...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana, rozszerzona o dwa nagrania z epoki, reedycja amerykańskiego soft-psychodelicznego klasyka wartego na oryginalnym winylu ponad 700 dolarów! Och, jak ja uwielbiam tę płytę!
Pierwsza dziesiątka amerykańskiego psych-rocka!

Każdy utwór jest wspaniały, choć to tylko melodyjne, niemal popowe piosenki podane w sennym, psychodelicznym sosie. Ale efekt jest oszałamiający! Trudno się dziwić, że album ma status kultowy i ma bardzo szerokie grono zaprzysięgłych fanów.

Album został nagrany w 1968, ale firma Capitol wydała go dopiero na początku 1969 roku - gdy zespół już nie istniał! Płyta brzmi wspaniale - dynamicznie i bez żadnych szumów - bije na głowę poprzednie reedycje, w tym amerykański Sundazed! Płyta dostępna również na winylu (bez bonusów).



Reissue of spellbinding, atmospheric songs which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin' Spoonful producers Charlie Koppelman and Don Rubin and conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf features swirls of Hammond B3 organ, caressing vibraphone runs and electric sitar on Sando's originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner/Alan Gordon, and Eden Ahbez. Includes two bonus tracks.



..::TRACK-LIST::..

1. Golden Earrings 2:45
2. Hang On To A Dream 4:12
3. Never Too Far 1:50
4. Scarlet Ribbons 3:02
5. You Upset The Grace Of Living 2:38
6. Can You Travel In The Dark Alone 3:07
7. Nature Boy 3:06
8. Tiffany Rings 1:48
9. Me About You 4:53
10. I Watch The Moon 3:50

Bonus Tracks:
11. Tears Of Ages (Live 1968) 2:56
12. Golden Earrings (1968 Demo) 6:08



..::OBSADA::..

Bass, Vocals - Bob Muller
Drums - Davy Bauer
Guitar, Vocals - Peter Sando
Piano, Electric Piano, Harpsichord, Organ - Frank Hubach




https://www.youtube.com/watch?v=XDcNPL57Yok



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana, rozszerzona o dwa nagrania z epoki, reedycja amerykańskiego soft-psychodelicznego klasyka wartego na oryginalnym winylu ponad 700 dolarów! Och, jak ja uwielbiam tę płytę!
Pierwsza dziesiątka amerykańskiego psych-rocka!

Każdy utwór jest wspaniały, choć to tylko melodyjne, niemal popowe piosenki podane w sennym, psychodelicznym sosie. Ale efekt jest oszałamiający! Trudno się dziwić, że album ma status kultowy i ma bardzo szerokie grono zaprzysięgłych fanów.

Album został nagrany w 1968, ale firma Capitol wydała go dopiero na początku 1969 roku - gdy zespół już nie istniał! Płyta brzmi wspaniale - dynamicznie i bez żadnych szumów - bije na głowę poprzednie reedycje, w tym amerykański Sundazed! Płyta dostępna również na winylu (bez bonusów).



Reissue of spellbinding, atmospheric songs which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin' Spoonful producers Charlie Koppelman and Don Rubin and conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf features swirls of Hammond B3 organ, caressing vibraphone runs and electric sitar on Sando's originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner/Alan Gordon, and Eden Ahbez. Includes two bonus tracks.



..::TRACK-LIST::..

1. Golden Earrings 2:45
2. Hang On To A Dream 4:12
3. Never Too Far 1:50
4. Scarlet Ribbons 3:02
5. You Upset The Grace Of Living 2:38
6. Can You Travel In The Dark Alone 3:07
7. Nature Boy 3:06
8. Tiffany Rings 1:48
9. Me About You 4:53
10. I Watch The Moon 3:50

Bonus Tracks:
11. Tears Of Ages (Live 1968) 2:56
12. Golden Earrings (1968 Demo) 6:08



..::OBSADA::..

Bass, Vocals - Bob Muller
Drums - Davy Bauer
Guitar, Vocals - Peter Sando
Piano, Electric Piano, Harpsichord, Organ - Frank Hubach




https://www.youtube.com/watch?v=XDcNPL57Yok



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cóż to za wyśmienity album! Amerykańskie trio Glass Harp w latach 1970-1972 grało bardzo brytyjskiego, bogato zaaranżowanego (flet, okazjonalne smyczki, częste zmiany nastroju), gitarowego, ciężkawego rocka - trochę przypominającego bardzo bogato zaaranżowany Wishbone Ash. Doskonały gitarzysta Phil Keaggy od zawsze uznawany jest za jednego z najlepszych gitarzystów w Stanach! Chwytliwe melodie, bogate aranżacje i przynajmniej 4 kawałki trwające po 6-8 minut.
Dodatkowo blisko 30-minutowa, mocno rozimprowizowana wresja klasycznego "Can You See Me" zarejestrowana w nowojorskim Carnegie Hall!



..::TRACK-LIST::..

1. Can You See Me 6:23
2. Children's Fantasy 4:10
3. Changes (In The Heart Of My Own True Love) 5:53
4. Village Queen 3:58
5. Black Horse 2:48
6. Southbound 3:52
7. Whatever Life Demands 6:27
8. Look In The Sky 8:09
9. Garden 4:18
10. On Our Own 2:35

Bonus track (Recorded Live at the Carnegie Hall, NY 1971):
11. Can You See Me 28:50



..::OBSADA::..

Drums, Vocals, Acoustic Guitar - John Sferra
Electric Guitar, Vocals, Acoustic Guitar - Phil Keaggy
Bass, Vocals, Flute - Dan Pecchio

+

Viola [Electric] - John Cale




https://www.youtube.com/watch?v=-UBrqQJ8iFY



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cóż to za wyśmienity album! Amerykańskie trio Glass Harp w latach 1970-1972 grało bardzo brytyjskiego, bogato zaaranżowanego (flet, okazjonalne smyczki, częste zmiany nastroju), gitarowego, ciężkawego rocka - trochę przypominającego bardzo bogato zaaranżowany Wishbone Ash. Doskonały gitarzysta Phil Keaggy od zawsze uznawany jest za jednego z najlepszych gitarzystów w Stanach! Chwytliwe melodie, bogate aranżacje i przynajmniej 4 kawałki trwające po 6-8 minut.
Dodatkowo blisko 30-minutowa, mocno rozimprowizowana wresja klasycznego "Can You See Me" zarejestrowana w nowojorskim Carnegie Hall!



..::TRACK-LIST::..

1. Can You See Me 6:23
2. Children's Fantasy 4:10
3. Changes (In The Heart Of My Own True Love) 5:53
4. Village Queen 3:58
5. Black Horse 2:48
6. Southbound 3:52
7. Whatever Life Demands 6:27
8. Look In The Sky 8:09
9. Garden 4:18
10. On Our Own 2:35

Bonus track (Recorded Live at the Carnegie Hall, NY 1971):
11. Can You See Me 28:50



..::OBSADA::..

Drums, Vocals, Acoustic Guitar - John Sferra
Electric Guitar, Vocals, Acoustic Guitar - Phil Keaggy
Bass, Vocals, Flute - Dan Pecchio

+

Viola [Electric] - John Cale




https://www.youtube.com/watch?v=-UBrqQJ8iFY



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album niemieckiej formacji nawiązującej do dokonań Amon Dull II i wczesnych Pink Floyd - ale bardziej jazzująca. Płyta oryginalnie wydana została przez Ohr Records i moim zdaniem jest znacznie lepsza i bardziej rockowa (przystępniejsza) niż awangardowa 'dwójka'. Zremasterowana reedycja z 2023 roku.



Starting out as early as 67 under the name of Ambition Of Music, AQ is one of those early 70's wonder in Krautrock, all the more legendary for having their two albums released on the famous Ohr label, even if both are fairly different from each other. On this debut album, AQ is a septet with most of the members being multi-instrumentalists, and their debut contained four unnamed tracks (two short and two long ones), the whole thing packaged in a many foldout artwork sleeve making this album rather expensive in its vinyl form. Not everything is perfect on this album, especially in the numerous fade-outs (some in-built in the tracks), but overall the album is a pure joy to have.
The music presented on this album is strange form of psychedelic jazz-rock (a bit like if Nucleus met the Saucerful-era Floyd), which reminds me a bit of Missus Beastly's early albums. The first two tracks are the short ones but not necessarily the easiest to cope with, far from it, really!! The first is a very-slow track that is unbelievable heavy which freaks out completely into heavy spacy-echoed sounds. Grandiose. The second track is a much faster three-minute affair, which stands a bit alone out of line with the rest of the album's style, but it is absolutely nothing shocking. This is the rockiest and least jazzy track on the album and the weakest. The first of the long tracks (rounding up side one) is an altogether different affair with its almost 11-mins and its Nucleus-styled brass section cross with an organ that you'd swear is played by a certain Mr Wright, while the wordless vocalizings is reminiscent of a raunchier Wyatt on Third. This is, along with the leadoff track, Osmose's apex.

The second side is taken up by the sidelong 18-min+ track, which bases its sound on the previous tracks but it has some lengths, especially in the percussion passage about two thirds of the way into the track and losses itself.

As their following album will follow two years later, under a fairly different line-up, being much more improvised free jazz, Osmose is from far AQ's best works and very much essential to early Krautrock history. All I have seen so far is a Spalax label reissue of this album (which I heard is OOP), but hopefully this will be reissued with the Kollodium bonus track on the Ohrenschmaus sampler album. Much worth the eavesdropping even if it is flawed.

Sean Trane


'Annexus Quam', a German band released in 1970 their first record 'Osmose', a mixture of Psychedelic Rock, Blues and Jazz improvisation, similar to early 'Pink Floyd' and 'Grateful Dead' with a jazzier side like 'Embryo'. 'Osmose' presents four improvisational exerpts, the shortest being only 3 minutes the longest clocking in about 18.The overall athmosphere is laid back and spacy (mainly due to the slow rhythms and heavy use of Echo) giving the whole record a psychedelic feeling ( early Pink floyd) with a Jazz touch (large use of woowdwinds and brass).
'Osmose I', the first track establishes a psychedelic athmosphere with a short intro for guitar and & sax and evolving into a slow organ blues, a dreamy trombone solo and some space guitar.

'Osmose II' the shortest track, developes a bouncing uptempo rhythm between the bass an drums over which Uwe Bick places his spacy vocalizes reminding Roger Waters ( the whole track reminds Floyd's 'Careful With That Axe Eugene').

'Osmose III' the last and longer part on side one, presents a heavy slow blues, with great guitar work -a repeated arpeggio motive-, followed by a jazzy trombone solo, a jazzy guitar solo and organ washes. About half of the track the rhythm changes and developes a more psychdelic athmosphere with a spacy flute solo.

'Osmose IV', the longest and stylistically most interesting track, mixing Jazz, Psychedelic and Spanish music, starts with an acoustic piano intro, evolving into a jazz groove with drums and bass , followed by jazz guitar, a trombone solo and again some spacy vocalizes. After 5 minutes the rhythm slows down giving space to a heavy echo-slide- guitar section over cymbal strokes ( quite similar to 'Set the Controls' ). A bass line establishes a rhythm change, followed by another slide-echo-guitar section leaving place to a percussion-only passage, that evolvess into a spanish flavored rubato section for acoustic classical guitar and trumpet with reminiscences to the 'Concertio De Aranjuez' followed by a jazz groove and ending with a psychedelic organ and drumlroll section.

A highly interesting record that combines jazz improvisation with Psychedelic, Blues and World elements.

Alucard



..::TRACK-LIST::..

1. A 4:10
2. B 3:07
3. C 10:30
4. D 18:14



..::OBSADA::..

Peter Werner - guitar, vocals, percussion
Hans Kämper - Spanish guitar, trombone, vocals, percussion
Werner Hostermann - clarinet, organ, vocals, percussion
Ove Volquartz - saxophone
Harald Klemm - flute, vocals, percussion
Jürgen Jonuschies - bass, vocals, percussion
Uwe Bick - drums, vocals, percussion




https://www.youtube.com/watch?v=o8GkVISV7w4




SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album niemieckiej formacji nawiązującej do dokonań Amon Dull II i wczesnych Pink Floyd - ale bardziej jazzująca. Płyta oryginalnie wydana została przez Ohr Records i moim zdaniem jest znacznie lepsza i bardziej rockowa (przystępniejsza) niż awangardowa 'dwójka'. Zremasterowana reedycja z 2023 roku.



Starting out as early as 67 under the name of Ambition Of Music, AQ is one of those early 70's wonder in Krautrock, all the more legendary for having their two albums released on the famous Ohr label, even if both are fairly different from each other. On this debut album, AQ is a septet with most of the members being multi-instrumentalists, and their debut contained four unnamed tracks (two short and two long ones), the whole thing packaged in a many foldout artwork sleeve making this album rather expensive in its vinyl form. Not everything is perfect on this album, especially in the numerous fade-outs (some in-built in the tracks), but overall the album is a pure joy to have.
The music presented on this album is strange form of psychedelic jazz-rock (a bit like if Nucleus met the Saucerful-era Floyd), which reminds me a bit of Missus Beastly's early albums. The first two tracks are the short ones but not necessarily the easiest to cope with, far from it, really!! The first is a very-slow track that is unbelievable heavy which freaks out completely into heavy spacy-echoed sounds. Grandiose. The second track is a much faster three-minute affair, which stands a bit alone out of line with the rest of the album's style, but it is absolutely nothing shocking. This is the rockiest and least jazzy track on the album and the weakest. The first of the long tracks (rounding up side one) is an altogether different affair with its almost 11-mins and its Nucleus-styled brass section cross with an organ that you'd swear is played by a certain Mr Wright, while the wordless vocalizings is reminiscent of a raunchier Wyatt on Third. This is, along with the leadoff track, Osmose's apex.

The second side is taken up by the sidelong 18-min+ track, which bases its sound on the previous tracks but it has some lengths, especially in the percussion passage about two thirds of the way into the track and losses itself.

As their following album will follow two years later, under a fairly different line-up, being much more improvised free jazz, Osmose is from far AQ's best works and very much essential to early Krautrock history. All I have seen so far is a Spalax label reissue of this album (which I heard is OOP), but hopefully this will be reissued with the Kollodium bonus track on the Ohrenschmaus sampler album. Much worth the eavesdropping even if it is flawed.

Sean Trane


'Annexus Quam', a German band released in 1970 their first record 'Osmose', a mixture of Psychedelic Rock, Blues and Jazz improvisation, similar to early 'Pink Floyd' and 'Grateful Dead' with a jazzier side like 'Embryo'. 'Osmose' presents four improvisational exerpts, the shortest being only 3 minutes the longest clocking in about 18.The overall athmosphere is laid back and spacy (mainly due to the slow rhythms and heavy use of Echo) giving the whole record a psychedelic feeling ( early Pink floyd) with a Jazz touch (large use of woowdwinds and brass).
'Osmose I', the first track establishes a psychedelic athmosphere with a short intro for guitar and & sax and evolving into a slow organ blues, a dreamy trombone solo and some space guitar.

'Osmose II' the shortest track, developes a bouncing uptempo rhythm between the bass an drums over which Uwe Bick places his spacy vocalizes reminding Roger Waters ( the whole track reminds Floyd's 'Careful With That Axe Eugene').

'Osmose III' the last and longer part on side one, presents a heavy slow blues, with great guitar work -a repeated arpeggio motive-, followed by a jazzy trombone solo, a jazzy guitar solo and organ washes. About half of the track the rhythm changes and developes a more psychdelic athmosphere with a spacy flute solo.

'Osmose IV', the longest and stylistically most interesting track, mixing Jazz, Psychedelic and Spanish music, starts with an acoustic piano intro, evolving into a jazz groove with drums and bass , followed by jazz guitar, a trombone solo and again some spacy vocalizes. After 5 minutes the rhythm slows down giving space to a heavy echo-slide- guitar section over cymbal strokes ( quite similar to 'Set the Controls' ). A bass line establishes a rhythm change, followed by another slide-echo-guitar section leaving place to a percussion-only passage, that evolvess into a spanish flavored rubato section for acoustic classical guitar and trumpet with reminiscences to the 'Concertio De Aranjuez' followed by a jazz groove and ending with a psychedelic organ and drumlroll section.

A highly interesting record that combines jazz improvisation with Psychedelic, Blues and World elements.

Alucard



..::TRACK-LIST::..

1. A 4:10
2. B 3:07
3. C 10:30
4. D 18:14



..::OBSADA::..

Peter Werner - guitar, vocals, percussion
Hans Kämper - Spanish guitar, trombone, vocals, percussion
Werner Hostermann - clarinet, organ, vocals, percussion
Ove Volquartz - saxophone
Harald Klemm - flute, vocals, percussion
Jürgen Jonuschies - bass, vocals, percussion
Uwe Bick - drums, vocals, percussion




https://www.youtube.com/watch?v=o8GkVISV7w4



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Znacznie polepszona w stosunku do starej, potrzaskującej i szumiącej wersji wytwórni Spalax (zgranej z przeciętnej jakości winylu) i w sumie rozszerzona o pięć nagrań (w tym świetny singiel z 1969) szwedzka edycja rewelacyjnego albumu francuskiej, psych-progresywnej formacji, której muzycy współpracowali nieco wcześniej z Daevidem Allenem (zanim ten założył Gong).
Stylistykę LP "Ame Son" można przyrówać do wczesnych nagrań Gong, a także wczesnych Pink Floyd, Group 1850 i Soft Machine - ze szczyptą Jethro Tull. Ten zaśpiewany i po francusku i po angielsku album jest po prostu kapitalny, aczkolwiek wymaga kilku uważnych przesłuchań.

Dźwiękowo ta edycja bije stary CD na głowę!



Ame Son's only album is one of the earliest "prog" French record (Sept 69) but really it is still very much a psychedelic thing, but undeniably progressive. This groups had roots in the mid-60's under the name of Les Primitiv's and were playing all over France and had been exposed to early Soft Machine on these last's frequent tours of France, especially on the Riviera. As one of their members got drafted in the army, the group went in lethargy and some members started playing with Daevid Allen's Bananamoon in 68 and 69. Upon the return of the drafted, the group reformed and changed their name to Ame Son with flutist Garrel. Signed to Byg Records, Ame Son's album was recorded in two days in London (French vocals later added in a Paris studio) and has Allen and early Soft Machine written all over it, without appearing like a derivate product either. It was generally well received by the press and the public, and they participated in most major festivals in France and Belgium.
To describe their music to progheads is not that easy, because their particular type of psych rock is often truly improvisational, but if dissonant, it did not go in the free-jazz and is much wiser/pleasant than Crimson's Moonchild (note: they don't sound like them at all). Basically a guitar trio with a signing flutist (but not our Tull Mad Flauter, more like Bloomdido Bad De Grass Malherbe), their sound approaches a Floyd-ish (circa Saucerful or live Ummagumma), a calmer Guru Guru (UFO and Hinten) and early Gong (Continental Circus OST), even if vocally they might have been stronger (but as I warned above, recording vocals in a different studio than the music, probably caused difficulties). But Ame Son managed to remain accessible by never over-stretching their talents or their improvisations. In many ways, Catalyse reminds me of Dashiell Hedayatt's jaw-dropping Obsolete (which is also Gong-related) with their raw hippy dreamy rock. Most of their tracks (none shorter than six minutes) are subdivided into sections of which Coeur Fou and Reborn This Morning are the highlights, but there are some real flaws: Coup De H/Sable Mouvants is not only slightly weaker, but definitely not well recorded. Two bonus tracks from a single are added on the Spalax Cd reissue, and they are fairly well in the spirit of the album (even if shorter), but a good remastering job is more than needed for that single and the full album.

After touring extensively France for two years, the group split up in mid-71, after some recording sessions to reform in 73 with a different line-up and made recordings, which also did not materialize, in a second album. AS's only album is one of those French pearl that qualifies as psych proto-prog and is very much recommended to anyone into Gong, Daevid or early Softs and untamed Floyd. For my part, I find this album stunning and in my French top 20 - Zeuhl notwithstanding.

Sean Trane



..::TRACK-LIST::..

1. Hein, Quant A Toi (6:38)
- Hein, Quant A Toi
- Comme Est Morte L'Evocation
- Hommage

2. Seventh Time Key (6:11)
- Seventh Time Key
- I Just Want To Say

3. Coeur Fou (8:11)
- Coeur Fou
- La Globule
- Le Mal Sonne

4. Eclosion (5:30)
- Eclosion
- Marie Aux Quatre Vents

5. Reborn This Morning On The Way Of ... (6:17)
- Reborn This Morning On The Way Of ...
- Unity

6. A Coup De Hache (6:52)
- A Coup De Hache
- Les Sables Mouvants

Bonus Tracks:
7. Je Veux Juste Dire (A-side, 1969) 2:53
8. Unity (B-side, 1969) 3:57
9. Le Grand Cirque De La Lune (1969) 6:29
10. Je Veux Juste Dire (Demo, 1971) 25:48
11. Hein! Quant A Toi (1971) 0:36


'Catalyse' was recorded in Paris and London in September / October 1969.
Originally released in 1970.
5 bonus tracks recorded between 1969 and 1971.



..::OBSADA::..

Bernard Lavialle - guitar
Patrick Fontaine - bass guitar
Marc Blanc - voice, drums
Francois Garrel - voice, flute




https://www.youtube.com/watch?v=JIKihLIbrYY



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Znacznie polepszona w stosunku do starej, potrzaskującej i szumiącej wersji wytwórni Spalax (zgranej z przeciętnej jakości winylu) i w sumie rozszerzona o pięć nagrań (w tym świetny singiel z 1969) szwedzka edycja rewelacyjnego albumu francuskiej, psych-progresywnej formacji, której muzycy współpracowali nieco wcześniej z Daevidem Allenem (zanim ten założył Gong).
Stylistykę LP "Ame Son" można przyrówać do wczesnych nagrań Gong, a także wczesnych Pink Floyd, Group 1850 i Soft Machine - ze szczyptą Jethro Tull. Ten zaśpiewany i po francusku i po angielsku album jest po prostu kapitalny, aczkolwiek wymaga kilku uważnych przesłuchań.

Dźwiękowo ta edycja bije stary CD na głowę!



Ame Son's only album is one of the earliest "prog" French record (Sept 69) but really it is still very much a psychedelic thing, but undeniably progressive. This groups had roots in the mid-60's under the name of Les Primitiv's and were playing all over France and had been exposed to early Soft Machine on these last's frequent tours of France, especially on the Riviera. As one of their members got drafted in the army, the group went in lethargy and some members started playing with Daevid Allen's Bananamoon in 68 and 69. Upon the return of the drafted, the group reformed and changed their name to Ame Son with flutist Garrel. Signed to Byg Records, Ame Son's album was recorded in two days in London (French vocals later added in a Paris studio) and has Allen and early Soft Machine written all over it, without appearing like a derivate product either. It was generally well received by the press and the public, and they participated in most major festivals in France and Belgium.
To describe their music to progheads is not that easy, because their particular type of psych rock is often truly improvisational, but if dissonant, it did not go in the free-jazz and is much wiser/pleasant than Crimson's Moonchild (note: they don't sound like them at all). Basically a guitar trio with a signing flutist (but not our Tull Mad Flauter, more like Bloomdido Bad De Grass Malherbe), their sound approaches a Floyd-ish (circa Saucerful or live Ummagumma), a calmer Guru Guru (UFO and Hinten) and early Gong (Continental Circus OST), even if vocally they might have been stronger (but as I warned above, recording vocals in a different studio than the music, probably caused difficulties). But Ame Son managed to remain accessible by never over-stretching their talents or their improvisations. In many ways, Catalyse reminds me of Dashiell Hedayatt's jaw-dropping Obsolete (which is also Gong-related) with their raw hippy dreamy rock. Most of their tracks (none shorter than six minutes) are subdivided into sections of which Coeur Fou and Reborn This Morning are the highlights, but there are some real flaws: Coup De H/Sable Mouvants is not only slightly weaker, but definitely not well recorded. Two bonus tracks from a single are added on the Spalax Cd reissue, and they are fairly well in the spirit of the album (even if shorter), but a good remastering job is more than needed for that single and the full album.

After touring extensively France for two years, the group split up in mid-71, after some recording sessions to reform in 73 with a different line-up and made recordings, which also did not materialize, in a second album. AS's only album is one of those French pearl that qualifies as psych proto-prog and is very much recommended to anyone into Gong, Daevid or early Softs and untamed Floyd. For my part, I find this album stunning and in my French top 20 - Zeuhl notwithstanding.

Sean Trane



..::TRACK-LIST::..

1. Hein, Quant A Toi (6:38)
- Hein, Quant A Toi
- Comme Est Morte L'Evocation
- Hommage

2. Seventh Time Key (6:11)
- Seventh Time Key
- I Just Want To Say

3. Coeur Fou (8:11)
- Coeur Fou
- La Globule
- Le Mal Sonne

4. Eclosion (5:30)
- Eclosion
- Marie Aux Quatre Vents

5. Reborn This Morning On The Way Of ... (6:17)
- Reborn This Morning On The Way Of ...
- Unity

6. A Coup De Hache (6:52)
- A Coup De Hache
- Les Sables Mouvants

Bonus Tracks:
7. Je Veux Juste Dire (A-side, 1969) 2:53
8. Unity (B-side, 1969) 3:57
9. Le Grand Cirque De La Lune (1969) 6:29
10. Je Veux Juste Dire (Demo, 1971) 25:48
11. Hein! Quant A Toi (1971) 0:36


'Catalyse' was recorded in Paris and London in September / October 1969.
Originally released in 1970.
5 bonus tracks recorded between 1969 and 1971.



..::OBSADA::..

Bernard Lavialle - guitar
Patrick Fontaine - bass guitar
Marc Blanc - voice, drums
Francois Garrel - voice, flute




https://www.youtube.com/watch?v=JIKihLIbrYY



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Sześciopłytowy zestaw zawierający antologię kultowej brytyjskiej grupy. Znalazły się tutaj albumy: "Help Yourself" z 1971, "Strange Affair" i "Beware The Shadow" z 1972, "Return Of Ken Whaley", "Happy Days" i "Help Yourself 5" (wydany dopiero w 2004) z 1973, a także solowy album lidera zespołu Malcolma Morleya "Lost And Found", nagrany w 1976 z towarzyszeniem grupy Plummet Airlines, którego taśmy-matki zaginęły i odnalazły się po latach, a następnie zostały wydane w 2002 roku. Wszystkie nagrania zremasterowano, a całość znajduje się w sztywnym pudełku, z książeczką z niepublikowanymi wcześniej zdjęciami i wywiadami oraz plakatem.


- A NEW 6CD REMASTERED BOXED SET ANTHOLOGY FEATURING THE COMPLETE STUDIO RECORDINGS BY THE UNSUNG HEROES OF BRITISH EARLY ‘70s ROCK, HELP YOURSELF
- FEATURING 66 TRACKS ON 6 CDs INCLUDING THE ALBUMS HELP YOURSELF, STRANGE AFFAIR, BEWARE THE SHADOW, THE RETURN OF KEN WHALEY / HAPPY DAYS, THE ALBUM FIVE & MALCOLM MORLEY’S 1976 ALBUM LOST & FOUND (BOTH UNRELEASED FOR THIRTY YEARS) ALONG WITH A PREVIOUSLY UNRELEASED BBC SESSION & DEMO.
- REMASTERED FROM THE ORIGINAL ALBUM MASTER TAPES
- INCLUDES AN ILLUSTRATED BOOK WITH EXTENSIVE ESSAY WITH PREVIOUSLY UNSEEN PHOTOGRAPHS AND INTERVIEWS & A POSTER

Esoteric Recordings are pleased to announce the release of PASSING THROUGH – THE COMPLETE STUDIO RECORDINGS, a 6CD boxed set by the unsung heroes of British early ‘70s rock, HELP YOURSELF.

The band was formed in London in 1970, originally as a backing band for singer-songwriter MALCOLM MORLEY and took their influences from American West Coast Country and Acid Rock. After Morley signed to the Famepushers management stable, his manager John Eichler suggested Morley form a new band and HELP YOURSELF was born. Featuring MALCOLM MORLEY (guitars, keyboards, vocals), former Sam Apple Pie member DAVE CHARLES (drums, percussion, vocals), RICHARD TREECE (guitars, vocals, harmonica) and KEN WHALEY (bass), the band signed to United Artists in 1970 and their eponymous debut album was issued in 1971.

Following a tour with label mates Brinsley Schwarz and Ernie Graham (also Famepushers artists), Ken Whaley departed the band. An expanded line-up including Ernie Graham and Jonathan Glemser began work on the album STRANGE AFFAIR in 1972, but Graham and Glemser’s departure half-way through the recording saw roadie Paul Burton join the band to complete the album, (which would include the excellent extended track “The All Electric Fur Trapper”). The band embarked on a tour of Switzerland with Welsh rock legends Man and a bond formed between the two groups. The band’s next album, BEWARE THE SHADOW, was an even stronger effort, featuring the Help’s twelve-minute anthem, “Reaffirmation”, a track that displayed the instrumental excellence of the group. Prior to a tour to promote their most recent album Malcolm Morley fell ill with depression and DEKE LEONARD, recently dismissed from Man, took his place. When Morley recovered, Leonard remained with the band, appearing with them on the CHRISTMAS AT THE PATTI concert in Swansea in December 1972. In early 1973 Deke Leonard departed the band to pursue a solo career and the band began work on the album HAPPY DAYS, a record that also featured THE FLYING ACES (featuring former MAN bassist MARTIN ACE and his wife George) and VIVIAN “SPIV’ MORRIS and spawned a touring musical review featuring all the musicians. Paul Burton’s departure during these sessions saw Ken Whaley return to the band. Work then commenced on another album, THE RETURN OF KEN WHALEY. Both albums were released as a package by United Artists later that year. Although critically acclaimed, commercial success continued to elude the band and Help Yourself were dropped by their record label. A fifth album was recorded at Chipping Norton Studios in Oxfordshire in 1973 but this failed to gain a release for over thirty years. The aborted album led to Help Yourself disbanding, with Malcolm Morley and Ken Whaley joining Man in 1974 for their album Winos, Rhinos and Lunatics. Following his departure from Man, Malcolm Morley recorded a solo album in 1976 that would also remain unreleased for thirty years.

Over four decades on, HELP YOURSELF are now regarded as one of the great, unsung British bands of their era and the songs of Malcolm Morley are recognised as true treasures. PASSING THROUGH – THE COMPLETE STUDIO RECORDINGS is a lovingly compiled boxed set which gathers together the albums HELP YOURSELF, STRANGE AFFAIR, BEWARE THE SHADOW, THE RETURN OF KEN WHALEY / HAPPY DAYS, the unreleased album FIVE , all the band’s non-album singles & Malcolm Morley’s unreleased album LOST & FOUND along with a previously unreleased BBC session & a studio demo.

The set is newly re-mastered from the original master tapes and features an illustrated booklet with rare photographs and a new essay with interviews and a poster and is a tribute to the inspirational music of HELP YOURSELF.

Esoteric



More of the same for Help Yourself on their second album, for the most part. Bassist Ken Whaley had taken his leave, replaced by former band roadie Ernie Graham on guitars and vocals (although Whaley would return a couple years later with the band naming their fourth album in his honor). Graham penned the only non-Malcolm Morley track on the first two albums, the strumming and west coast-flavored “Movie Star”.
Otherwise most of these tracks are quite similar to the debut, at least most of them. The band would put together their first full- length psych jam here with the ten minute rambling “Excerpts from the ‘All Electric Fur Trapper’”, which would only be topped during their career by the even longer and more improvisational “Reaffirmation” on the ‘Beware the Shadow’ release.

The instrumentation is the same: a couple of guitars, piano, bass and drums. Pub band fare for the most part, but Help Yourself had a knack for coming off as just vaguely enough like several ‘A’ list bands to sound like they were a bit more accomplished than what they probably were. The title track for example has a jaunty piano intro and lumbering tempo that bears a striking resemblance to a fair amount of Joe Walsh’s solo stuff; even the theme, something about a classy chick picking up a bum in a bar, sounds like something Walsh would have penned.

“Brown Lady” leans quite heavily into Ambrosia or Firefall territory with its strumming acoustic guitar, almost invisible bass line, and disjointed amorous lyrics. The Graham track “Movie Star” fits quite well in between the Morley tunes, but with harmonizing vocals that recall Buffalo Springfield or even CSN; while “Deanna Call and Scotty” has a Morley vocal track and piano accompaniment that could easily have been inspired by any number of tracks from ‘Abbey Road’, or maybe even some of the early seventies albums from the Beatles Lite (ELO).

The band moves back into pub rock with “Heaven Row”, even to the extent of including female harmonizing vocal backing. And the closing “Many Ways of Meeting” has a real “Let it Be” feel to it but without any kind of heavy lyrical undercurrent of meaning.

But the stand out track is the aforementioned “Excerpts from the ‘All Electric Fur Trapper’”, a lightly psychedelic and slow- developing instrumental that weaves in acoustic picking, electric strumming, fuzz, and some odd keyboard effects with a couple minutes of undisciplined jamming that sounds awfully acid-inspired. The result is one of those space-out songs that is best listened to in early dusk while lying on the hood of your car in a park somewhere. Peaceful, easy stuff, and probably brought the lighters out when it was played live at festivals back then (assuming it was played live at festivals, which I’m sure it was).

The next couple albums would be a bit heavier than this one, which is a bit heavier than the debut. But in reality these guys can be easily lumped with Man, pre-Laurie Wisefield Wishbone Ash, or Home. In other words British pub rock that aspires to be a bit more, and is inexplicably very west coast leaning in its execution. Decent stuff, probably not progressive, but worth a listen unless you are a prog purist. Three stars.

ClemofNazareth



..::TRACK-LIST::..

CD 2 - STRANGE AFFAIR (remastered edition) Released in 1972:
1. Strange Affair
2. Brown Lady
3. Movie Star
4. Deanna Call And Scotty
5. Heaven Row
6. Excerpts From 'The All Electric Fur Trapper' (Soundtrack From The Film Of The Novel)
7. Many Ways Of Meetings

Bonus Track:
8. Heaven Row (A-Side Of Single - Released In 1972)



..::OBSADA::..

Malcolm Morley - keyboards, guitar, vocals, composer (excl. 3)
Richard Treece - bass, guitar, vocals
Paul Burton - bass, guitar, vocals
Dave Charles - drums, percussion, vocals

With:
Ernie Graham - guitar, vocals
Jonathan 'Jojo' Glemser - guitar




https://www.youtube.com/watch?v=3ErEZ9_7SK0



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Sześciopłytowy zestaw zawierający antologię kultowej brytyjskiej grupy. Znalazły się tutaj albumy: "Help Yourself" z 1971, "Strange Affair" i "Beware The Shadow" z 1972, "Return Of Ken Whaley", "Happy Days" i "Help Yourself 5" (wydany dopiero w 2004) z 1973, a także solowy album lidera zespołu Malcolma Morleya "Lost And Found", nagrany w 1976 z towarzyszeniem grupy Plummet Airlines, którego taśmy-matki zaginęły i odnalazły się po latach, a następnie zostały wydane w 2002 roku. Wszystkie nagrania zremasterowano, a całość znajduje się w sztywnym pudełku, z książeczką z niepublikowanymi wcześniej zdjęciami i wywiadami oraz plakatem.


- A NEW 6CD REMASTERED BOXED SET ANTHOLOGY FEATURING THE COMPLETE STUDIO RECORDINGS BY THE UNSUNG HEROES OF BRITISH EARLY ‘70s ROCK, HELP YOURSELF
- FEATURING 66 TRACKS ON 6 CDs INCLUDING THE ALBUMS HELP YOURSELF, STRANGE AFFAIR, BEWARE THE SHADOW, THE RETURN OF KEN WHALEY / HAPPY DAYS, THE ALBUM FIVE & MALCOLM MORLEY’S 1976 ALBUM LOST & FOUND (BOTH UNRELEASED FOR THIRTY YEARS) ALONG WITH A PREVIOUSLY UNRELEASED BBC SESSION & DEMO.
- REMASTERED FROM THE ORIGINAL ALBUM MASTER TAPES
- INCLUDES AN ILLUSTRATED BOOK WITH EXTENSIVE ESSAY WITH PREVIOUSLY UNSEEN PHOTOGRAPHS AND INTERVIEWS & A POSTER

Esoteric Recordings are pleased to announce the release of PASSING THROUGH – THE COMPLETE STUDIO RECORDINGS, a 6CD boxed set by the unsung heroes of British early ‘70s rock, HELP YOURSELF.

The band was formed in London in 1970, originally as a backing band for singer-songwriter MALCOLM MORLEY and took their influences from American West Coast Country and Acid Rock. After Morley signed to the Famepushers management stable, his manager John Eichler suggested Morley form a new band and HELP YOURSELF was born. Featuring MALCOLM MORLEY (guitars, keyboards, vocals), former Sam Apple Pie member DAVE CHARLES (drums, percussion, vocals), RICHARD TREECE (guitars, vocals, harmonica) and KEN WHALEY (bass), the band signed to United Artists in 1970 and their eponymous debut album was issued in 1971.

Following a tour with label mates Brinsley Schwarz and Ernie Graham (also Famepushers artists), Ken Whaley departed the band. An expanded line-up including Ernie Graham and Jonathan Glemser began work on the album STRANGE AFFAIR in 1972, but Graham and Glemser’s departure half-way through the recording saw roadie Paul Burton join the band to complete the album, (which would include the excellent extended track “The All Electric Fur Trapper”). The band embarked on a tour of Switzerland with Welsh rock legends Man and a bond formed between the two groups. The band’s next album, BEWARE THE SHADOW, was an even stronger effort, featuring the Help’s twelve-minute anthem, “Reaffirmation”, a track that displayed the instrumental excellence of the group. Prior to a tour to promote their most recent album Malcolm Morley fell ill with depression and DEKE LEONARD, recently dismissed from Man, took his place. When Morley recovered, Leonard remained with the band, appearing with them on the CHRISTMAS AT THE PATTI concert in Swansea in December 1972. In early 1973 Deke Leonard departed the band to pursue a solo career and the band began work on the album HAPPY DAYS, a record that also featured THE FLYING ACES (featuring former MAN bassist MARTIN ACE and his wife George) and VIVIAN “SPIV’ MORRIS and spawned a touring musical review featuring all the musicians. Paul Burton’s departure during these sessions saw Ken Whaley return to the band. Work then commenced on another album, THE RETURN OF KEN WHALEY. Both albums were released as a package by United Artists later that year. Although critically acclaimed, commercial success continued to elude the band and Help Yourself were dropped by their record label. A fifth album was recorded at Chipping Norton Studios in Oxfordshire in 1973 but this failed to gain a release for over thirty years. The aborted album led to Help Yourself disbanding, with Malcolm Morley and Ken Whaley joining Man in 1974 for their album Winos, Rhinos and Lunatics. Following his departure from Man, Malcolm Morley recorded a solo album in 1976 that would also remain unreleased for thirty years.

Over four decades on, HELP YOURSELF are now regarded as one of the great, unsung British bands of their era and the songs of Malcolm Morley are recognised as true treasures. PASSING THROUGH – THE COMPLETE STUDIO RECORDINGS is a lovingly compiled boxed set which gathers together the albums HELP YOURSELF, STRANGE AFFAIR, BEWARE THE SHADOW, THE RETURN OF KEN WHALEY / HAPPY DAYS, the unreleased album FIVE , all the band’s non-album singles & Malcolm Morley’s unreleased album LOST & FOUND along with a previously unreleased BBC session & a studio demo.

The set is newly re-mastered from the original master tapes and features an illustrated booklet with rare photographs and a new essay with interviews and a poster and is a tribute to the inspirational music of HELP YOURSELF.

Esoteric



More of the same for Help Yourself on their second album, for the most part. Bassist Ken Whaley had taken his leave, replaced by former band roadie Ernie Graham on guitars and vocals (although Whaley would return a couple years later with the band naming their fourth album in his honor). Graham penned the only non-Malcolm Morley track on the first two albums, the strumming and west coast-flavored “Movie Star”.
Otherwise most of these tracks are quite similar to the debut, at least most of them. The band would put together their first full- length psych jam here with the ten minute rambling “Excerpts from the ‘All Electric Fur Trapper’”, which would only be topped during their career by the even longer and more improvisational “Reaffirmation” on the ‘Beware the Shadow’ release.

The instrumentation is the same: a couple of guitars, piano, bass and drums. Pub band fare for the most part, but Help Yourself had a knack for coming off as just vaguely enough like several ‘A’ list bands to sound like they were a bit more accomplished than what they probably were. The title track for example has a jaunty piano intro and lumbering tempo that bears a striking resemblance to a fair amount of Joe Walsh’s solo stuff; even the theme, something about a classy chick picking up a bum in a bar, sounds like something Walsh would have penned.

“Brown Lady” leans quite heavily into Ambrosia or Firefall territory with its strumming acoustic guitar, almost invisible bass line, and disjointed amorous lyrics. The Graham track “Movie Star” fits quite well in between the Morley tunes, but with harmonizing vocals that recall Buffalo Springfield or even CSN; while “Deanna Call and Scotty” has a Morley vocal track and piano accompaniment that could easily have been inspired by any number of tracks from ‘Abbey Road’, or maybe even some of the early seventies albums from the Beatles Lite (ELO).

The band moves back into pub rock with “Heaven Row”, even to the extent of including female harmonizing vocal backing. And the closing “Many Ways of Meeting” has a real “Let it Be” feel to it but without any kind of heavy lyrical undercurrent of meaning.

But the stand out track is the aforementioned “Excerpts from the ‘All Electric Fur Trapper’”, a lightly psychedelic and slow- developing instrumental that weaves in acoustic picking, electric strumming, fuzz, and some odd keyboard effects with a couple minutes of undisciplined jamming that sounds awfully acid-inspired. The result is one of those space-out songs that is best listened to in early dusk while lying on the hood of your car in a park somewhere. Peaceful, easy stuff, and probably brought the lighters out when it was played live at festivals back then (assuming it was played live at festivals, which I’m sure it was).

The next couple albums would be a bit heavier than this one, which is a bit heavier than the debut. But in reality these guys can be easily lumped with Man, pre-Laurie Wisefield Wishbone Ash, or Home. In other words British pub rock that aspires to be a bit more, and is inexplicably very west coast leaning in its execution. Decent stuff, probably not progressive, but worth a listen unless you are a prog purist. Three stars.

ClemofNazareth



..::TRACK-LIST::..

CD 2 - STRANGE AFFAIR (remastered edition) Released in 1972:
1. Strange Affair
2. Brown Lady
3. Movie Star
4. Deanna Call And Scotty
5. Heaven Row
6. Excerpts From 'The All Electric Fur Trapper' (Soundtrack From The Film Of The Novel)
7. Many Ways Of Meetings

Bonus Track:
8. Heaven Row (A-Side Of Single - Released In 1972)



..::OBSADA::..

Malcolm Morley - keyboards, guitar, vocals, composer (excl. 3)
Richard Treece - bass, guitar, vocals
Paul Burton - bass, guitar, vocals
Dave Charles - drums, percussion, vocals

With:
Ernie Graham - guitar, vocals
Jonathan 'Jojo' Glemser - guitar




https://www.youtube.com/watch?v=3ErEZ9_7SK0



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.



..::OPIS::..

Pierwszy raz na CD w pełnej wersji, wraz z doskonałym utworem "Apache 69" (kończącym winylową wersję - z jakichś względów niewydanym dotychczas na kompakcie) - pochodzącym z repertuaru The Shadows!

Drugi album Brytyjczyków nieco przybliżył ich do progresywnego nurtu - zwłaszcza w dwóch nagraniach trwających odpowiednio 9 i 7 minut. W 1970 muzycy zmienili nazwę na Big Sleep i już pod tym szyldem w 1970 nagrali wydany wyłącznie w Hiszpanii singiel z nową wersją "Largo" (przeróbki utworu Haendla z debiutu) i ta właśnie wersja została dołączona do tej edycji! Poza tym CD rozszerzono o B-stronę amerykańskiego singla z doskonałym utworem "Q III".

W 1970 muzycy Big Sleep wzięli udział w nagraniu płyty zespołu Ancient Grease, a w 1971 światło dzienne ujrzał świetny, choć wymagający kilku przesłuchań LP "Bluebell Wood". Po rozpadzie poszczególni muzycy związali się m.in. z Wild Turkey, Gentle Giant i Man.



..::TRACK-LIST::..

1. Merry Go Round (From the Film 'Toy Grabbers')
2. The Light We See
3. Souvenirs (Tribute To Django)
4. Ardath
5. Spanish Blues
6. Door (The Child That Is Born On The Sabbath Day)
7. Little Bird
8. After The War
9. Extra Hour
10. Chances
11. Apache '69

Bonus Tracks:
12. QIII (B-Side of US single, 1969)
13. Largo (A-side of Spanish single, released as Big Sleep, 1970)



..::OBSADA::..

Gary Pickford-Hopkins - Vocals
Phil Ryan - Keyboards
Ray 'Taff' Williams - Guitar
Ritchie Francis - Bass
John Weathers - Drums




https://www.youtube.com/watch?v=DfJ5ctrooss



SEED 14:30-23:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.



..::OPIS::..

Doskonały, drugi album zawierający tylko cztery utwory o bardzo luźnej formie, z mnóstwem ciężkich gitarowych improwizacji - oczywiście wszystko to w krautrockowym sosie.
Zremasterowana reedycja z 2021 roku, w digipaku.



Second album from this groundbreaking group, this album is almost better known for its buttocks artwork than the wild music on the vinyl. The almost instrumental trio (drummer Neumeier struts out some weird vocals once in a blue moon) is still just as crazy and free from all commercial considerations, and even if the music on the album has not aged well, the album's historical worth is certainly indisputable and the Konrad Plank production and its release on the legendary Ohr label adds even more to its legend .
This is more of a free jam with four tracks all around the 10min+ mark that have no real structure or constraint or restrictions (except the one of not having any ;-), so a good bunch of progheads will most likely frown at this album the ones that bookend it. But the double guru chose theirs and they clearly announce the colour by flashing their guitar power trio based on its ultimate form: the Jimi Hendrix Experience. But overall compared to their UFO debut album, this album is more structured (if you can call it that ;-), a tad less anarchic and a bit calmer. But don't be fooled: this still complete and utter chaos. YUMMMY!!!!!!!

Electric Junk (rather aptly titled is always on the verge of complete chaos while coming from pure mystic Hendrix-esque moments to a free jazz and utter spacey nightmares with feedbacks included. A pure joy to hear, if you ask me. And this apocalyptic atmosphere is only after the first track, and there are three left, so you'd better attach the safety belt and ask your buddies fasten the strap of your loony bin costume, cos you're in for a completely mind-boggling ride, starting with the meaningful Meaning Of Meaning. This 12-min freak out is probably one of the best examples to show what kind of freedom Guru Guru enjoyed during that blessed period of the very early 70's. with even less of a structure (if you except Mani Neumeier's incredible drum works) Genrish is free to go explore what good ol'Jimi was out to explore in some of his wildest jams.

On the next slice, the group visits another black guitar rock legend, Bo Diddley, and pay him an incredible tribute, even if I always wondered how the old master appreciated his works being trampled destroyed and rebuilt, not always successfully either, as this track is maybe the slightly weaker one, because there some evident lengths. The closing Spaceships starts out understandably on spacey sounds, which can be closer to Popol Vuh's Affenstunde or TD's Zeit period, even if they remained the guitar trio without synths or other keyboards. Rather impressive, slightly fascinating but definitely not for the faint-hearted.

Yes this album is clearly indebted to the great Jimi, but it is also a bit more than a glaring and blatant copy. One of those absolute statement on musical freedom, this is the type of album that had most parents and grandparents heaving in anguish for their offspring's sanity. And little did they know that they were fully right to be concerned, because no kid listening to this album would come out fully unscathed. All hail to the double Guru.

Sean Trane



Guru Guru. I LOVE Guru Guru. I'm probably not the right person to refer to, but most of their albums I would rate as 4's or 5's. This one is a 4.5 coz the next one is better. Hinten may not offer anything revolutionary, but their passion and vibrant energy levels surpasses that of many other bands. I'm not a fan of Hendrix, I couldn't even hum any tune by him (banished.... oh, maybe 'Are You Experienced ? - but that's thanks to the Magic Mushroom Band's cover of it ) but if any Hendrix is like this, I'd like to know, as JH is often cited as a reference point for this model Guru Guru. From the opening blast of 'Electric Junk' (10.58), the musicians waste not a second ; abrasive guitaring and heavy drumming instantly smashing your ears like a jack-hammer to a sidewalk - from this cacophonous intro the main riff kicks in (yes, Hinten is more riff laden than their debut, U.F.O.) with a rockabilly guitar on crystal, relentless in execution and complimented with Mani's incredibly creative and meticulous drum-work - even though their music is highly improvised, it's as if every part of the drum-kit he hits was carefully planned in advance. Bassist Uli Trepte underpins this madness with solid grooves, simple maybe, but methinks his Bass is the anchor for all the percussion and guitar histrionics. There are no keyboards, but there is an interlude that must've been snatched from a galaxy far, far away because it's really 'out there'. Who needs drugs when we have Guru Guru ??? The last section of this piece jams out with guitarist Ax Genrich sounding like he's been doused in fuel and set alight, Mani's rumbling, double-kick drumming powerful enough the crack the foundations of your humble abode, and Uli's orange Fender P-Bass keeping it all together. Great stuff to crank up first thing in the morning !! Similar descriptions can be applicable for the remaining 3 tunes as well, as Ax, Mani and Uli jumped on this formula of shredding, lysergically aided jams and got away with it. They refined this approach for the masterpiece album 'Kanguru'. James Blunt, anyone ??? - Didn't think so...

Tom Ozric



..::TRACK-LIST::..

1. Electric Junk 10:58
2. The Meaning Of Meaning 12:09
3. Bo Diddley 9:56
4. Space Ship 11:05



..::OBSADA::..

Ax Genrich - guitar, vocals
Uli Trepte - bass, Fx, vocals
Mani Neumeier - electric drums, cymbal, gong, kalimba, Fx, vocals




https://www.youtube.com/watch?v=DrpWBvIpvmM



SEED 14:30-23:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.


..::OPIS::..

„Why is any object we don’t understand always called ‘a thing’?” (Leonard ‘Bones’ McCoy)

Kosmicznej Sagi odcinek 2: “W poszukiwaniu Spocka/Brocka/Kosmosu*”

Kapitan Brock i jego załoga statku Hawkwind opuściła doki Federacji i wyruszyła w swoją podróż. O ile pierwszy wojaż w postaci debiutanckiej płyty był tylko lekkim skokiem w nadprzestrzeń, o tyle wydany rok później „In Search Of Space” był już konkretnym pierdolnięciem z prędkością warp 6.

Zanim jednak płyta ujrzała światło dzienne kapitan musiał wymienić kilku oficerów; gitarzysta Huw-Lloyd Langton padł pierwszą ofiarą szalonych eksperymentów z narkotykami (dość powszechnych wówczas w szeregach załogi) i po przedawkowaniu LSD podczas Isle Of Wight Festival przeżył załamanie nerwowe i nie był zdolny do kontynuowania misji. Kilkakrotnie zmieniła się obsada pozycji basisty i ostatecznie powierzono ją Davidowi Andersonowi z Amon Düül II. W tzw. międzyczasie w akcji zaginął również inżynier odpowedzialny za świdrujące elektroniczne efekty (Dik Mik) i jego miejsce zajął Del Dettmar. Dodatkowo do (koncertowego) składu dołączyła legendarna Stacia, która - odziana jedynie w mazy wymalowane na jej okazałym ciele - swoim tańcem uatrakcyjniała koncerty zespołu, przyciągając (zapewne głównie męską) część widowni na występy zespołu.

Ostatecznie po przezwyciężeniu technicznych i kadrowych perturbacji chłopaki zabrali się ostro do pracy i w październiku 1971 roku ukazuje się „In Search Of Space”.

Zasadnicza różnica pomiędzy debiutem zespołu, a tym albumem polega na tym, iż na „In Search Of Space” grupa wyzbyła się ‘przerywników’, którymi uraczyła nas na pierwszej płycie („Hurry On Sundown”, „Mirror Of Illusion”), a które pomimo swoich walorów, nie za bardzo pasowały do koncepcji całości. Na temat omawianego dziś przeze mnie wydawnictwa można śmiało stwierdzić, iż brzmi ono bardziej spójnie i sprawia wrażenie bardziej przemyślanego konceptu od swojego poprzednika. Oczywiście trudno tutaj mówić o ‘przemyślanej’ formie biorąc pod uwagę fakt, że muzycy zespołu już wówczas ostro dawali czadu z narkotykami (których policja pomimo regularnych ‘nalotów’ na garderoby zespołu nie mogła niczego znaleźć. Cóż należało zajrzeć w saksofon Nika Turnera...), jednak co by nie mówić, „In Search Of Space” jest zdecydowanym krokiem naprzód w porównaniu z pierwszym krążkiem kapeli.

Blisko 16-minutowy „You Shouldn’t Do That” wydaje się być niczym więcej jak spontanicznym jamowaniem. Konstrukcja momentami nosi znamiona „Seeing It As You Really Are” z płyty „Hawkwind”. Ten sam powolnie rozwijający się wstęp, pełno swodobnie latających UFS-ów**, saksofonowe ‘szmery’ Nika Turnera. Do tego dochodzi mocny rytm, podparty swobodnymi gitarowymi frazami. Do obrazu (tej sprawiającej wrażenia obłąkanej) całości należy jeszcze dołożyć linię melodyczną prowadzoną jakby od niechcenia i na przywoity ‘odwal się’. Dalsza część utworu zdaje się być jedną wielką improwizacją, choć co jakiś czas powracają motywy z pierwszym minut kompozycji, które pojawiają zapewne po to aby sprawić wrażenie przemyślanej całości. Podsumowaując, „You Shouldn’t Do That” pozostaje po dzień dzisiejszy przykładem klasycznego wczesno-hawkwindowego brzmienia i konstrukcji w których na równi ważne jest zarówno trasnowość, umiejętne ‘podsycanie’ tego psychodelicznego klimatu jak i samo wykonanie (nawet pomimo faktu ograniczonych możliwości technicznych samych muzyków – wynikających w równej mierze zarówno z braku klasyczego muzycznego wykształcenia jak i odurzenia różnymi substancjami podczas nagrywania).

„You Know You’re Only Dreaming” jest nieco balladowym utworem, mogącym sie kojarzyć z wczesnym Floydem. Te same efekty gitarowe, złowgrogie chórki przywołujące na myśl utwór tytułowy z drugiej płyty Rogera Watersa i spółki, ten sam dość sennie prowadzony motyw główny utworu sprawia, że dość ciężko wyzbyć się automatycznie nasuwających się odniesień do „A Saucerful Of Secrets” czy „More”. Na szczęście po niespełna półtorej minuty, „You Know You’re Only Dreaming” nabiera tego swego bardziej hawkwindowego charakteru, sprawiając, że znów czujemy się bliżej właściwego stylu zespołu niż chęci kopiowania innych.

„Master Of The Universe” stał się jedym z ważniejszych koncertowych klasyków grupy oraz – niestety – zapowiedzią obranego na następnej płycie – nienajszczęśliwszego – nowego kierunku rozwoju zespołu. Mocny, toporny riff, nie za bardzo wyróżniająca się linia melodyczna. Fakt faktem „Master Of The Universe” brzmieniowo wkomponowuje się idealnie do całości płyty jednak pomimo tego mnie jest on według mnie zdecydowanie najsłabszym fragmentem „In Search Of Space”.

Na szczęście dalej jest już zdecydowanie lepiej. „We Took The Wrong Step Years Ago” jest drugim, spokojniejszym, niemal balladowym kawałekiem na płycie. Odegrany na akustycznej gitarze prowadzący motyw jest fajnie podparty syntezatorami efektami w tle i nieco ‘dylanowym’ wokalem.

Kolejny w zestawie „Adjust Me” również świetnie mieści się w ryzach tego hawkwindowego obłędu. Są zmiany rytmów, transowo budowane napięcie, tradycyjne dziwne efekty wydawane przez syntezatory i saksofon.

„Children Of The Sun” znów brzmi nieco folkowo poprzez partię gitary aksutycznej jednak jest co wrażenie jak najbardziej złudne. Z każdą sekundą dodawane są elementy tak często obecne na płycie, zdające się już być wyznacznikiem stylu zespołu: jest tajemniczy klimat, są (tym razem) odegrane na flecie wariacje, jest to przyjemnie psychodeliczne brzmienie.

Płyta odniosła już duży sukces. W Wielkiej Brytanii można by rzecz, że wręcz bardzo duży. Jednak do stablizacji jeśli chodzi o skład załogi nadal było daleko. Wkrótce na podkładzie zamelduje się dwóch nowych rekrutów, którzy (jak się miało wkrótce okazać) będą mieli znaczący wpływ na przebieg kolejnych podróży okrętu.

W następnym odcinku: co za dużo to niezdrowo i do czego przydatni mogą być techniczni zespołu poza dbaniem o odpowidnie nagłośnienie.


*niepotrzebne skreślić

**UFS – Unidentified Flying Sounds. Określenie syntezatorowych efektów na płytach Hawkwind. Termin często stosowany przez Bartka Chacińskiego i jego redakcyjnych kolegów, recenzujących płyty zespołu dla fanzinu „OFF” w latach 90-tych

Paweł Horyszny



Leaving no indication of what lane the band should take in their previous and debut album, HAWKWIND's "In Search Of Space", their second official release, clearly sets the band's course in the direction of the so-called space-rock - a genre where HAWKWIND would soon become the lords, the masters, the kings. The search ended and it took only 2 albums and less than 2 years.
The starting point, 'You shouldn't do that', leaves no doubt that we are departing to the stars. What a trip (apparently in all senses)! A miscellanea of sounds, strong guitar and bass, weird sound effects, haunting voices and much more - all done exactly to catch the hearer.

'You know you're only dreaming' while still a space-rock is frankly connected to band's roots related to psychedelics (and psychotropics, no?). Initial vocals are fine but song's middle section is a bit dull and fatiguing. The following track, 'Masters of the Universe', takes us again to the galaxies. Surely one the most known HAWKWIND songs: a classic in its genre. Music tunes are basic, simple and plain but the result is agreeable.

'We took the wrong step years ago' brings some folk touches which reminds us their debut album. A certain smell of 'Hurry on sundown', their first hit is felt here. The song however goes more frantic and crude only to finish in the same folk way it started. 'Adjust me' is only a flushing of madness looking like a filler but very characteristic of the band. The rock part is interesting. 'Children of the Sun' mixes folk & rock and once again psychedelia. Recorded probably to be a radio-friendly track, something went wrong here and the song didn't happen.

CD bonus tracks are noticeable: the quaint 'Seven by seven' together with two HAWKWIND standards, the easy 'Silver machine' and the live version of the impacting 'Born to go'.

Evaluating album original tracks plus the bonus tracks, we may hear at least 4 band's classics here and the rating increases consequently.

Atkingani



..::TRACK-LIST::..

1. You Shouldn't Do That 15:41
2. You Know You're Only Dreaming 6:37
3. Master Of The Universe 6:16
4. We Took The Wrong Step Years Ago 4:50
5. Adjust Me 5:46
6. Children Of The Sun 3:21

Bonus Tracks:
7. Seven By Seven (Original Single Version) 5:23
8. Silver Machine (Original Single Version) 4:39
9. Born To Go (Live Single Version Edit) 5:06



..::OBSADA::..

Synthesizer - Del Dettmar
Vocals, Guitar, Acoustic Guitar [6 Strings], 12-String Acoustic Guitar - Dave Brock
Alto Saxophone, Flute, Vocals - Nik Turner
Bass, Guitar [6 Strings], Acoustic Guitar [6 Strings] - Dave Anderson
Drums, Percussion - Terry Ollis
Audio Generator - Michael 'DikMik' Davies

Other [Dances] – Stacia
Other [Strong Arms And Electric Heads] – Bill, Colin, Huw




https://www.youtube.com/watch?v=JHv5hqn5kGU



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...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...



..::OPIS::..

Zremasterowana, szwedzka, znacznie lepiej brzmiąca i co najważniejsze - rozszerzona o nagrania singlowe oraz sesje radiowe BBC, edycja genialnego, niestety jedynego albumu brytyjskiej (a raczej międzynarodowej) folk-psych-progresywnej formacji - nagranego w Londynie w 1968 roku i wydanego przez Elektrę (wytwórnię The Doors i Love).

Ten bardzo niegdyś niedoceniony album wypełniała bardzo plastyczna, totalnie czarująca i cudownie zaaranżowana muzyka, uwodząca subtelną melodyką, zgrabnymi (damsko-męskimi) partiami wokalnymi i niepowtarzalnym, późnopsychodelicznym nastrojem. Całość przypomina najlepsze momenty It's A Beautiful Day, Jefferson Airplane i Fairport Convention, choć brzmienie chwilami było jeszcze bardziej soczyste.

W porównaniu z bardzo przytłumionym, wcześniejszym, amerykańskim CD ta edycja brzmi po prostu genialnie. Natomiast bonusy są wręcz fantastyczne (zwłaszcza cudowny "Mark Time"), zaś singlowe wersje mono są dynamiczniejsze niż miksy stereo z płyty!



..::TRACK-LIST::..

1. In Her Mind 3:56
2. Nevertheless 2:50
3. Violet Dew 3:48
4. Will Tomorrow Be The Same 3:11
5. Still I Can See 4:16
6. In The Early Days 3:37
7. Another Time Another Place 4:24
8. Morning Of Yesterday 4:09
9.Betty Brown 3:04
10. St. Georg & The Dragon (Up The Night) 4:56
11. Confusion 5:05

Bonus Tracks From 1968 UK Mono Singles:
12. Mark Time (B-Side) 2:51
13. Please (A-Side) 2:51
14. Please (Mark II) (A-Side) 2:56
15. Nevertheless (A-Side) 2:50
16. In The Early Days (B-Side) 3:37
17. St. Georg & The Dragon (B-Side) 4:58

Unreleased Bonus Tracks From The BBC Sessions:
18. Nevertheless (BBC Sessions) 3:00
19. Will Tomorrow Be The Same (BBC Sessions) 3:08
20. Violet Dew (BBC Sessions) 3:22
21. Please (BBC Sessions) 2:53
22. Morning Of Yesterday (BBC Sessions) 4:10



..::OBSADA::..

Lead Vocals - Georg Hultgreen (tracks: 8), Kerrilee Male, Trevor Lucas (tracks: 6)
Vocals, Bass - Trevor Lucas
Vocals, Guitar - Georg Hultgreen
Vocals, Guitar, Trumpet - Michael Rosen
Drums - Gerry Conway




https://www.youtube.com/watch?v=YBcbrq_EuCg



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..::OPIS::..

Sesje nagraniowe czwartego albumu The Doors ciągnęły się przez prawie rok. Jim Morrison zaczął w tamtym czasie oddalać się od reszty zespołu, skupiając się na tworzeniu poezji (i spożywaniu coraz większych ilości alkoholu). Jako jedyny nie był przekonany do pomysłu Paula Rothchilda, aby wzbogacić aranżacje o instrumenty dęte i smyczkowe. W rezultacie pojawiły się one wyłącznie w czterech kompozycjach Robby'ego Kriegera (ich orkiestracją zajął się Paul Harris). Morrisonowi nie spodobały się teksty napisane przez gitarzystę i dlatego uparł się, aby wszystkie kompozycje zostały podpisane wyłącznie nazwiskami ich rzeczywistych twórców, a nie - jak do tej pory - przez cały skład. Wokalista sam dostarczył cztery kolejne utwory, a jeden napisał wspólnie z Kriegerem.

Wspólna kompozycja muzyków to zwyczajnie nudny, pozbawiony pomysłu "Do It". Różnie prezentują się natomiast kawałki, które stworzyli oddzielnie. Gitarzysta pokazał swój kompozytorski talent w "Touch Me" - największym przeboju z tego albumu, bardzo zgrabnym melodycznie, z dodającymi fajnego klimatu, niczym z muzyki popularnej poprzedniej dekady, partiami dęciaków i smyczków, oraz niezłą solówką na saksofonie inspirowaną twórczością Johna Coltrane'a... Niestety pozostałe utwory gitarzysty już tak dobrze nie wypadają. W "Tell All the People" i "Wishful Sinful" bogate aranżacje zamiast ukrywać kompozytorską miałkość, tylko dodatkowo ją podkreślają. A "Runnin' Blue" to kompletny chaos - nawet niezłe, bluesowo-psychodeliczne fragmenty przeplatają się tutaj z popowymi lub jazzującymi dęciakami i folkowymi wstawkami. Ciekawostką jest wokalny udział Kriegera, który w tych folkowych momentach całkiem nieźle imituje Boba Dylana.

Jim Morrison również zaliczył kompozytorskie wzloty i upadki. Do tych pierwszych zdecydowanie należy typowo doorsowski "Shaman Blues", z psychodelicznymi organami, bluesowo-jazzującymi zagrywkami gitary, oraz świetną partią basu w wykonaniu Harveya Brooksa (znanego m.in. z albumów "Highway 61 Revisited" Dylana i "Bitches Brew" Milesa Davisa). Dobrze wypada także zadziorny "Wild Child". Natomiast dziewięciominutowy, wieloczęściowy utwór tytułowy jest swego rodzaju próbą stworzenia nowego, bardziej skondensowanego "The Celebration of the Lizard". Poszczególne części są naprawdę niezłe, jednak połączone w całość tworzą zwyczajny chaos. Okropną pomyłką jest z kolei "Easy Ride" - banalny kawałek zalatujący country.

"The Soft Parade" miał być albumem pokazującym rozwój i ambicje The Doors. Okazał się albumem ujawniającym kryzys i zagubienie muzyków.

Paweł Pałasz



Po rzuceniu się w wir koncertów, The Doors nie mieli dużo czasu na nagranie materiału na swój czwarty album, a wokalista Jim Morrison coraz bardziej pogrążał się w alkoholizmie i skupiał na wszystkim, oprócz muzyki. Producent Paul Rothchild, podsunął im pomysł na nagranie czegoś zupełnie innego od trzech poprzednich albumów. I tak powstało „The Soft Parade”, uznawane za krytyków i słuchaczy za najsłabszy album w ich dyskografii.

Zespół postanowił porzucić swoje mroczne klimaty na rzecz bluesa i jazzu. Chociaż brzmi to intrygująco, skutek nie jest najlepszy. Również teksty są mniej fantazyjne i powtarzalne. Przykładem jest otwierające „Tell All The People”, w którym Morrison śpiewa jakby robił to przed skromną publicznością w barze, na dodatek powtarza „Follow me down” przez trzy minuty. Innym utworem do speluny jest niewypał (a raczej przypał) „Easy Ride” o bluesowym rytmie idealnym do tańca. The Doors jest ostatnią grupą, która mogłaby wykonać taki utwór. Inny koszmar to „Runnin’ Blue”. Chociaż utwór zaczyna się ciekawie – Morrison śpiewający accapela; to po chwili wchodzi sekcja country z fletem i gitarzysta Robby Krieger imitujący Boba Dylana. Nie ma to jak tak zepsuć dobrze zapowiadający się utwór.

Na albumie nie zabrakło piosenek, które na upartego można zaliczyć jako prototyp hard rocka. Gitara Krigera nadaje mocniejszy charakter „Shaman’s Blues”, czy „Do It”. Ten pierwszy jest przegadany przez Morrisona i ciągnie się aż pięć minut. W „Do It” wokalista przez trzy minuty prosi „Listen to the children”. Nie wiadomo o jakie dzieci chodzi, ale pomimo jego powtarzalności, to jeden z ciekawszych elementów albumu. Album jest dość energiczny i zabrakło mi tu rozmarzonych utworów pokroju „The Crystal Ship” czy „Love Street”. Jedynie „Wishful Sinful” jest klimatycznym kawałkiem, któremu smyczki nadają romantycznej aury. Zwieńczające album, ośmiominutowe „The Soft Parade” brzmi jak połączenie kilku utworów, podczas których słychać komentarze Morrisona „To mój ulubiony moment”, czy „Całkiem niezłe, nie?”. Kompozycji daleko do improwizacji „The End” i „When The Music’s Over”, nie mniej jednak to dobre zakończenie przeciętnego albumu. A co z największym przebojem „Touch Me”? Jest on bardziej pogodny od wcześniejszych singli grup, jednak jest nieco pokręcony – na zmianę jego tempo rośnie i maleje, znalazło to się trochę jazgotu w połączeniu z organami i dęciakami, a Morrison na zmianę prowokacyjnie zachęca swoją ukochaną „dotknij mnie”, aby potem w musicalowy sposób zapewniać, że będzie zawsze kochać do końca świata. Nie kupuje tego kawałka.

Z czwartym albumem The Doors wybrali sobie kierunek, który nie do końca przypadł mi do gustu. Ale to nie jedyne rozczarowanie. Po „The Soft Parade” słychać, że jest to płyta nagrywana na siłę. Zniknęła magiczna aura zespołu, która mnie do niego przekonała; nie ma tu utworów, które za kilka miesięcy wciąż będę pamiętać. Recenzenci mieli rację.
Besty: „Do It”, „Wishful Sinful”, „The Soft Parade”

Szafira



..::TRACK-LIST::..

Tell All the People 3:21
Touch Me 3:12
Shaman's Blues 4:49
Do It 3:08
Easy Ride 2:43
Wild Child 2:36
Runnin’ Blue 2:27
Wishful Sinful 2:58
The Soft Parade 8:36 (mix z 40th Anniversary zawiera intro wydłużające utwór do 9:41)



..::OBSADA::..

Jim Morrison - vocals
Ray Manzarek - keyboards, celesta on "Touch Me", harpsichord on "Shaman's Blues" and "The Soft Parade"
Robby Krieger - guitar, chorus lead vocals on "Runnin' Blue"
John Densmore - drums

Additional musicians:
Harvey Brooks - bass guitar on "Tell All the People", "Touch Me", "Shaman's Blues", "Do It", "Runnin' Blue" and "The Soft Parade"
Doug Lubahn - bass guitar on "Easy Ride", "Wild Child" and "Wishful Sinful"
Paul Harris - orchestral arrangements
Curtis Amy - saxophone solos
George Bohanon - trombone solo
Champ Webb - English horn solo
Jesse McReynolds - mandolin on "Runnin' Blue"
Reinol Andino - congas




https://www.youtube.com/watch?v=8p-AUo1w45w



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..::INFO::..

Artist: Neu!
Album: 50! (5CD Box Set)
Year: 2022
Genre: Psychedelic Rock
Format/Quality: FLAC 16 bit/44100Hz

..::TRACK-LIST::..

CD1 - Neu!
01. Hallogallo (10:07)
02. Sonderangebot (4:51)
03. Weissensee (6:47)
04. Im Glück (6:53)
05. Negativland (9:47)
06. Lieber Honig (7:19)

CD2 - Neu! 2
01. Fur Immer (Forever) (11:17)
02. Spitzenqualität (3:35)
03. Gedenkminute (Für a + K) (2:06)
04. Lila Engel (Lilac Angel) (4:38)
05. Neuschnee 78 (2:33)
06. Super 16 (3:39)
07. Neuschnee (4:08)
08. Cassetto (1:49)
09. Super 78 (1:36)
10. Hallo Excentrico! (3:45)
11. Super (3:11)

CD3 - Neu! '75
01. Isi (5:07)
02. See Land (6:54)
03. Leb' Wohl (8:51)
04. Hero (7:12)
05. E-Musik (9:58)
06. After Eight (4:45)

CD4 - Neu! '86
01. Intro (Hayden Slo Mo) (0:34)
02. Danzing (5:06)
03. Crazy (3:14)
04. Drive (Grundfunken) (5:14)
05. La Bomba (Stop Apartheid World Wide!) (5:30)
06. Elanoizan (2:31)
07. Wave Mother (4:53)
08. Paradise Walk (5:11)
09. Euphoria (3:58)
10. Vier 1/2 (1:01)
11. Good Life (3:42)
12. November (1:43)
13. KD (1:55)

CD5 - Tribute
01. Im Glück (8:09)
02. Weissensee (7:10)
03. Super (4:25)
04. 4+1=5 (13:30)
05. Hallogallo (6:30)
06. Lieber Honig (9:52)
07. Super (4:53)
08. Negativland (9:46)
09. Zum Herz (4:18)
10. After Eight (2:11)