Παρασκευή, 21 Μαρτίου 2008

Malo - Suavecito 1972 (Jorge Santana)


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Santana 1971 Montreux Jazz Festival. Casino De Montreux


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Τετάρτη, 19 Μαρτίου 2008

Mandrill - "Mandrill" 1971


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El Chicano - Viva Tirado 1971


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Φίλιππος Πλιάτσικας"αν θα μπορούσα τον κόσμο να άλλαζα"


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Τρίτη, 18 Μαρτίου 2008

Μακρινα Ξαδελφια - the bright side of life



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Τετάρτη, 12 Μαρτίου 2008

GIUSEPPE UNGARETTI - Η ΛΕΙΑ ΤΟΥ


GIUSEPPE UNGARETTI - Η ΛΕΙΑ ΤΟΥ
Για τον Mario Diacono, ποιητή, φίλο, Που βρήκε τις παλιές μου σελίδες Taranto Ιούλιος του 1933

Αυτός ο ήλιος θέλει να μάθουμε καλά ότι η μεγάλη μέρα είναι λεία του. Απ’ τα χαράματα άρχισε να ροδίζει στα τελευταία χόρτα Στον παλιό σταυρό πάνω στην σπαραγμένη πέτρα δεν θα κουραστεί ποτέ να παραχωρεί μια λάμψη ανακουφίζοντας των χεριών το σίδερο, σφυρί και λόγχη, καρφιά και τανάλια. Έριξε κεραυνό επάνω σ’ ένα χελιδόνι. Αλλά η κυριαρχία του από τις 7 ως τις 19 είναι διακριτική, ώρες ακόμα φιλόξενες. Γυάλισε με γλυκύτητα το χώρο τους. Οι σκιές που περικλείει και που περιστρέφονται αλλάζουν χρώματα κι από άσπρο βιολετί γίνονται ροζ, δεν είναι παρά σκέψεις ενός νέου περαστικού ερωτευμένου. Περασμένες 7 όλα είναι έρημος γεμάτη, εκτός από την περιπλάνηση θηρίου λαχανιασμένου. Δίχως να βρίσκει ανακούφιση, κάθε λίγο, στον πρώτο ερχόμενο καπνό βυθίζει μάταια τη μούρη του. Την ξανασηκώνει παραμένοντας εύπιστο. Χωρίς ν’ απελπιστεί φτάνει στο ζενίθ. Βρίσκεται κάτω από ένα σκληρό του αέρα που πέφτει αργά χωρίς βάρος όπως πέφτει κανείς μέσα στο όνειρο. Είναι 14:00 επιτέλους. Ο τόπος γυμνός γίνεται μια τρύπα στην πίεση των ποδιών έτσι που το θηρίο λαχανιασμένο τρελαίνεται. Πολλαπλασιάζεται. Κι ένα κοπάδι αίγες τρέχουν ή χορεύουν. Κανείς δεν ξέρει. Ο ήλιος άγγιξε χώμα με τα πένθιμα πόδια της αράχνης. Σημ: Βρέθηκε από τον Mario Diacono μέσα σε κάποια παλιά χαρτιά του Ποιητή. Πρέπει να ανήκει στην εποχή του ταξιδιού στην Πούλια το καλοκαίρι του 1933. (Μετ. Νίκος Βαραλής)

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Κυριακή, 2 Μαρτίου 2008

Opossum - Bears Banquet(1974 private pressed Germany , psychedelic rock with jazz elements)



Opossum – Bear’s Banquet. 1974.

Opossum is the predecessor to Morpheus. And hearing this posthumous release, one can tell that Opossum is much looser in their embryonic stages to the more rigid Morpheus. Despite lacking cohesion and strong melody composition, the rough styling here is quite appealing. Maybe like a less avant Exmagma perhaps. Interesting to note for an album that displays prominently a flute player on the cover, it’s surprising how little the instrument is used. Outer Music Diary

Precursor of Morpheus, from the greater area of Warburg. Playing a relaxed instrumental jazz-rock, with flute, keyboards, and two drums, no vocals. Unreleased tracks in a clear sound.
the tracks:
The sun and moon have come together/ Mittelstreifen / Amina / Opossum novum / Bear’s banquet


Gerold Adler (g),

Heinrich Holtgreve (sax, cl),

Robert Binnewies (key),

Peter Blömeke (fl, synth, perc, dr),

Alfred Franke (dr, perc),

Karl-Heinz Cornelius (b)
Morpheus is a band which might be known well to the enthusiasts of German rock. The band came from the greater area of Warburg, a city situated in the eastern part of Westphalia. Their precursor was given the slightly silly name Opossum. The name is connected with their bassist who was wearing an opossum skin tobacco pouch on his belt. Opossum, like later Morpheus, were playing relaxed instrumental jazz-rock. There were no LPs released, but in 1974 five tracks had been recorded of which the tapes were kept hidden from the public almost for thirty years. Now they are released by Garden of Delights, carefully remastered by Gerold Adler, the band’s guitarist and composer. One can hear by their tracks that the six musicians had a sound education. The sound was made by flute, sax, synthesizer, and – very extravagant – sometimes by two drums(Garden of Delights)

get it here enjoy - Part1. & Part2.

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Oliver - Standing Stone (1974 UK Acid Folk Blues)


An ultra-rare and expensive privately pressed album by a certain Oliver Chaplin which is an amalgam of folk, blues, progressivism and psychedelia. All the material was written by Oliver. Its highlights include Freezing Cold Like An Iceburg, which sounds very like Captain Beefheart; In Vain, which has been likened to Pink Floyd's More Soundtrack; Flowers On A Hill, which has a sort of ragtime feel; Cat And The Rat, a length piece of guitar-driven progressivism and the folky Primrose and Orbit Your Factory. His brother Chris Chaplin had been employed as a BBC Sound Engineer and worked on the BBC's Hendrix sessions, which explains why the sound quality on the 50 minute album is so good. 250 copies of the album were issued originally in a plain blue cover with black letters. When the covers came back from the printers the shade of blue was so deep the liner notes were almost illegible and an olive green sleeve was substituted. Most copies were given to family and friends but copies were passed to Radio One deejays Brian Matthew and Alan Black. The latter was keen to feature it on his show but was reluctant to do so when it wasn't available in the shops. After refusing to sign a contract for the album to be distributed through Virgin Records because he considered the record industry corrupt Chaplin returned to his native Wales.

get it here enjoy

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Charlie & Esdor - Collected Works 1970-72 (Sweden, Psych Indian Folk)


Mellotronen Rec.Charlie & Esdor (S,1970-1971,re.2006)
This is the collected works of Charlie and Esdor, or from what is saved from their recordings.
Charlie and Esdor had started as a hippie psych duo on sitar and guitar, drums and bass, soon became a quartet (with an extra lead and rhythm guitarist, Tobben and Esdor). This version must have been powerful, playing a one hour version of “Tomorrow Never Comes” (Beatles) and some Hendrix tracks on their first and only gig, which left a tremendous influence on the duo, but the two other members preferred to go their own way as another duo. Later on a festival they played as a trio (intended as a quartet) just once more. The label contact of still fresh progressive label MNW, Bo Anders Larsson, gave the duo several chances for recording sessions. Their first single, which are the first two tracks of this compilation are powerful heavy ragarock tracks (with all instruments played by the duo), and shows for me a great side of the group. While recording an LP, intended as one side in Swedish and one in English, they also recorded two single-tracks as a re-establishment of Bo’s former project, Scorpion, with a B-side, called “fuck the cops” (whose title was changed by the label management, because they preferred not to be too controversial). These are the two following tracks on the compilation. The style is very different from the previous single, with the B-side at its most raw and heavy, is bluesy rock. At this time, Swedish progressive rock was on the rise, and to maintain their own identity in the scene English seemed no longer to be accepted, so the duo had to rewrite the whole b-side of the upcoming album into Swedish, which they did. Still they couldn’t find the inner “message” of the group or label it so properly and decided after a long year of waiting only to release a mini-LP, with 3 tracks from the LP and a live version (as a trio), which are the following tracks on the compilation. The style especially on the first two tracks of this session has some loose guitar jamming and sounds as if it has a somewhat improvised energy (“Green is beautiful”,). The sitar is very much mixed to the far background and all focus is on the freaky electric guitar and hippie-psych rhythm on “Bridge for two blues”. “Idag Sticker jag Bort” I think I like best from this session. It becomes really freaky and somewhat experimental near the end, with some psychedelic effect. Because the original intended LP was not going to be released they went to the studio to get the tapes, but they seemed to have been lost. The saved tracks might only have given a slight idea of the intended album. We miss now for instance an 11 minute track of “How does it feel to be without friends”, a track which the group still had from a 1970 performance (played as a duo on guitar, sitar only). The two radio performances the group once did for national radio were not kept by the radio and the only left over tape from the second session was stolen in a car burglary. More attempts were done by the group the following years but they were not all successful because of more sad circumstances, until they parted to go their own, different ways. The compilation gives some idea of the range of interests from the group, from disciplined arrangements of sitarrock (first two tracks), to raw rock (the Scorpion tracks) to somewhat loose jams with an improvised feeling and possibility, with bluesy hard rock guitars, and with a psychedelic effect, which could eventually lead to inventive and unique moments. The group had bad luck when we talk about storing some of their best moments, but now have all the luck they can have for Mellotronen always make the best compilation a group could dream of, with a 32 page booklet with info and rare pictures.(link)

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