Released in June 1971 by RCA Victor, this completely instrumental Continuum's second album featured jazz influenced classical music played by two line-ups of highly proficient musicians. Side 1 was performed by the new, more 'progressive' band and included two amazing folk-jazz-classical long cuts with rock rhythm section and full of awesome Hammond organ, flute and saxophone parts. In contrast, the classically structured, 27-minutes long title suite (which occupied the entire Side 2 of the original vinyl) consisted of strings, cello, double bass, percussion and plenty of flute parts and was performed by the four members from the band's debut.
This is CD premiere of one of the best and also the most underrated UK folk-progressive albums ever! Released in June 1971 by RCA Victor, this completely instrumental Continuum's second album featured jazz influenced classical music played by two line-ups of highly proficient musicians. Side 1 was performed by the new, more 'progressive' band and included two amazing folk-jazz-classical long cuts with rock rhythm section and full of awesome Hammond organ, flute and saxophone parts. In contrast, the classically structured, 27-minutes long title suite (which occupied the entire Side 2 of the original vinyl) consisted of strings, cello, double bass, percussion and plenty of flute parts and was performed by the four members from the band's debut. This CD can't be missed!
Producer, composer and musician from Hamburg (Germany), Achim Reichel is a key figure in the explosion of krautrock. Reichel was first a founder member of "The Rattles" at the beginning of the 60's. In 1968 he formed the "Wonderland band" with the drummer Frank Dostal. Late 60's he launched his first solo musical project called A. R. & Machines. Musically it provides a supreme sonic musical voyage turned to cycled psychedelic guitar playing with lot of echoes and delay. The first album was published in 1971 in collaboration with Frank Dostal. The album presents an ambitious collection of spacey rock jams featuring a lot of electronic effects and arrangements. This album prefigures "acid" trips of krautrock guitar / minimal electronic explorers like Manuel Gottsching.
French pseudo-beatnik Dashiell Hedayat persuaded the psychedelic, prog-rocking Gong to back him up on Obsolete, his second (and final) album project. This is the Continental Circus-era Gong, and the song structures here resemble that album's stripped-down sound. Propelled by Allen's spacy guitar and Malherbe's spicy sax, the tunes on Obsolete, though at times experimental, aren't as involving or full-blown as those on Gong's Camembert Electrique, recorded on the heels of Hedayat's album. Hedayat sings, or rather talks, in French on each piece. He wrote/composed all the "songs" in the autumn of 1969; the compositions were then recorded in May 1971…
Osibisa's second album 'Woyaya' would see the Afro-prog pioneers expand their sound to include more overtly jazzy overtones whilst also turning down the party atmosphere in favour of a more sedate and psychedelic feel. Again, guitarist Wendell Richardson and group leader, founder and saxophonist Teddy Osei are the dominant forces, but this time around the group's uplifting pallette of sounds features a more complex lilt that places 'Woyaya' much closer to the sounds of progressive rock.
Since Crazy Horse first came to public attention as the backing band for Neil Young in concert and on his albums Everybody Knows This Is Nowhere and After the Gold Rush, it makes sense to expect that the band on its own would play something similar to the hard guitar rock and country-rock heard on those albums, albeit without Young's distinctively quirky singing and songwriting, and that is what one hears to a large extent on the debut album Crazy Horse. (Although this is their first recording under that name, core members Danny Whitten, Billy Talbot, and Ralph Molina have appeared previously on record as part of the doo wop group Danny & the Memories and the rock band the Rockets.) But there is more going on than that. Also joining in, as singers and songwriters as well as sidemen, are veteran arranger/producer Jack Nitzsche and guitarist Nils Lofgren, while Ry Cooder adds slide guitar to a number of tracks. The result is a varied group of songs that range in style from rock and country to blues and folk.
Sündenfall II from the Kevelaer area at the Lower Rhine played a mixture of folk and jazz, influenced by Jethro Tull. While their predecessors, Sündenfall, exclusively dedicated themselves to jazz, the group included folk after a change in line-up and band name (following the example of Amon Düül II). In 1972, Hubert Schmitz invited the band into his Trepitia film and sound studio in Alpen-Drüpt for free recordings, as he wanted to test the newly installed equipment after a recent move into the new location. Thus the recordings were made for the album "Sündenfall II" (Trefiton HS 1017), which was released in a small edition of 200 copies at the end of 1972.
The fusion group Sunbirds was founded by the jazz musicians Klaus Weiss (drums) and Fritz Pauer (keyboards) in Munich in 1971, when the two of them had already made a name for themselves. Musically the Sunbirds' albums can best be qualified as "flute groovers". That is to say, they are seasoned in the jazz idiom, but also wanted to venture into the psychedelic sounds of the day. But the Sunbirds also had that Krautrock thing going on. Plenty of wild fuzz guitar and electric piano. Especially on the first album, the Sunbirds could have easily fit on the Brain label, and may have had they come around a year or two later.
Vita Nova's one and only recording is a wonderful eclectic album full of high quality progressive tendencies and originality. The band was trio of Eddy Marron (vocals, bass and Turkish zaz), Sylvester Levay (keys, percussion) and Christian von Hoffmann (drums, percussion). Musically these guys were fantastic with some killer guitar, bass, keyboard and drum work. A great album and one of the true treasures of the 70's German underground. Originally this was released by "Life Records" but only 500 copies were made so this became a valuable collectors item. "Garden of Delights" re-released it in 1995 on CD with two bonus tracks.
Potliquor’s sophomore effort, Levee Blues was released in December 1971 and is considered as their best album by many. Levee Blues" is widely considered their artistic peak. With an ensemble of female background vocalists in tow, the album bears a certain gospel charm that some of their other efforts were missing. This is a passionate and visceral collection of songs and any lover of the aforementioned genres would be well served to check them out.