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…
Reuniting with Larry Mizell, the man behind his last three LPs, Donald Byrd continues to explore contemporary soul, funk, and R&B with Places and Spaces. In fact, the record sounds more urban than its predecessor, which often played like a Hollywood version of the inner city. Keeping the Isaac Hayes, Curtis Mayfield, and Sly Stone influences of Street Lady, Places and Spaces adds elements of Marvin Gaye, Earth, Wind & Fire, and Stevie Wonder, which immediately makes the album funkier and more soulful. Boasting sweeping string arrangements, sultry rhythm guitars, rubbery bass, murmuring flügelhorns, and punchy horn charts, the music falls halfway between the cinematic neo-funk of Street Lady and the proto-disco soul of Earth, Wind & Fire. Also, the title Places and Spaces does mean something – there are more open spaces within the music, which automatically makes it funkier. Of course, it also means that there isn't much of interest on Places and Spaces for jazz purists, but the album would appeal to most fans of Philly soul, lite funk, and proto-disco.
This is former Os Mutantes member Rita Lee's second solo album, recorded in 1972, the same year as Mutantes recorded their E Seus Cometas No País Dos Baurets album (the group's last album with the original bandmembers). To an even higher extent than on Lee's first solo effort, Build Up, fellow Mutantes front figures Arnaldo Baptista and Sergio Dias have made significant contributions to this album, performing on the tracks and writing much of the material.
Featuring some of the most stunning musicianship ever associated with England's Canterbury scene, Hatfield and the North's second LP features, like their eponymous debut, Dave Stewart on keyboards, Phil Miller on guitar, Richard Sinclair on bass and vocals, and Pip Pyle on drums (supplemented by a few guest instrumentalists and the ever-ethereal Northettes with their "la la" backing vocals). The participants show an admirable sense of restraint and, like their Canterbury peers, are careful to avoid the pomposity and bombast of better-known prog rockers of the era, such as Emerson, Lake & Palmer and Yes…
A magical discovery from the down under '70s psychedelic scene. Phil Sawyer's 1971 album "Childhood's End", originally released in Australia on the Sweet Peach label, remains pretty unknown yet to most of collectors around. No justice. This is a wonderful album that will please anyone into psychedelia, rock and folk. Totally electric, great production, great songwriting, warm uneducated voice by Phil himself that gives a slight looser feel to it at times… the album contains some fantastic mid-tempo psychedelic folk-rock ballads, and the song that gives name to the album is an incredible slice of pure psychedelia with lots of tasty psychedelic sound effects. This first ever reissue is licensed from the original label and the sound is taken from the mastertapes.
From 1975, this is Barış Manço's masterpiece. Stunning cosmic, psychedelic, groovy conceptual album with fantastic electronics and a strong Turkish folk flavor, as usual.
Tosun Yusuf Mehmet Barış Manço was born on 2nd January 1943 in Üsküdar, Istanbul, Turkey. He formed his first band at school (Kafadarlar (The Buddies)), but it was with his next band Harmoniler (The Harmonies), that he started recording cover versions. Upon leaving school he moved to Europe, forming different bands and recording songs in English, French and Turkish while touring a great deal.