocals Luis Diego/guitar Endika Iriondo/drums Discography(Album) Koska 1976
The Spanish quartet KHORUS was formed by guitarist Carmona back in 1974, and for the next five years it plied its trade in its local scene and was apparently a popular live act at the time. By 1979 the band had disbanded, and founder Carmona would continue on in a number of other bands. They never got to release anything while active, but with recorded material more or less ready to be released. Musically we're dealing with a band following pretty close in the footsteps of Camel: symphonic art rock with an emphasis on gentle instrumental textures and instrumental soloing. Opening effort Suite, which is the only reason to contemplate buying this disc, is a 10-part epic that will transfix most with a taste for endeavors of this kind. Playful keyboard soloing, slow mood-oriented guitar soloing, gentle piano textures underscoring and the odd folk- and jazz-oriented movement are all parts of this creation. Gentle psychedelic-tinged guitar licks are a nice additional feature when appearing, an almost customary feature for this type of music back in 1975, but in this case utilized effectively and sparingly. Steady drums and bass guitar provide momentum in an excellent manner. Nothing new or innovative as such, but well-made and well-performed, the kind of song that at least in my case made me forget about space and time while it lasted and where certain passages echo in my mind long after it had finished. Second track Concierto en Huelva is actually two songs performed live, initially recorded on cassette back in 1978. And while both songs appear to be good quality efforts very much in the nature of the title track, the appalling recording quality will make this one a case for the very specially interested only. Line-up / Musicians Fernando Carmona/guitar,vocals Jesús Carmona/keyboards,vocals Juan Falero/bass,vocals Juan Carlos Nieto/drums,vocals Discography Suite 1975
A progressive hard rock combo based in Sydney and active initially between 1970-1974. Their album “Wide Open” is renowned for the stunning guitar playing and the strength of the songwriting. The band went on to become one of the finest acts of the era, but they never recorded again until mid 2005 when they decided to reform and try out a few new songs, much in the vein of their original album.Musically, the album fits somewhere between the likes of Cream and Blodwyn Pig, with nods in the direction of Led Zeppelin, the Jeff Beck Group etc. It's a very English sound, but far from being a slavish copy of the overseas role-model the album bears a uniquely Australian flavour. The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze combine to place the record head-high in the progressive stakes. Furthermore the whole shebang is held together by the restlessly exploratory bass style of the great Bob Daisley and the muscular, yet agile drum patterns of Dannie Davidson. There was no hype to the band, just an unpretentious bunch of musicians capable of producing inventive and enduring music. Not only did the band earn a reputation as one of the best live bands of the period, they also released one of the great Aussie progressive albums in Wide open. As the title suggests, Wide Open is a free-flowing, expansive blending of rock, jazz and blues, with a touch of folk thrown in for good measure, a hard-as-nails progressive blues rock extravaganza strong on rhythm and melody, and bristling with exceptional guitar interplay.After their demise in 1974 Wilson joined Chariot, Davidson went on to session work and Daisley moved to England and became bassist with outfits like Ritchie Blackmore's Rainbow ,Gary Moore Band, Widowmaker and Ozzy Osbourne 's Blizzard Of Ozz.There is much discussion that Bob Daisley is the highest record selling Australian artist of all time. Line-up / Musicians Dennis D. Wilson/vocals,guitar Bob Daisley/bass,vocals Tim Gaze/guitar,piano,vocals Dannie Davidson/drums Discography Wide Open 1971
1.Free 2.Odyssey 3.Up There 4.She's So Hard to Shake 5.Vikings 6.Steps of Time 7.Twenty Three 8.Ascend 9.Parade of Fools
Despite strong differences in their musical style, these groups are often mentioned together because Kaleidon came out from the ashes of the promising Free Love after two of these band's members died in a car accident. One of the surviving members, Stefano Sabatini, formed the new group that dedicated their only album in 1973 to the old band. Born at the end of the 60's in Rome, Free Love only released two good rock singles in their short career, one of which was used as soundtrack to a spaghetti-western film. The original line-up featured the US-born brothers Carl and Steve Stogel, Gianni Caia and a singer whose name was Tony, and it recorded both the band's singles, being pictured on their covers. Later, towards the end of 1969, the group was joined by Canadian violinist John Picard and, for a short time, singer/percussionist Ricky Cellini. The line-up became more stable in 1970 with new keyboardist Stefano Sabatini (after Tony and Cellini had left) and various concerts in Northern Italy, Switzerland and Sardinia. They seemed to have a very promising career ahead, as demonstrated by their participation in Rome's Caracalla Pop festivals in 1970 and 1971, but before the last of these two events had to suffer a line-up change when Sabatini left, replaced by Fabio Cammarota. A few months later Picard quit, moving to France. This group broke up towards the end of the year and Caia and Steve Stogel, along with bass player Mauro Montaldo, reunited with Stefano Sabatini to tour as backing band of Mia Martini. It was in February 1972, while coming back from a concert in Sicily, that the musicians' van was involved in a road accident: two of them, Gianni Caia and Steve Stogel, died while the others, Stefano Sabatini and Mauro Montaldo were severely injured. A concert was held at Rome's Piper to commemorate the musicians and collect some money to support their families. A new line-up with the named Free Love was assembled in the summer, and this included Stefano Sabatini, Carl Stogel, drummer Giovanni Liberti and saxophonist Stefano Cesaroni, later replaced by Massimo Balla for the Caracalla-Wembley concert in Rome in Autumn 1972.From this line-up, with newcomer bassist Franco Tallarita, derived the new group Kaleidon, whose only album in 1973 was in fact entitled Free love; totally instrumental, strongly veering toward jazz, it went unnoticed, with the band having a strong line-up change right after its release and splitting after the fourth edition of the "Festival d'Avanguardia e Nuove Tendenze" held in Rome in June 1974.After leaving Kaleidon, bassist Franco Tallarita joined Ut. His replacement Gianni Colaiacomo later played with Banco del Mutuo Soccorso.The last Kaleidon drummer, Francesco Froggio Francica, had previously played with Raccomandata con Ricevuta di Ritorno and shortly Procession.Stefano Sabatini was involved in the short-lived Samadhi supergroup and later Mediterraneo (featuring some ex-Samadhi members), in 1978 he moved to Los Angeles where he played with many important jazz musicians, and after returning to Italy in 1982 he has had an intense activity in the jazz field, which lasts today. Line-up / Musicians Stefano Sabatini/keyboards Massimo Balla/saxophone,flute Franco Tallarita/bass Giovanni Liberti /drums Discography Free Love 1973
1.Kaleidon 2.Inverno '43 3.Dopo La Festa 4.Polvere 5.Oceano 6.Free Love
The sole recording by this outfit featuring O Terco founding member Jorge Amiden, this gorgeous orchestrated folk psych obscurity, like so much of the best stuff coming out of Brazil back in those days, is like a full body immersion in a warm balm. Buttressed by a folkloric acoustic undergirding and lacquered with swells of orchestration and drifting high harmony vocals, the watchword here is dreamy; Karma only occasionally gathering the wherewithal to rock out. A rich, buoyant and beatific collection of tracks for fans of things that are unabashedly (and unashamedly) lovely. Line-up / Musicians Alen Cazinho Terra/bass,vocals Jorge Amiden/guitar Luiz Mendes Junior/guitar,vocals Discography Karma 1972
1.Do Zero Adiante 2.Blusa de Linho 3.Você Pode Ir Além 4.Epílogo 5.Tributo ao Sorriso 6.O Jogo 7.Omissão 8.Venha Pisar Na Grama 9.Transe Um 10.Cara & Coroa
Having left INDEXI from Sarajevo, the keyboard player Kornelije KOVAC moved to Belgrade where he formed KORNI GRUPA in 1968. He was led by ambition to compose "progressive" music, but the Yugoslavian public of the time still demanded lighter music, so the band started recording radio-friendly pop hit-singles. After several personnel changes, the first important line-up consisted of Kornelije Kovac (keyboards), Bojan Hreljac (bass), Vladimir Furduj (drums), Josip Bocek (guitar) and Dado Topic (vocals). At this time they managed to record several lengthy progressive compositions while maintaining their high-profile as popular hit-makers. The hit-single of 1970 "Trla Baba Lan" was a huge success, even internationally when French singer's Dalida released its cover version. Topic left the band in 1971 when he founded another prog band in Zagreb - TIME. For a short time his replacement was a young singer from Sarajevo, Zdravko Colic, who soon dropped to pursue a successful solo career, becoming the biggest pop-star in Yugoslavia during the 1970s. The new vocalist soon became Zlatko Pejakovic and he led the final line-up of KORNI GRUPA which was to record three LP albums of prog rock prior to their break-up in 1974. The same year saw them appearing at the Eurosong Contest in Brighton, performing their hit "My Generation", while the winner was "Waterloo" by a Swedish quartet called ABBA. The style of KORNI GRUPA can be described as a cross between symphonic progressive rock and jazz fusion, not counting their pop singles discography. Of the Yugoslavian bands of the era, similar music style can be heard listening to INDEXI or TIME. The first album "Korni Grupa" was released in 1972 and appeared to be the 4th (fourth) LP record of rock music issued in Yugoslavia ever! It was quite a revolutionary step keeping in mind the ambitious musicianship showcased on this album. The music was close to jazz-fusion with virtuosity playing by Kovac, Bocek and Pejakovic. This is one of the most important records of the entire Yugoslavian rock catalogue! The second album "Not An Ordinary Life" was recorded in Italy in 1974 and targeted the international market. The band was renamed THE CORNELIANS and the lyrics were sung in English, but it sold poorly. More important was the lesser creativity than on the debut. Here the sound was closer to symphonic prog, mirroring influences from YES for instance, but it often sounded empty and pretentious. Disappointed by a lack of success, Kovac decided to disband KORNI GRUPA after the last concert in Novi Sad, in November 1974. The third album "Mrtvo More" was released post-humuous as the first Yugoslavian double LP. The first record contained parts of their farewell concert in Novi Sad, while the second record was a sort of "best of" collection of their pop singles. KORNI GRUPA briefly reunited in 1987, with Dado Topic as singer, for a one-off gig in Zagreb, together with INDEXI, TIME, YU GRUPA, Drago Mlinarec and R.M. Tocak. A double LP "Legende Yu Rocka" (Jugoton 1987) was soon released as a document and this concert was repeated in Belgrade the same year. Line-up / Musicians Kornelije Kovac/keyboards Josip Bocek/guitar Bojan Hreljac/bass Vladimir Furduj/drums Zlatko Pejakovic/vocals Discography(Album) Korni grupa 1972
1.Glas sa obale boje 2.Put na istok 3.Moj bol 4.Bezglave Ja-Ha horde 5.Tata Ko i mama Spo
KHAN's bio reads like a who's who of former and future celebs from EGG, GONG, HATFIELD & THE NORTH and NATIONAL HEALTH. The initial line-up of this early 70's Canterbury outfit consisted of keyboard player Dave Stewart, guitarist Steve Hillage, bassist Nick Greenwood and drummer Pip Pyle. Before recording their one and only album, Pyle moved on to GONG and was replaced by Eric Peachy (ex-DR. K'S BLUES BAND). The group disbanded after the release of the album in 1972."Space Shanty" is made up of six ambitious tracks composed almost entirely by Hillage. All four musicians are in fine form but the album is particularly dominated by Hillage's spacey/bluesy guitar and Stewart's effervescent Hammond play. Although much of the material is based on a repetitive verse/chorus/verse cycle and has recurrent musical themes, the band frequently breaks out into extended instrumental freak outs, either soloing or engaging in formidable guitar/organ interplay. This album is a fine sample of early Canterbury/bluesy space rock. Line-up / Musicians Nick Greenwood/bass,vocals Steve Hillage/guitars,vocals Eric Peachy/drums Dave Stewart/organ,piano,marimbas Discography Space Shanty 1972
1.Space Shanty 2.Stranded 3.Mixed Up Man Of The Mountains 4.Driving To Amsterdam 5.Stargazers 6.Hollow Stone
This French band was founded by Francis Lemonnier (sax and vocals) and Serge Catalano (drums and percussions) in May 1970 after they left Red Noise due to musical and political disagreements. The name chosen gives you a clear indication as to their political views. The band released one album called "Le Bal Du Rat Mort" in 1971 and one single "Fou, roi, pantin" and were active until 1975. The musicians that joined them were Michel Musac (guitar), Olivier Zdrzalik (bass, vocals, organ and piano) and Pascal Chassin (guitar). At first they were less focused on composing only music but more on mixing it along with satiric theater - a sort of "cabaret satirique", in order to express their extreme left views. They used their music to enhance their message, and they did it in a manner that mixed several styles of music that would fit their show and the message to be passed on to the crowd/listeners. They were related to extreme left movements such as the "Ligue Communiste Révolutionnaire" and they toured in the summer of 1970 in, among other places, universities and factories that were in strike. In July 1971 they manage to get into a recording studio of Pathé Marconi with the help and influence of Philippe Constantin et Etienne Rodagil. They are joined by guests musicians such as the Quintette de Cuivres lead by trombonist Raymond Katarzynski, trumpet players Pierre Thibaud et Fred Gérard, Joss Baselli on accordion and vocalist Jeanne de Valène. The producer Philippe Constantin does some editing of their texts and leaves out two texts that were recited without any music and replaces the booklet which featured originally a painting by Diego Ribeira. Le Bal Du Rat Mort (The Dead Rat's Ball) is released in December 1971 and 2000 copies are sold. This release did not exhibit the true face of the band, but it did however show their talent as musicians and as composers and ability to combine different influences. This album is a mixture of rock, free-jazz, fusion, folk, oldies tunes, chanson Francaise and a general theatrical and quirky approach to composing. The overall result is a well-done mixture of styles and atmospheres. This may not be groundbreaking but it is different than the average output of French bands at that time and can be seen as avant-garde in their musical approach in this album Line-up / Musicians Francis Lemonnier/saxophone,vocals Serge Catalano/drums,percussions Michel Musac/guitar Olivier Zdrzalik/bass,vocals,organ,piano Pascal Chassin/guitar Discography Le bal du rat mort 1971
