quinta-feira, 31 de janeiro de 2013

Mandrake Paddle Steamer - same (1971, UK, UKpsychsound, Forgotten Jewels CDRip, single wav + cue, log, artwork)

 *** Reviewed by great fellow Adamus67 ***

Mandrake Paddlesteamer were one of the few bands explicitly formed to “create an English version of the total music/lifestyle trip then being espoused by the California scene,psychedelia and the hippie ethos.” and if you understand that, then you probably still have a half dozen blacklight posters of topless afro goddesses hanging on your bedroom wall. In other words, while most of the British psychedelic bands – Pink Floyd, Wimple Winch, the Pretty Things, Tomorrow, the Koobas – started out as R&B, jazz or blues bands, the Manrake Paddlesteamer was specifically created to be a psychedelic rock band from the start. Whether that affected their ability to swing, rock or groove like an old R&B, jazz or blues band I don’t know. But judging from what I hear in THESE grooves, it wasn’t a problem.

This is the limited pressing of the LP K-OS Records K-OS 008 - by Mandrake Paddle Steamer, who were renowned in 1969 producing a classic psych single ''Strange Walking Man” b/w “Steam,” one of the first releases recorded at Abbey Road Studios. This is featured on this LP, along with a number of tracks lifted from tape and acetate sources. The quality of the material is very high indeed, and indicate that EMI missed out on another gem by not releasing this material at the time.
But one of the best kept secrets is this second single, only released in Sweden by label Parlophone. I think the track ''Sunlight Glide'' is even better than ''Strange Man Walking'' and it is much rarer! Flip side ''Len'' is a funky instro with mainly breakbeat drums and fuzzy guitars!
  Thank you so much Adam for that effort

Mandrake Paddle Steamer made one, now legendary, psychedelic 45 which inevitably interests collectors. The original release of Strange Walking Man is now very expensive to purchase but aside from the disc's reissue by Bam-Caruso in 1988, the 'A' side, Strange Walking Man has also been heavily compiled. It's unusual for a tempo change towards the end where the vocal parts end and the song culminates with an instrumental passage. The track also features some great understated guitar work, and superb trippy lyrics. The flip side, Steam, is a pretty decent keyboard-driven instrumental.

Formed around '67 / '68 when Martin Briley and Brian Engel met at Art School in Walthamstow, London, Brian recalls: "Martin knew a local businessman, John Lindsay who "had some money" and agreed to manage the band. He also knew a keyboard player, Martin Hooker who was playing James Brown/Booker T soul type stuff in a local "mod" band. He gave Hooker a couple of small parcels wrapped up in tin-foil and three days later Martin Hooker had become a committed underground music freak!! I still don't know what was in the small parcels!"

"Barry Nightingale's dad owned a rubber factory in Romford, next door to the Reslo mike factory where I worked for a while... he was a convenient drummer with a house out in the country where we could rehearse!! Anyway about a week later we found Paul Riordan who was working in an art studio in Gower St., W.1. and asked him to join. I was playing bass at the time, but I was crap and it was decided that I was a much better songwriter and lead vocalist, so that's what I became with Paul taking over on bass."

In order to prove that they were different from the other English "psychedelic" bands churning out rehashed Tolkein and second hand Timothy Leary they deliberately chose material which Brian thought would be politically incorrect: "Our songs tended to be based on authentic blood thirsty Viking sagas (as opposed to Bored Of the Rings), or Beowulf, or urban myths about East End sex criminals or circus dwarves... or anything outrageous. The closest we came to commerciality was a few songs using Ray Bradbury out of Shakespeare as our influence, Something Wicked This Way Comes, The October Country etc."

About this time the band were "discovered" by Shapiro Bernstein publishers, and together with Rob Finnis (now rock author) did a bizarre audition at EMI in Manchester Square. Originally their manager had arranged that we would be signed to the new Harvest label, but EMI were a bit wary about having such an unusual band on the label (Brian for instance, wanted to issue a pro-US press release saying that they hoped the U.S. would nuke the Vietcong!!) He recalls: "We predated the outrageous Punk excesses of 1977/8 by ten years!! Nobody ever knew how to categorise us. Our single, Strange Walking Man was the mildest of our songs, and our new label Parlophone couldn't see anything bizarre in it at all. It was, in fact, about a guy suffering from a very bad trip but maybe it was about a boy who's girlfriend had left him....."

Their second 45, Sunlight Glide/Len (Parlophone SD 6072) 1969, was only released in Sweden, though no-one seems to know quite how this came about. It was written by Clae Fellbom and Calvin Floyd, two film producers responsible for a minor Swedish film called 'Skottet', which the songs were included in. Sunlight Glide is a melancholic, slow number, quite unlike this first 45. The flip side, Len, is a fuzzy instrumental.

Brian Engel left Mandrake Paddlesteamer in around August 1970, in order to arrange exhibitions for Art degrees etc. and although the band carried on as a four piece instrumental for a few months (doing the first Isle Of White Festival, as Brian recalls), Briley then left and the band split up.

In late '72 Briley and Engel joined forces again to form Prowler, which they intended to be a more commercial form of Mandrake, although the songs were just as bizarre.... Brian remembers: "There was one really good Clapton-esque riff based song called Creeping Tom, which I really liked which contained the lines "I'm creeping round your house to find, What's going on behind your blind, I'm hiding there without a sound, To catch you with your sashcords down" which sounded like a really powerful Cream/Robert Johnson Blues unless you analysed the lyric and found it was about voyeurism.... I supposed it was a bit like Arnold Layne, now I come to think about it."

Prowler managed to release one 45 on Parlophone in 1973: Pale Green Vauxhall Driving Man about a South London pervert - molesting girls, etc, but which was musically a normal sort of family oriented type pop song. The record company were worried about the word "Vauxhall" and deleted the word from the title on the 45 believing that it would be interpreted as advertising!! Never mind the fact that the lyrical content....

An album entitled Liverpool Echo was also intended for release on Spark, but Engel and Briley "fell out with the production team at AIR studios" and pulled the plug on the sessions "in disgust at their unhip, old fashioned approach". Brian remembers: "They wanted us to be like Tom Jones or someone. We said that if we were going to be old fashioned, then we'd be really old fashioned and so we retired to do Everley Brothers songs around the London pubs. However, as fate would have it, we were "discovered" again which resulted in us forming the early seventies band Starbuck, with songwriter/emprasarios Howard and Blaikley who had at the time just lost The Herd."

After this brief period of pop stardom, Briley became disenchanted and joined Greenslade whilst Engel went off to "be artistic and sing on a million sessions". Eventually he was struck down with an acute bout of poverty and so joined a band on RCA which became the first credible English Country band, Limey. "After two albums I was then asked to join a very very commercial pop band which I did. I then discovered where the money disappears to in the music business and I have been chasing songwriters royalties ever since...."

# comment to this review
Martin Briley   (01 January 2010 6:45 PM)
Hi, this is Martin Briley.
I assume the text has been copied from one place to another, gradually growing more and more incorrect. You've only got five out of sixteen song titles right, I've never even heard of some of those songs!
You might also want to mention that in the eighties I went on to release three solo albums in the U.S. one of which contained 'Salt In My Tears', a top 40/MTV hit single in the U.S.
I also wrote, and continue to write songs for many other artists, I estimate my songs have been on almost thirty millions records.

01.In My Padded Cell        
02.Senlak Lament        
03. Pandemonium Shadow Show (Booger And Dark)        
04.Janis Suite        
05.The Ivory Castle Of Solikane Itusk        
06.Pale Green 'Hmmmm' Driving Man        
07.Steam  /Drums – Barry Nightingale/
08.Jaywick Cowboy        

10.Lights Camera Action        
11.Don't Let Me Fall        
12.Nobody Flies So High        
13.Only Seagulls Fly (Goodbye Uncle Bradie)        
14.The Best Years Of Our Lives        
15.Pale Green Vauxhall Driving Man        
16.Strange Walking Man  /Drums – Barry Nightingale/

Mandrake Paddle Steamer:
Martin Briley -lead guitar, vocals
Brian Engel  - vocals
Martin Hooker - keyboards
Paul Riordan -bass
Clem Cattini - drums (tracks: 1 to 6, 8 to 15)

Mandrake Paddle Steamer - Steam

[Rip and Scans by gigic2255]

Links (2 parts):   350 + 270 mb/file

Click-1   Click-2      

Pyramid: Pyramid (1976) (1996 Remaster) [FLAC]

Artist: Pyramid

Album: Pyramid
Genre: Krautrock, Space Rock, Progressive Electronic
Year: 1976
Country: Germany
Label/Catalog: Psi-fi / PSCD0004

Format: FLAC (image+cue+log)

Mais uma preciosidade diretamente do acervo do misterioso selo Pyramid. Desta vez - de acordo com Toby Robinson, engenheiro que esteve à frente de todas as gravações da Pyramid - uma tentativa de fazer algo no estilo dos álbuns da série Cosmic Jokers de Rolf-Ulrich Kaiser. Contendo apenas uma faixa de quase 36 minutos de duração, este álbum se resume a uma colagem de sessões diferentes e naturalmente com diversos seguimentos, lembrando a parte atmosférica de bandas como Ash Ra Tempel, Tangerine Dream e Hawkwind, com guitarras e sintetizadores carregados de efeitos e pouquíssimo uso de qualquer tipo de percussão. Assim como o Orion Awakes, o Pyramid foi provavelmente lançado em 1976 e foi um dos últimos álbuns da Pyramid. Este álbum não traz nem número de catálogo e nem nomes - ainda que pseudônimos - dos integrantes, o que pode dar a entender que foi feito por diversos músicos diferentes. De qualquer forma, eis aqui mais outra pérola escondida que felizmente foi redescoberta.

Another jewel straight from the acerve of mysterious Pyramid label. This time - according to Toby Robinson, engineer who was behind the production of all Pyramid recordings - an attempt to make something in the veins of Rolf-Ulrich Kaiser's Cosmic Jokers series. Featuring one track lasting almost 36 minutes, this album sounds like a collage of many sessions and naturally with many diferent segments, reminding the atmospheric side of bands such as Ash Ra Tempel, Tangerine Dream and Hawkwind, with guitars and synthesizers fully loaded with effects and echoes and barely any use of percussion. As well as Orion Awakes, Pyramid was probably released in 1976 and one of Pyramid label's last releases. There's no catalog numbers and no nomes - even pseudonyms - of the members, what makes you wonder that it was made by many different musicians. But otherwise, here's another hidden gem which was fortunatly unearthed.

01 Dawn Defender (35:38)

Personnel unknown - Hammond, guitar, bass, drums, Mellotron, Mini-Moog, electric piano, Tibetan bells

Originally released as Pyramid ??? in 1976


quarta-feira, 30 de janeiro de 2013

Gila: Night Works (1999) (Previously Unreleased Album - Live 1972) [APE]

Artist: Gila

Album: Night Works
Genre: Krautrock, Space Rock, Progressive Rock
Year: 1999
Country: Germany
Label/Catalog: Garden Of Delights / CD 035

Format: APE (image+cue+log)

Banda sensacional e já apresentada aqui na casa, o Gila foi formado em 1969 na cidade de Sttutgart, na Alemanha, e seu primeiro álbum, o Free Electric Sound, certamente entrou para a história como uma das maiores obras-primas do space rock e do rock psicodélico com uma atmosfera incomparável - em outras palavras, mostra a pura essência do krautrock. Por sorte e ainda que em poucas quantidades, este álbum chegou a ser prensado aqui no Brasil, tudo porque tinha sido lançado pela BASF, cuja política de distribuição global levou os álbuns de seu selo a lugares que dificilmente seriam reconhecidos. Apesar de ser passado quase que despercebido no Brasil, o Gila se tornou bastante apreciado pelos poucos colecionadores que foram curiosos o suficiente para conhecer o som deles.

Em 1972, um segundo álbum foi planejado, provavelmente pra ser lançado também pela BASF, porém os planos foram engavetados e em 1973, após ter migrado para a Warner Brothers Records, o Gila lançou o Bury My Heart At Wounded Knee, seu último álbum. Em 1999, a gravação do segundo álbum foi resgatada e recuperada pela Garden Of Delights, que na verdade se tratava de uma gravação ao vivo feita na cidade de Colônia, no dia 26 de feveiro de 1972, contendo somente músicas inéditas. Pela maneira de como ela termina, é provável que não esteja completa, porém se mantém no estilo viajante do Free Electric Sound. Vale constar que a capa foi feita na época pelo guitarrista Conny Veidt.

Sensational band already presented here in the house, Gila was formed in 1969 in Sttutgart, Germany, and their debut album, Free Electric Sound, certainly reached its place on history as one of the finest masterpieces of space and psychedelic rock with an incomparable atmosphere - in other words, it delivers the pure essence of krautrock. Just by chance and even if in small amounts, this album was pressed here in Brazil, much because it was released by BASF, whose policy of worldwide distribution brought many albums of its label to places where they could barely be recognized. In despite of being nearly unnoticed on Brazilian record shops, Gila became highly appreciated by the few collectors who were curious enough to meet their sound.

In 1972, a second album was planned, probably to be also released by BASF, however the plans were shelved and in 1973, after moving to Warner Brothers Records, Gila released Bury My Heart At Wounded Knee, their last album. In 1999, the recording of the second album was rescued and restored by the Garden Of Delights crew, which was actually a live recording made in Cologne, on February 26th 1972 featuring only inedit tracks. For the way how it ends up, it's probable that it isn't complete, on the other hand it keeps the same trippy style of Free Electric Sound. It is worth mentioning that the cover was made by guitarrist Conny Veidt.

01 Around Midnight (5:46)
02 Braintwist (7:45)
03 Trampelpfad (6:11)
04 Viva Arabica (5:24)
05 The Gila Symphony (13:46)
06 Communication II (3:04)
07 The Needle (0:52)

Conny Veidt - guitar, vocals
Fritz Scheyhing - keyboards
Walter Wiederkehr - bass
Daniel Alluno - drums

Recorded live in Cologne, Germany, on February 26th 1972



terça-feira, 29 de janeiro de 2013

Golem: Orion Awakes (1976) (2009 Reissue) [APE]

Artist: Golem

Album: Orion Awakes

Genre: Krautrock, Space Rock
Year: 1976
Country: Germany
Label/Catalog: Acme Records / ACLN 1014CD (2009 Reissue)

Format: APE (image+cue+log)

Entre o início e a metade da década de 70, no estúdio de Dieter Dierks, renomado produtor e engenheiro de som alemão, houve uma série de sessões lideradas por Toby Robinson (também conhecido como Mad Twiddler), um dos engenheiros que trabalhavam nesse estúdio, feitas por músicos de bandas bastante conhecidas na cena do krautrock, mas que usaram pseudônimos para evitar problemas de contrato com outras gravadoras. Essas gravações foram lançadas pelo misterioso selo Pyramid e cada álbum continha nomes inventados de bandas e músicos diferentes, ainda que fossem praticamente todos os mesmos. Os álbuns eram prensados de maneira bem rústica e artesanal, sendo que cada um deles teve - segundo algumas fontes - aproximadamente 25 cópias, que eram vendidas em galerias de arte ou até mesmo dadas de presente a amigos e familiares dos próprios músicos.

O Orion Awakes da banda fictícia Golem foi um dos últimos álbuns a serem lançados pela Pyramid, mas ainda há algumas incertezas sobre sua data de lançamento, mas de acordo com o The Crack In The Cosmic Egg, dos irmãos Alan e Steven Freeman, ele foi lançado em 1976. O som desse álbum tem forte alicerces com o space rock e muitas vezes recria a atmosfera dos primórdios do krautrock. Muito desse álbum lembra bandas como Hawkwind, Gila, Ash Ra Tempel, Neu! e mais solos inspirados em Hendrix. Um álbum que infelizmente e propositadamente ficou escondido por muito tempo, mas que quando foi descoberto, causou espanto até mesmo nos ditos 'especialistas' de krautrock!

Between the early and mid 1970s, at Dieter Dierk's studios, a renowned German producer and sound engineer, a serie of sessions took place led by Toby Robinson (also known as Mad Twiddler), one of Dierk's engineers, and made by some musicians of very knowns bands on the krautrock scene, but who used pseudonyms to avoid contractual problems with their record labels. These recordings were released by the misterious Pyramid label and each album featured invented names of bands and musicians, even if most were practically the same. The albums were pressed in a very rustic and handcrafted way, besides each one - according to some sources - had approximately 25 copies, which were sold at art galleries or given away as gifts to the musicians' friends and relatives.

Orion Awake by fictitious band Golem was one of the last releases by Pyramid, but its date of release is still a little uncertain, however according to The Crack In The Cosmic Egg, by the brothers Alan and Steven Freeman, it was released in 1976. This album sound has strong alliances with space rock and recreates the atmosphere from krautrock earliest days. Much of this album might remind you bands like Hawkwind, Gila, Ash Ra Tempel, Neu!, plus some Hendrix-influenced guitar solos. An album that sadly and intentionally remained hidden for a long time, which when was discovered, made even the self-proclaimed krautrock 'experts' freak out!

01 Orion Awakes (7:24)
02 Stellar Launch (7:36)
03 Godhead Dance (6:34)
04 Jupiter & Beyond (14:25)
a) Signal
b) Noise
c) Rebirth
05 The Returning (6:33)

Willi Berghoff - guitars
Manfred Hof - organ, mellotron, synthesizers
Mungo - bass
Joachim Buhne - drums
Rolf Föller - guitar

Originally released as Pyramid 015 in 1976.





ODA - same (1971, US, heavyhardrock, Void vinyl rip + CD bonus, single flac + cue, DR10, artwork)

 *** Reviewed by great fellow Adamus67 ***

Oda was formed in 1970 in San Francisco, California by brothers "Randy Oda" (lead guitar, organ), "Kevin Oda" (drums) along with "Art Pantoja" (lead vocals, rhythm guitar) and "Kyle Schneider" (bass guitar).

The self-titled album (now known also as "The Black Album") was originally released privately on "Loud Records" (Loud LD 80011) in 1972 with a limited edition run of 1000 copies.

The band's biggest claim to fame was to win the local Battle of the Bands contest and later Oda won a video contest for "Billboard Magazine".Oda eponymous album was an overlooked solid Hard-Rock in NO Heavy Metal guitar style.

With excellent "Randy Oda" guitar work and some great songs Oda has no weaknesses and shows a remarkable versatility on the melodic moves. With good guitar leads and memorable riffing songs "Give It Up", "Chance" and "Mable" are the great ones in the set.

Reissue on CD of rare album by USA local heavy psych to psychic-hard rock band ODA. Digitally remastered taken from the original master tape and including 4 pre-Oda bonus track...but something for something. As compared with edit vinyl contains one track A4(Cheated 3:15) omitted the CD no doubt to make room for all 4 bonus tracks. Pity, as the deleted track is better than 3 of the 4 bonuses. This hard rock album is now of minor interest to collectors,but is a very competent hard rock album with some incisive lead guitar work from Randy Oda.

Unfortunately the band broke up a couple of years after the release of this album but "Randy Oda" would go on in the late '70s with "Tom Fogerty" in the band Ruby, then to a reformed Oda in 1984.
Thank you so much Adam for that effort

Strong local hardrock in the stripped down, riff-happy, non-bombastic style, comparable to the Estes Bros and Glory on Rockadelic. Guitar playing from Randy O is killer throughout, lyrical and fluent yet hard and no-nonsense. Randy also plays the organ in an unusual combination, while his brother Kevin plays drums. Art Pantoja's vocals are OK in the non-operatic style common to these bands (though clearly not as good as on Dryewater and Top Drawer), and all over I have to rate this one of the better within the style. The CD bonus tracks show an impressive versatility with more melodic moves, as well as a very good take on Butterfield's "Mind to Give Up Living". Randy Oda later had a taste of mainstream success as member of Tom Fogerty's band Ruby in the late 1970s, then reformed Oda for a 1984 LP. [PL]
This is above average 70s hard rock, with good guitar leads and memorable riffing. The vocals are uninteresting, though, and there’s not much variety or originality here. A few pleasant exceptions: the surprising funk/horn interlude on “Cheated,” and the poppy melody and hot guitar solo on “Give It Up”. The best songs are in the middle of the album, so give it a chance if the first couple of songs underwhelm you. The CD adds four bonus tracks that span more styles than the original album. [AM]

side one:
A1. Mable
A2. Wasn't Very Long
A3. Gabriel
A4. Give It Up
A5. Chance
side two:
B1. Thinkin' About You
B2. How Do You Feel
B3. Hard Times
B4. One More Time
B5. I Got A Mind To Give Up Living
B6. All I Want To Do
plus cd bonus
12. Cheated

Art Pantoja - Lead Vocals, Rhythm Guitar
Randy Oda - Lead Guitar, Organ
Kevin Oda - Drums
Kyle Schneider - Bass

Oda - Cheated (1971)

 [Rip and Scans by gigic2255]

Link:   CD rip (Bonus tracks)

segunda-feira, 28 de janeiro de 2013

Warren S. Richardson Jr. – Warren S. Richardson Jr. (1969 us psychedelic & hard blues-rock – FLAC)

Saudações, aqui está mais um excelente heavy/hard psicodelico rock album, obviamente sem faltar boas pinceladas de blues! Desfrutem!

Mushroom - Early One Morning (1973, UK, progpsychfolkrock, Little Wing CDrip, single wav + cue, log, LW + vinyl artwork)

 *** Reviewed by great fellow Adamus67 ***

Pray the sticker that promotes this rare LP, one of those exquisite rarities born in the great “Emerald Isle”. This is the only work of “Mushroom”, in recreating a strong progressive-rock dye traditional irish-folk. In conversations with friends, discussing about psychedelic folk with a tendency in these discussions someone mentioned “Mushroom” …They're not afraid to whip out fuzzy solos or throw in straight celtic music though, so the mood varies pretty widely... the rest is history.

Formed in Dublin in the early 70’s, MUSHROOM were one of Ireland's leading pop bands from 70 to 74. In fact, they had a huge hit with their first single "Devil Among the Tailors" from their LP "Early One Morning" which reached no. 2 in the Irish top 20 charts in 1973, selling over a 100,000 LP’s and singles; another song, “Kings and Queens”, reached number 13 the following year. They band comprised five musicians among whom were violinist Pat Collins and guitarist Aengus McNally, son of actor Ray McNally; the other three contributed to the band’s acid folk sound with organ, moog, harpsichord, bass, drums, tin whistles, chimes, bodhran and vocals. As far as comparisons go,Horslips comes immediately to mind. Most easily compared to Horslips through its use of fiddle, bodhran, and tin whistle alongside its 1970s rock kit of guitar, drums, bass, and organ, (oh, and don’t forget that moog!), Mushroom also blended early seventies rock with traditional Irish songs and tunes. Among Mushroom’s more straightforward, (and frequently folksy,) compositions, ''Early One Morning'' shows the band integrating reels and hornpipes right into the songs, with a nice “acid-tinged” guitar, slurring all 70s-prog-like, right among the fiddle and surprisingly-Celtic sounding keyboards.

LP 'Early One Morning', originally released in 1973 on the Hawk label (HALPX 116) is a real one off, combining brilliant,heavy progressive rock and psychedelic Irish folk, with blazing guitar leads battling with fiddle attacks. The results are awesome, fully justifying the hefty price tag of an original.

Now here's something you don't hear everyday-Celtic tinged rock! Truly this is one of the most unique albums you will ever hear from a one-shot band. Based in Dublin, Mushroom combines some great, distorted guitar work with nicely understated keyboards and fiddle. Don't be fooled by the folksy title song that opens the album. It is in the glorious thunder of the following track, "The Liothdon" that the band's mission statement can be heard is a great example of this. This second track is where the band initially tips its hand on what’s to come. The keyboard takes the first run at the reel that this song sits on, followed by some nicely belted out vocals and an honest-to-goodness guitar solo. That is not to say that Early One Morning is a balls-out rock and roll album. It has its folksy moments as well, namely the title track, "Unborn Child", "Tenpenny Piece" and the frisky "Potter's Wheel". The funereal "Standing Alone" with its Moog solo could probably fit prog mode. But mostly this is a devil's dance of great music-and even if you somehow impossibly remain unconvinced of the brilliance of the Mushroom band. The same treatment and zeal is applied to the instrumental tracks "Johnny The Jumper", "The Potter’s Wheel", and "Drowsey Maggie", as well as the blistering CD closer "The King of Alba", and of course, the band’s big hit, "The Devil Among the Tailors", which uses the reel “The Devil’s Dream” as its main vehicle. Brilliant tune!
An album 5 stars in every sense of the word.
 Thank you so much Adam for that effort

This rare album by this obscure early-'70s Irish folk-rock outfit is in some ways quite similar to the brand of British folk-rock pioneered by Fairport Convention in the late '60s and early '70s. Traditional Celtic folk-flavored melodies are given both delicate and hard-rocking treatments, the standard rock instruments given a British Isles folk tinge with embellishments of violin, electric mandolin, harpsichord, tin whistle, wind chimes, recorder, and bodhran. The similarity isn't extreme, however, as to start with, the production is far funkier and more homespun -- not a bad thing at all, but a trait that needs to be noted in case you're expecting something on the order of Fairport's Full House. Just as crucially, there are definitely more influences from pop, psychedelia, and progressive rock in Mushroom's particular spin on the British Isles folk-rock genre. While at times this is very much in the rapid-fire, lickety-split, ferociously rocked-up reels'n'jigs style that Fairport and such often used in the early '70s, there are also some nearly exquisite passages of melancholy Celtic folk balladry with a mild contemporary rock slant, such as "Tenpenny Piece" and the title track. Then there's the psychedelic guitar sustain and wah-wah weaving around the violin in "Crying," which otherwise would be a rather standard British late-'60s pop/rock song. And there's also the almost berserk keyboards of "Johnny the Jumper," where Fairport-style folk-rock meets the distorted roller rink sounds of early-'60s Joe Meek productions. It's far more naïve a record than Fairport Convention or Steeleye Span ever made, and less vocally and instrumentally accomplished, not to say more rudimentarily produced. Yet for those very reasons, it's a fairly nifty relic in the genre, if only because it's not just an emulation of obvious influences, but a somewhat odd and original twist on the format.
(~allmusic)  by Richie Unterberger

A fantastic album of Irish heavy folk-rock. Combines electric guitar with electric mandolin and other great things, and makes for a great listen. Very Irish yet very heavy and electrified throughout. A great combination.
(~rateyourmusic)  johndcoats

01. Early One Morning        02:37
02. The Liathdan        04:16
03. Crying            03:54
04. Unborn Child        03:45
05. Johnny The Jumper        03:06
06. Potters Wheel        02:22
07. Standing Alone        05:36
08. Devil Among The Tailors    02:45
09. Tenpenny Piece        03:29
10. Drowsey Maggie        03:57
11. King Of Alba        04:16

Mushroom - The Liathdan - 1973

Aongus McAnally - guitars, recorder, tin whistle, vocals
Colm Lynch - percussion, bodhran, wind and wood chimes, vocals
Alan Brown - bass, twelve string guitar, vocals
Michael Power - organ, harpsichord, moog, vocals
Pat Collins - violin, electric mandolin, vocals

[Rip and Scans by gigic2255]



sábado, 26 de janeiro de 2013

American Eagle (post Surprise Package) - same (1970, US, ruralrock, Decca vinyl rip (not mine), single flac + cue, DR8, artwork)

*** Reviewed by great fellow Adamus67 ***

Previously known as the Surprise Package (with Mike Rogers instead of Gene Hubbard) these guys line age stretches way back through numerous Pacific Northwest bands including the Viceroys, Galaxies and Rock Collection. They appear to have been based in California by this time. The album is predominantly straight-ahead riff-heavy rock with soulful vocals. The Vanilla Fudge style rework of the Moody Blues' Nights In White Satin drives that particular comparison home.

Rob Lowery was lead vocalist for The Galaxies. He joined when he was about 14 and spent 6 years with the group. When he was twenty he went on to join national recording artists, "The Surprise Package" (aka The Viceroys) which was produced by Lee Hazelwood and put out the album Free Up, in 1969, plus several single recordings. After leaving Hazelwood's record company the group changed their name to American Eagle and put out another album titled “American Eagle” in 1970, on Decca records....at present one of the harder to find Decca albums, it contains several killer tracks in 'On The Rack', 'Paper Box', 'Draw The Line' & 'So Satisfied'....plus a great version of 'Nights In White Satin'. There are also some excellent melodic vocals on several tracks which contrast well with the strong lead vocals.

This album was played throughout the nation and was popular in Germany and Sweden. Although the band never gained the notoriety it deserved, they were the opening act for major rock groups of the time including: The Beach Boys, Led Zeppelin and Jethro Tull. Rob left the music industry in the early nineties to raise a family and began a successful career as an antiques dealer in Seattle (Classic Antiques) and ultimately opening Cafe Neo combining it within the antique store to create a unique dining and antiquing experience. Currently he is the owner of income property in Seattle and Everett.

Many Thanks to original ripper Franta Novak
Thank you so much Adam for that effort

American Eagle were Greg Beck (guitar-vocals), Gene Hubbard (organ-piano-piano bass-vocals), Robert Lowery (vocals), and Fred Zuefeldt (drums-vocals).

The group’s roots go back to the Seattle Washington area where Greg Beck and Fred Zuefeldt were members of the Viceroys, who also included future Raider Jim “Harpo” Valley, prior to this recording, the group recorded an album for Lee Hazlewood’s LHI label as Surprise Package releasing “Free Up” in 1968.

American Eagle is basically the same band as the Surprise Package (previous post). They released this album about a year after the dissolution of the Package in the fall of 1969. Where the emphasis was on psychedelia on the previous album, here the band covers straightforward rock with a slight gospel rural feel to it. Highlights are “On The Rack” and a fine version of the Moody Blues’ “Nights In White Satin” that recalls the Vanilla Fudge.
(~redtelephone66)  Jack Dominilla

side one:
A1. Gospel
A2. On The Rack
A3. Heading For Defiance
A4. Nights In White Satin
side two:
B1. Family
B2. Paper Box
B3. Draw The Line
B4. My Song
B5. So Satisfied

American Eagle:
Gary Beck - guitar, vocals
Gene Hubbard - keyboards, vocals
Bob Lowery - lead vocals
Fred Zeufeldt - drums

American Eagle (aka The Viceroys) - On The Rack [1970]

 [Rip and Scans by Franta Novak]

Link:   255 mb/file


sexta-feira, 25 de janeiro de 2013

Wolfgang Dauner's Et Cetera: Et Cetera (1971) (2008 Remaster + Bonus Tracks) [FLAC]

Artist: Wolfgang Dauner's Et Cetera

Album: Et Cetera
Genre: Jazz-Fusion, Krautrock
Year: 1971
Country: Germany
Label/Catalog: Long Hair Records / LHC000071 (2008 Remaster)

Format: FLAC (image+cue+log)

Et Cetera (não confundir com a banda progressiva francesa de mesmo nome) foi um dos projetos do renomado pianista alemão Wolfgang Dauner, ativo na cena do jazz alemão desde o início dos anos 60 e que já havia formado seus próprios trios, quartetos e quintetos. Para esse mega projeto, Dauner contou com o apoio de outros músicos bastante talentosos, a começar pelo guitarrista Sigi Schwab, que usava uma enorme variedade de instrumentos de corda e que, além de já ter participado de outros projetos com Dauner, foi integrante do Embryo, tendo participado dos álbuns 'Father Son And Holy Ghosts' e 'Rocksession'. Também havia o baixista Eberhard Weber, já atuante na cena do jazz e que ganhou mais credibilidade ao lançar o 'The Colours Of Chloë', seu primeiro álbum solo. Como baterista, havia o estadunidense Fred Braceful, que também já era um velho conhecido de Dauner - assim como o percussionista Roland Wittich - e que após o fim do Et Cetera, ele passou a ser integrante do Exmagma, outra banda de jazz-fusion mais experimental.

O som do Et Cetera era enriquecido por uma enorme variedade de instrumentos e que de longe fazia a banda se diferenciar de qualquer outra derivada de jazz, se é que para todos, o Et Cetera realmente seguia alguma vertente do jazz. Por isso que na época que este álbum foi lançado, a banda foi logo absorvida e aceita pelo público do "krautrock". E, sem dúvida, um dos maiores projetos já elaborados por Wolfgang Dauner.

Et Cetera (not to confuse with the French progressive band of the same name) was one of the projects led by the renowned German pianist Wolfgang Dauner, active in the German jazz scene since the early 1960s and which had already formed his own trios, quartets and quintets. For this mega project, Dauner was fully supported by a crew of outstanding musicians, beginning from the guitarrist Sigi Schwab, who used a wide range of string instruments and who, besides having supported Dauner in other projects, was also an Embryo member, playing his role on 'Father Son And Holy Ghosts' and 'Rocksession' albums. There was also the bassist Eberhard Weber, already active on the jazz scene and which gained more credibility releasing 'The Colours Of Chloë', his debut album. The US drummer Fred Braceful was called in for being a Dauner's old friend - as well as Roland Wittich - who after Et Cetera disbanded, joined Exmagma, another experimental jazz-fusion band.

Et Cetera' sound was enriched by a huge range of instruments and by far it was something completely different from any other one derived from jazz, if for everybody, Et Cetera was really into any jazz tides. Therefore, by the time this album was released, the band quickly built a following by the "krautrock" audience. And, undoubtely, one of the greatest Wolfgang Dauner's projects ever made.

01 Thursday Morning Sunrise (11:35)
02 Lady Blue (3:02)
03 Mellodrama Nr. 2 A (5:12)
04 Raga (16:11)
05 Milkstreets (4:08)
Bonus Tracks
06 Behind The Stage (6:35)
07 Tau Ceti (7:10)
08 Kabul (8:51)

Wolfgang Dauner - synthesizer, piano, clavinett, claviocord, ringmodulator, electric percussion, trumpet, flutes, other electric instruments
Sigi Schwab - guitars, surmandel, sitar, tarang, lute, veena, sarangi, tambura, psalter, flutes, balafon, The Bag, kalimba, ringmodulator
Eberhard Weber - basses, cello
Fred Braceful - percussion, vocals, one-string-guitar-bongo
Roland Wittich - percussion

Originally released as Global Records 6306 901 in 1971.


Password: micose



quinta-feira, 24 de janeiro de 2013

ThunderMugs - On The Spot (1969, US, litegarageypsych, Akarma CDRip, single flac + cue, artwork)

 *** Reviewed by great fellow Adamus67 ***

The ThunderMugs were formed in the fall of 1965 in the Central California Coast town of San Luis Obispo. They became very popular and started touring all of the surrounding areas. Then selected Southern California gigs up and down the California Coast. Led by Jack Lutz, who was also the lead singer, the other members of the group, as it was recorded, were Bob Jonte on drums, Jerry Roy on Lead Guitar and Dennis Bassetti on Bass Guitar. The ThunderMugs performed a wide range of cover tunes of the popular groups as well a large amount of original material. All of the original material was written by Jack Lutz. At one of The ThunderMugs concerts in the Los Angeles/Hollywood, California area, the group met Bill Homes, the owner of All American Records and All American Productions. He was also the Manager and Producer of the Strawberry Alarm Clock. Bill Holmes was very impressed with The ThunderMugs and their fresh and different sound and decided to record them. A single 45rpm record consisting of "Motion Tree" and "Captain Midnight" was recorded at Original Sound Studio in Los Angeles/Hollywood in the summer of 1967 and record number AA-399 was released on the All American Record label. Both of these songs were written by Jack Lutz. The ThunderMugs continued to record and perform concert tours with such groups as The Merry-Go-Round, The Grass Roots, The Strawberry Alarm Clock, Poco and The Doors, plus many other well known groups, until late in 1969. At this date the members decided to disband to follow their own interest.

The album contains the band's entire output of thirteen songs which are mainly singles and unreleased recordings, together on one package, for the first time.
 Thank you so much Adam for that effort

Featuring 13 tracks of high distortion and vocal harmony, ON THE SPOT, the much sought-after, unreleased 1969 album from Los Angeles band Thunder Mugs, finally sees the light of day thanks to Akarma Records. The ThunderMugs were an obscure late-'60s band from California that recorded an album's worth of songs for Bill Holmes' All American label. Although the band never released a full album, they did manage a single: "Motion Tree" b/w "Captain Midnight." The band consisted of Dennis Bassetti (bass, vocals), Bob Jonte (drums), Jack Lutz (lead vocals, guitar, keyboards), and Jerry Roy (lead guitar, vocals). Composed by Lutz, the music on this album is predominantly soft psychedelic pop with good guitar, a few effects, and a very British sound. The material offers good period charm and features a few standout songs that, if released in Britain in 1967, could've easily become hits. This release on Akarma Records was officially licensed from All American and contains the band's entire output of 13 songs.
(~cduniverse) by Keith Pettipas

Thundermugs "Motion Tree"
01. Motion Tree          
02. Sweetwater Roll          
03. Muffin Man          
04. Mary Jane          
05. Figure This          
06. Captain Midnight          
07. Lucky Lady          
08. You for Me to Love          
09. Mistah Moon Risin          
10. Marmalade Lady          
11. Mr. Z's Backyard          
12. What Is There Left 
13. Rooms of Laughter

Jack Lutz - lead vocals, lead guitar, drums, keyboards
Bob Jonte - drums
Jerry Roy - lead guitar, backup vocals
Dennis Bassetti - bass guitar, backup vocals
Pontak Grote - tambourine
Bob Hale - rhythm guitar on 1+6

[Rip and Scans by gigic2255]

Link:   200 mb/file


quarta-feira, 23 de janeiro de 2013

The Storm - The Storm (1974 Spanish proto-prog hard rock, 2006 Wah Wah records reissue - FLAC)

Saudações; saindo um pouco do eixo Reino Unido-Estados Unidos com relação a origem das pérolas setentistas, estou a postar um grande álbum de hard rock oriundo da Espanha. Disponibilizarei também um vídeo com uma apresentação ao vivo, feita em estúdio, que eu retirei de um track vídeo que veio como bônus no auto-intitulado CD dessa banda. Se alguém se interessar, eu posso ripar e fazer o post do DVD aqui no bordel! Boa audição!

1970 brought the climax for the progressive & underground rock in Spain, with Barcelona (Máquina!, Pan & Regaliz, Música Dispersa, Vértice, Tapiman) and Seville (Nuevos Tiempos, Gong y Smash) on top.

A committed and up-to-date musical movement is done for first time, leaving behind the deep backward and inferiority complex that were the companion on the Spanish music during the 60's.

However, the lack of resources an infrastructures and the existence of a non helpful atmosphere (but open and widely hostile) prevented the scene from developing a musical culture which warranties its own continuity.

1971 means the beginning of the fall, and by 1972 the premature disappearance of almost the whole of all of these bands is confirmed.

Forecast for 1973 is disappointing; the "pertinaz sequia" is felt in music as well, an someone able to move away the ghost of mediocrity and underdevelopment that flies over the Spanish musical panorama is wait as the rain; and the rain comes in the shape of a storm: a storm of Hard Rock called The Storm.

The disband of Smash brought a deep crisis in the Sevillian rock scene. The few groups that are formed have a very short life, instigated by the lack of opportunities and means (a second-hand guitar and an amp are out of reach for the most of the young Sevillian musicians), andno project is consolidated during two years. Things do not run better for The Storm, when an entertainment businessman from León called Luis Fernández de Córdoba appears, and assumes the role of manager and who will become a key character during the group life.

So far The Storm have been playing together for years; Angel (guitar), Diego (drums) and José (guitar) met at school, where they formed a band called Los Tormentos.

Luis (organ) will join later, and José will take bass, a line-up that will stand stable during the whole group existence.

At first they will make covers of The Beatles, Jimi Hendrix, Cream, Guess Who, but is after discovering Deep Purple when they decide to lead his sound towards Hard-Rock.

After a gig in a discotheque in Torremolinos called Barbarella, they are contracted for a show in another Barbarella located in Palma de Mallorca, but the band name is not of the likes of the manager of that place because "its sounds like Flamenco". At this point they are suggested to change their name to "The Storm".

1974 it's the year for The Storm. In April their first LP is released. A solid, forceful and thundering hard rock effort (and perhaps the only real hard rock record ever made in Spain, if we exclude the Tapiman one), made exclusively with own cuts and where the band find their own musical style without renouncing to their influences (Storm will be "the Spanish Deep Purple" in our collective memory forever).

Their debut album, originally released on Basf in 1974, is one of the Crown jewels of Spanish hard rock, and changes hands for a small fortune among collectors all over the world. This LP really rocks. 

It's high energy hard rock that follows the line marked by the big organ outfits of the era: DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATON, a.o. It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'. 

Now it gets the deserved well-done CD treatment at last, with great remastered sound, nice booklet incl. up to 30 minutes of images with a concert of the group and an interview, all circa '74-'75 !!!! An incredible document available for the first time, don't miss this!!!

Writing On The Wall - The Power Of The Picts (1969, UK, hardprogrockpsych, Green Tree CDRip, flac + cue, log, artwork)

 *** Reviewed by great fellow Adamus67 ***

Writing on the Wall were a Scottish rock band of the late 1960s and early 1970s who became a popular live act in the United Kingdom. The group originally formed  in Edinburgh in 1966 as the Jury, changing their name to Writing on the Wall in early 1968.
The band's manager, Brian Waldman, moved the group to London and let the band perform at his club, the Middle Earth.
Melody Maker felt sufficiently disturbed to comment that the band had "the reputation of being violent to frightening extremes".
However John Peel was suitably impressed that same year the band recorded two  a BBC radio session for disc jockey John Peel and made a live demo album as well  to solicit a deal.

Scottish band who in the late 60s last century enjoyed great popularity in the underground rock scene through a highly dramatic stage act. Performed regularly  concerts at the club Middle Earth, including with Ten Years After and long debuted at the legendary Marquee Club, where his performances opened the beginner bands including Wishbone Ash.  As others retreated to "be-denimed slothfulness" The Writing On The Wall became more theatrical , featuring choreographed fights, dressing up as a Caveman, a High Priest, a Monk and a Witchfinder, and the destruction of a Bubble car in support of the recently introduced breathalyser test.  The Middle Earth club launched a label with this maniacal rock band as lead off act, releasing a first single 'Child on a Crossing' / 'Lucifer Corpus',and they recorded the LP The 'Power of the Picts' in 1969, for Waldman's Middle Earth label.

The record didn't attract much notice outside of Scotland, and while acclaim for their energetic live show enabled them to keep playing for a few more years, their well of new original material dried up in the absence of more record releases.

They do another Peel session in 1971, and after more personnel changes had reduced their lineup to the one that had comprised the Jury in 1966, they recorded an unreleased LP in Edinburgh in 1972.

A final single, "Man of Renown," appeared on Pye in mid-1973, and they started work on another album in Wales in late 1973,but something mysterious happened to this band: in December 1973 their equipment was stolen, and they decided to abandon the music (or at least disband). Strange.  After that the singer Linnie Patterson   joined BEGGARS OPERA. for their 1973 album Get Your Dog Off Me (Beggars Opera being a prog rock band also from Scotland, although you should apparently only worry about their first three albums, 1970's Act One, 1971's Waters of Change, and 1972's Pathfinder) Guitarist Willy Finlayson went on to stints with the bands MEAL TICKET, BEES MAKE HONEY and his own group the HURTERS, as well as an appearance on MANFRED MANN's 'Earth band' release 'Chance' in (1980), Robert 'Smiggy' Smith joined the aptly-named BLUE, Alby Greenhalgh joined the rockabilly outfit the FLYING SAUCERS, and bassist Jake Scott formed the obscure jazz group XU-XU PLESA.

WOTW They have a strong personality, a well-defined style, which borders the darkness, the more so the cover confirms the atmosphere on the LP. Linnie Patterson has a hellishly strong rugged voice, which integrates well with the Hard Prog Psychedelic songs. Unfortunately he died in 1990. Of fundamental importance is the contribution of Bill Scott, an amazing playing on  organ Hammond, especially in the dialogues with the guitar of Willy Finlayson. The Writing On The Wall is a button machine that moves in unison, a perfect understanding that sends adrenaline in abundance and you'll find yourself unconsciously move your foot, this is an opportunity not to be missed, savor the vibrations of the dawn of the Rock is not every day,listen and you'll understand once and for all !!!

It is inconceivable that the album, which was made not in the best studio, and per certain without the great budget, listened to it so well.  Perhaps only the unique skills of working musicians owe that recorded their CD after years of defending themselves, and in most cases do not age at all. I still somehow did not manage to contemporary performers skip this cosmic level. How is this possible?

"The Power Of The Picts 'as Arcadium album' Breathe Awhile" was released in November 1969 in a released by the same label,  Middle Earth. Year 1969 was a really great year.  Probably (subsequently), not  recording  an album so much depression and exciting at the same time.

If there is music heaven or hell music is thanks to these discs as 'Power Of The Picts' man can actually be there. Ecstasy and depression. All this is on this wonderful album.

CD release on my label Repertoire Records not know why resetting the order of recordings. Thus, the first four have landed on the  end..  the five the other hand, the original LP transferred to the beginning. I even admit that it makes sense. A bit surprising because the original arrangement of the composition, where the first page of the LP is crowned 'Aries', while on the other side there not is already so strong climax. Thanks to German label CD  has gained dramatic music opens ideal because even at the beginning of 'Bogeyman' , then voltage increases, it's just my feeling, probably resulting from editing compact habit of this incredible achievement.


First of all, one thing stands out listening to 'The Power Of The Picts'. At times, the team proposed a solution that only a few months later, the group proposed a Deep Purple album 'In Rock'.

Example? Just listen to the final extended composition 'Aries'. The damming, aggressive, played with the speed of light sounds of the Hammond and Linnie Paterson's amazing vocals. The only thing missing characteristic scream  piercing ,  Ian Gillan and we have the final part of the  'Child In Time' famous quintet. I do not think it's irrelevant, because 'In Rock', in particular, is located there 'Child In Time' is considered a groundbreaking work for rock music.

And as for plate contents ''Writing On The Wall'', the band offered a journey through the darkest recesses of the human soul. I sometimes such hyperbole. The first song on the CD 'Bogeyman'  deceptively begins a kind of folk chants to the accompaniment of an accordion. This idyllic mood is suddenly disturbed by the entry team, which introduces an atmosphere of anxiety march. Heavy rhythm is supported by klawinet. However, the culmination of each stanza is completely insane screaming vocalist.

The second composition in the introduction quotes - almost perfect on this album - "Mars" from Gustav Holst's suite 'The Planets'. But then the narrative is released and is already playing with a disturbing own vocal recitation of the background music, which is disturbed inputs dynamic band.

I could as long slog such truisms, but it does not make any sense. That's why I give only the essence.
In these seemingly very complex compositions dominate the senses piercing Hammond organ sounds. Sharp and sophisticated in its own way an electric guitar parts and heavy and really excellent rhythm section,that inspiration musicians makes these simple in terms of structures songs interesting, so even for a moment did not weary.

However, a separate issue is the voice of Linnie Paterson. No doubt inspired by Arthur Brown. Vocalist sings as if genuinely depended on it his life. Even in the quieter passages are his vocal interpretations are full of passion. Linnie Paterson usually, not saving the throat. I love the these full of horror shrieks and shouts.
If I had to point out their favorite tunes with the equal and consistent plate would point simply electrifying 'It Came On A Sunday'. Great song with a simple and extremely melodic bassline strong guitar parts enclosed and Hammond organ filling the background. Here is a great instrumental interlude, in which the two lead instruments with each type of dialogue. Above each sound rises and this indescribable aura of danger. For me, this is a sensational song. In no recording of the quintet, never left tone, I always played the max.

However, the absolute apogee of the already mentioned 'Aries' which is interpreted by American recording group The Zodiac from the album 'Cosmic Sounds'. In the version of the Writing On The Wall was not only a whole expanded from the original, but also gained more heavier, darker shape.

Whole is full of despair and crushing melodic recitations singer of the band interludes sounding like armageddon Hammond organ in the lead role. Playing on them Bill Scott was probably ten pairs of hands. It is impossible to describe what he was doing. By contrast, in the middle of the foreground is an electric guitar improvisation by offering a  soothing background as the rhythm section. However, this is only a prelude to the ecstatic finale full of fear, screaming voice, and re-piercing  throughout the stabbing, Hammond organ sounds is killer... this is one of the most moving songs in rock history. I always have chills all over my body when I listen to.
Thank you so much Adam for that effort

1 It Came On Sunday
2 Mrs. Coopers Pie
3 Ladybird
4 Aries
5 Bogeyman
6 Shadow Of Man
7 Taskers Successor
8 Hill Of Dreams
9 Virginia Water
Bonus Tracks
10 Child On Crossing
11 Lucifer's Corpus

Writing On The Wall:
Bass – Jake Scott
Drums – Jimmy Hush
Guitar – Willy Finlayson
Keyboards – Bill Scott
Vocals – Linnie Paterson

Writing On The Wall - Ladybird (UK 1969)

 [Rip and Scans by gigic2255]

Link:   378 mb/file


terça-feira, 22 de janeiro de 2013

BASF: From the Chemical Company to the Progressive Music Labels

BASF (Badische Anilin- und Soda-Fabrik, or Baden Aniline and Soda Factory) is the largest diversified chemical company in the world and is present in over 200 countries supplying a huge range of products for all kinds of industries. It is currently headquartered in Ludwigshafen, Germany, and was founded on April 6th 1865 in Mannheim, in the former German-speaking country of Baden by Friedrich Engelhorn. The company has become very known and earned an excellent reputation amongst the general public for providing audiovisual equipments for home use from the mid 1960s to the 1990s, starting from reel-to-reel audio tapes in 1966 and later covering ranges of cassettes, VCRs, turntables and so on. As they could supply themselves with all kinds of audio media, why not trying to dive directly into the music business as well? That's they did in 1970, starting not only a brand-new label but also their own distribution company as a big company like them had the funds to do so. As the BASF label sadly lasted just for a few years, many people nowadays would be suprised to see any of its red-labeled and black-lettered vinyls carrying the logo.

As a worldwide company, it is hard to say if the BASF label was founded to solely to supply the German underground scene, as such was the real intention behind Ohr or Brain, however the fact is that throughout its few years of existent, BASF played a very important role on that scene and presented some excellent music on progressive, psychedelic, folk, jazz, avant-gard, and pop genres. Its staff seemed to be open enough to embrace all kinds of bands possible regardless of their commercial potential, what makes it believe it was probably ran by influent people on the "krautrock" scene, whereas some people may think they were naive enough to focus on more commercial fields.

'Disaster - Lüüd Loma' (1971), Amon Düül's final release; Gila and Karthago debut albums (1971); Embryo's sixth album 'We Keep On' (1973); Joy Unlimited's third album 'Reflections' (1973); and Chris Braun Band debut album 'Both Sides' (1972). These were some of the very first German progressive albums released by BASF.

The BASF label became the shelter for some renowned krautrock bands, such as Amon Düül, Gila, Karthago, Embryo, Chris Braun Band, and Joy Unlimited. Some non-German rock bands and artists, however, were signed, like Taste, Stud, Phil Trainer, and Jonesy, even if most of them didn't have their albums pressed on their own country. On the other hand, as BASF was a worldwide company, their own label releases were distributed in countries like Finland, Netherlands, Italy, Portugal, Spain, Japan, New Zealand, Brazil and Venezuela, where most - if not all - of those bands were completely unknown. BASF of Venezuela had its own manufacturing plant, and besides provinding support for many local artists, it also pressed many krautrock albums - including even some Pilz releases - very probably for distribution on the whole Latin America.

Some sublabels also came along, being the first of them the already existent Cornet, founded in the mid 1960s, focussed on German Scherlag artists, and run by Heinz Gietz, a musician and producer. In 1971, BASF decided to create their own first sublabel, instead of incorporating another existent one, and then under initial direction of producer Jürgen Schmeisser, the legendary Pilz was born to embrace even more the krautrock scene. As Schmeisser wasn't unable to keep going on the job, no one better than Rolf-Ürich Kaiser to take place, the cofounder of the legendary Ohr label and one of the leading personalities on the krautrock scene. For this reason, some Pilz releases were either reissued by Ohr or by Kosmische Musik, Kaiser's own label. The newly founded Pilz certainly made an impact signing bands like Popol Vuh, Wallenstein, Hölderlin, Bröselmaschine, Emtidi, Mythos, and Anima. All seemed to be well, until Kaiser and Gille Lettmann, his girlfriend and collaborator, got in touch with LSD through Timothy Leary, who at the time was a refugee in Switzerland.

Kaiser became a LSD-addict and as the time went by, completely unable to work and hard to deal with, so much that Bruno Wendel and Günther Körber quit Ohr to found the very known Brain, a Metronome Records sublabel for progressive music. Besides, some Pilz bands had to fight in court due to contract and management problems. As these reasons would eventually tear down BASF reputation on the market, Pilz was closed down already in 1972 after just 20 albums and 7 singles released.

Pilz was BASF's progressive sublabel to embrace even more the krautrock scene. Some of its notable releases were: Popol Vuh's second album 'In Den Garten Pharaos' (1971); Hölderlin debut album 'Hölderlins Traum' (1972); Bröselmaschine debut and only album (1972); 'Saat' (1972), Emtidi's second and final release; and Anima debut album (1972).

Other BASF sublabels were Buk Records, mainly concentrated on pop music, and the US-based Fungus. Both arose in the early 1970s and hardly made any impression on the market with a handful albums released. In 1971, BASF also began manufacturing and distributing releases for the prestigious MPS Records (Musik Produktion Schwarzald, or Black Forest Music Production), dedicated almost exclusively to jazz and whose headquarters were in the city of Villingen. It was formerly known as SABA (Schwarzwälder-Apparate-Bau-Anstalt) and was originally founded in 1958 by producer and sound engineer Hans Georg Brunner-Schwer, but in 1968 the label had its name changed and soon became the most influential German jazz label to emerge in the 1960s. Artists like Wolfgang Dauner (including his Et Cetera band!), Volker Kriegel, Eberhard Weber, Fritz Pauer and many others were all embraced by this fantastic label.

For instance, BASF was MPS Records supplier during its most profilic era, on the other hand that wasn't enough keep the chemical company on the music business for a long time. In despite of supplying certain and specific music demands, BASF hardly had any with band or artist with a huge commercial impact, maybe due to a naiveness in the production field, and was closed down in 1976 along with all its sublabels. MPS Records now had its releases distributed and manufactured by Metronome Records, one of the then leading German record companies.

BASF incorporated the already existent Cornet to be its sublabel, created Buk Records, and became the prestigious MPS Records jazz label manufacturer and distributor.

A very few amount of BASF releases were reissued either on CD or vinyl and therefore are currently in high demand. Most of these few reissues were or are made by small and independent labels and some are again out-of-catalog. At least all the Pilz releases were officially reissued on CD and vinyl in the late 1990s by Ohr Today, a ZYX Music sublabel especially created for Ohr and Pilz releases. A few were already available earlier by Spalax Music, Think Progressive, and now more recently Garden Of Delights.

All and all, the huge chemical company happened to play a very important role on German music scene, supplying a demand from the underground scene to the continously growing jazz scene. Unfortunatly the company nowadays shows no interest in redeeming its music legacy, handing it to smaller labels.

Sources: Discogs, Wikipedia and Sunbirds' Sunbirds CD booklet

Read also the previous article:
OHR: A Pioneering Label in Germany