Always essentially the project of the Drogies brothers, Thirsty Moon came into being in September 1971 as the amalgamation of D.R.P. (Drogies Rock Project) and Shakespears (apparently a jazz-soul band), resulting in a very big group (seven to eight members) performing complex rock that used unusual jazz structures as its base. Obviously influenced by the likes of Colosseum, the Chicago brass-rock scene and earlier German bands like Xhol and Organisation, Thirsty Moon created a music with great dynamics, use of heavy and spacious structures, unconventional songs and arrangements, and above all amazing musicianship…
Vikings Invasion from the German-speaking part of Switzerland played quite a rough type of blues-rock with progressive touch. Charles Sterchi on guitar and vocals, Eric Eberhard on bass, and Gerhard Burri on drums had played together in this simplest possible configuration already since 1970 and originally called themselves after a character by Brecht. In 1975, their only LP was released exclusively in England where they lived and had concerts for some time; it carried the optimistic title “Vol.1”.
This instrumental electronic work is an one-man project, created by Frédy Guye who had lived in Switzerland. The original ultra-rare LP has been released in 1975 in a limited edition of 100 copies and was only available at concerts. "Journey Into A Dream" is still a very unknown gem, but should be interesting for everyone who owns records from early Tangerine Dream, Klaus Schulze or Ashra.
Ax Genrich was the original guitarist for krautrock pioneers Guru Guru, as two unreleased Guru Guru tracks are on this disc, "Electric Junk" from 1971 and "Oxymoron" lifted from a Beat Club TV show. "Blow-Up" is a mind-scrambling cut off Genrich's 1994 'Psychedelic Guitar' CD and "Come Back" is from his 1995 'Wave Cut' effort…
This recording, made in 1991, dates from what was perhaps the heyday of the English Chamber Orchestra (although the group's vigorous activities remain undiminished). The ECO, with origins as a conductorless Baroque orchestra, functioned smoothly as an ensemble, with a restrained sound and a high level of mutual sensitivity among the players. In these late Haydn symphonies, that translated into readings that were exceptionally effective in bringing out the humorous details and asides, the extensions of phrases so that they end with a wink or a joke, that are the essence of late Haydn. The orchestra is probably about the size of the one Haydn had at his disposal in London.
Like everything on Memphis Slim's album Goin' Back to Tennessee or Alvin Youngblood Hart's "Tallacatcha" (a Western swing performance worthy of Bob Wills), Clarence "Gatemouth" Brown's 1975 Barclay album Down South in the Bayou Country completely transcends any and all attempts to confine this diverse artist within the artificial parameters of blues or any other preordained category. Consisting mostly of songs written by Hoyt Garrick, Jr., Charles Gressett, and David Craig with additional tunes by J. Loyd and Joe Stampley, this pretty parfait of country & western, Southern rock, cowboy hoedown, and electric Cajun soul music was recorded during February and March 1974 in Bogalusa, LA. Gatemouth, fresh from his tenure as Deputy Sheriff of San Juan County, NM, sounds particularly pleased to be active at the center of a project so completely infused with authentic Southern sensibilities. Perhaps the most satisfying track off of the original album is "Loup Garou." This hoodoo funk ritual with background vocals by Geraldine "Sister Gerry" Richard sounds as if it might have been influenced by Dr. John's "Loop Garoo," which had appeared on that artist's Atco album Remedies in 1970.
This little known US quartet released one album in 1975 and then faded into obscurity. Zazu seemed inclined to divide their time between lengthy prog workouts and shorter AOR numbers, both styles paying off tremendously. Fans of manic keyboard solos will be delighted with some of the more furious excursions on the longer heavier tracks, and despite the dearth of information about Zazu, the talent was there for greater things.
The late '60s and, most especially, the 70s have inspirited the music and the rock from all over the place, so that it evolved all the way up to contributing to the appearance of the most prestigious and prodigious ensembles. Locomotiv GT is a band that's legendary in the Hungarian Rock scene, but also in the Occident, lighting up an irresistible and torrential rock, in a way that made them classic. For the culture of rock, Locomotiv GT marks moreover an independent and styled breath than something typical and inspiring - nevertheless, it goes as a defining reference…
"The Carpenters" (originally released as "Horizon") is the sixth consecutive platinum-certified album by American musical duo Carpenters. It was particularly successful in the United Kingdom and Japan, topping the charts and becoming one of the best-selling albums of 1975 in those countries. Horizon also reached no. 3 in New Zealand, no. 4 in Canada and no. 5 in Norway. An American duo consisting of sister Karen Carpenter and brother Richard Carpenter. Carpenters were the #1 selling American music act of the 1970s. Though often referred to as "The Carpenters", their name on official releases and press materials was "Carpenters".
If you're looking for a recording of Locatelli's complete Opus 8 Violin Sonatas, look no further. These 1994 recordings by the aptly named Locatelli Trio are not only superbly played and beautifully recorded, they have the singular virtue of being the only available recordings of the works. That's alright: with violinist Elizabeth Wallfisch at the helm, they are uniformly first-rate performances. Wallfisch is herself a superior period instrument player who balances the virtuoso demands of the music with its undeniable melodic charm and harmonic invention, and she leads cellist Richard Tunnicliffe and harpsichordist Paul Nicholson in performances that amaze as well as delight the listener. Furthermore, when the trio becomes a quartet with the addition of violinist Rachel Isserlis for the final four sonatas for two violins and continuo, the best gets even better through the brilliant interplay of two skilled soloists. For lovers of virtuoso violin music of the Italian High Baroque, this is as good as it gets. Hyperion's sound is crisp but warm, detailed but deep.