from 1970 by Brute Force contains elements of funk, soul, avante-garde jazz, and even traces of African music and will appeal to those who enjoy early P-Funk, Sly and the Family Stone, the Ohio Players, and contemporaneous material by Miles Davis and Herbie Hancock. Unfortunately, very little is known about the band members, who included electric pianist, primary composer, and probable vocalist Richard Daniel, saxophonist-flautist Stanley Strickland, trumpeters Teddy Daniel, Jr. (Richard's brother?) and Arthur Ray Brooks, bassists (two bassists?) Russel I. Ingles and Thomas Lee Williams, drummer Sidney Smart, and conga player Robert A. Jones. The liner notes reveal that the group came into existence in 1968 while its personnel were students at Central State University (formerly College), a historically black institution of higher learning close to Dayton, Ohio. According to one source, the band members had been childhood friends of free jazz guitarist Sonny Sharrock, which explains his unmistakable presence on the proceedings. Indeed, his contributions help make what would have been a very good album a great one as his trademark feedback-laden guitar eruptions often emerge when the listener least expects them. Although Sharrock is credited on only three tracks, my ears tell me that he plays on all but one of them. That misinformation on the album sleeve could have been a typo or - perhaps for contractual reasons - intentional. At any rate, most of Sharrock's other recordings are just a little too free for my tastes, so it's nice to hear him play within the confines of an instrumentally advanced funk band, a setting in which I can better appreciate his formidable talents. Line-up / Musicians Stanley Strickland/saxophone,flute Arthur Ray Brooks/trumpet Teddy Daniel, Jr./trumpet Richard Daniel/piano Thomas Lee Williams/bass Russell I. Ingles/bass Sidney Smart/drums Robert A. Jones/drums Discography(Album) Brute Force 1970
1.Do It Right Now 2.Some Kind of Approval 3.The Deacon 4.Right Direction A5.Monster 6.Ye-Le-Wa 7.Doubt
Lead by ace guitarist Radim Hladík, BLUE EFFECT were one of the major progressive bands in Czechoslovakia; they were to their own country what OMEGA were to Hungary, or SBB to Poland. They started out in 1968 with a couple of early R&B-oriented albums. However, the Czech government strongly disapproved of English names at the time, so the band switched to MODRÝ EFEKT and later to simply M.EFEKT. After these two albums, their material veered towards jazz rock and by the early 80's, following several personnel changes, their music had become a little less prog, more accessible. They released their last album in 1981 and then quietly disappeared. Of particular interest to prog fans are three albums: "Modrý Efekt & Radim Hladík" (1975) which features an energetic mix of YES-like symphonic rock with some fusion; the overall effect will likely remind you of FINCH or CRUCIS. Emphasizing Hladik's brilliant soloing, this was the album that established him as "the" Czech guitarist par excellence. However, it is "Svitanie" (1977) that is considered the band's true masterpiece. With its sinewy bass lines and bold keyboard/guitar melodies, it is still quite YES-influenced but it also has a definite Czech flavour that makes it unique. Finally, there is the bolder, more complex and not so YES-like album titled "Svet Hledacu - World of Searchers" (1979); this one is characterized by many sudden tempo shifts and emphasizes the flux between the spacey synths and Hladik's biting guitars. Except for this album, whose 5 official tracks are all sung, the band's répertoire is mostly instrumental. Line-up / Musicians Vlado Čech/drums Radim Hladík/guitar Jiří Kozel/bass Vladimír Mišík/flute,vocals Lešek Semelka/vocals Discography(Album) Meditace (Kingdom of Life) 1969
1.Paměť Lásky 2.Blue Efect Street 3.Fénix 4.Stroj na nic 5.Sluneční hrob 6.Little Girl 7.Deserted Alley 8.Blues About Stone 9.Rainy Day 10.Where Is My Star
In 1974 a new incarnation of GARYBALDI was formed by Bambi Fossati along with old cohort Maurizio Cassinelli, bassist Roberto Ricci and Indian percussionist Ramasandiran Somusundaram as BAMBIBANDA & MELODIE. Their only album has the usual leading role for Bambi's guitar, but the use of percussion gives a more Latin-inspired feel that sometimes reminds Santana. Percussionist Ramasandiran Somusundaram, previously active as session musician, also released an album and no less than three singles (in a more commercial vein) between 1974 and 1976 on the Magma label. Bambi Fossati kept playing under the name of BAMBIBANDA for some years before reforming the old group in late 80's with a new line up including Marco Mazza (guitar) and Carlo Milan (bass) along with Maurizio Cassinelli, and they released an album, more song-oriented, in 1990, as Bambi Fossati & GARYBALDI. Line-up / Musicians Bambi Fossati/guitar,vocals Maurizio Cassinelli/drums Ramasandiran Somusundaram/percussion Roberto Ricci/bass Discography(Album)
Bambibanda E Melodie 1974
1.Pian Della Tortilla 2.Libera E Felice 3.Calabuig! 4.Piccolo Gitano 5.Mare Delle Terre Medie 6.Canto Del Sole
Great Spanish late 70s prog fusion in Iceberg vein. Much Andalusian musical elements mixed with jazz and even funky tunes.Iceberg may be the most well known fusion group from 70s/80s Spain which would definitely explain why Borne sounds almost exactly like them. Yes, Andalusian flavored jazz rock is the style here and Borne definitely know how to play, pulling off a fast-paced, riffing fusion with lots of room for soloing from keyboards and guitar. Along the way a number of styles are met from those cheesy 70s TV show type jazz rock themes, to funk, to straight out Mahavishnu-like riffing. This is generally fusion of the more accessible type, and with nine tracks there is rarely room for a more stretched out and solo occupied approach such as you'd find on an album like Coses Nostres. Borne do have their high moments of course, especially when the rhythm section pumps out a fast flowing fusion beat, the type of adrenalin-pumping action that almost makes you forget what's going on top. However such moments are relatively rare and soon after you'll be faced with yet another nod to the sort of directions that watered down the fusing of two styles in the 70s to where the music sounds like "yet another fusion group." But Exprime La Naranja is generally a mixed effort and supposedly these nods to accessible forms of the genre find an even firmer ground on their follow-up from three years later. Line-up / Musicians Victor Molero/guitars,vocals Jose Miguel Oca/bass,vocals Sergio Oca/drums Ricardo Rauet/keyboards Discography(Album) Exprime La Naranja 1979
1.Azahara 2.Abuelo Romance 3.La Musica de las Fonts 4.Very Funky 5.Exprime la naranja 6.La Boda Gitana 7.Rumbacustica 8.La Macarena 9.No veo Nada
During the late 60's, Bobby Callender was one of the most mythical figures in popular music. Conceptually his musical universe delivers all the originality of an artistic freedom, really awakened of alternative lifestyle, cross cultures and psychedelic "civilization". Callender is an afro American who turned to mystic and reaches himself into Indian raga, philosophies from the East. The two albums he recorded under his name ("Rainbow" in 1968, "The Way" in 1971) are currently seen as the two logical sides of a grandiloquent project including numerous musicians from the jazz and raga scenes. Among the featured musicians we can quote the famous "India raga style" guitarist Collin Walcott. Bobby Callender composes almost all titles and make some recitations. "Rainbow" released in 1968 is a fantastic effort, really amazing, played freely with numerous dialogues between sitar and tabla, with subtle adds of violin, piano and bass (electric). The main elements of composition are the rhythm, very structured, complex and the improvisational jazz / "raga" which introduces us in a spiritual and floating psychedelic atmosphere. The two albums are really conceptual, developing short, esoteric tales mostly served by basic themes of eastern instrumentations and odd, spoken words. Bobby Callender's musical signature is a perfect illustration of free form "ethnic" jazz improvisations in adequacy with the growing effervescence of the 60's "acid", psychedelic philosophies. Line-up / Musicians Bobby Callender/vocals Collin Walcott/percussion,tabla,sitar,dulcimer Glen Moore/bass,clarinet,viola, piano Paul McCandless/clarinet,oboe,horn,saxophone,synthesizer Ralph Towner/flugelhorn,guitar,piano,percussion,organ Trilok Gurtu/percussion,tabla Discography(Album) The Way (First Book of Experiences) 1971
1.Drone - Going Back-1st and 2nd Movement 2.Awaken John-Lord Am I Dreamnng 3.Bhodi Tree 4.Satori 5.Story of Rasha and Dhara 6.Chant: Kasha and Dhara and Love, Love, Love 7.Shringara 8.3rd Movement-Satyagraha 9.Transmigration-Travel With Me 10.Karma Yogi 11.4th Movement-Ooda Rata Travel With Me 12.Story of the Shepherd 13.Let Thy Will Be Done 14.Hari Om and Deva Chant Interlude 15.Santa Grace 16.Going Back Instrumental/Ooda Chant and Ending
In 1993, BANDVIVIL gave a first cry as a six-piece jazz band, with a brilliant guitarist and the frontman Issei Takami.Playing some copied sounds of Miles Davis in their early days could not fully gratify them and this experience got them reborn to a three-piece band with simple formation.At the same time Jun Isobe was added and they devoted themselves to heavier rock.After releasing a mini album they were confronted with a temporary suspension but Naoki Sawada, a bassist, could revamp this outfit more strictly.New BANDVIVIL, through releasing two mini albums, could shoot a debut full work "Junaokissei" in 2004.They stuffed this debut album with their heavy rock, free jazz, and some mischievous essence. Line-up / Musicians Issei Takami/guitar,synthesizer Naoki Sawada/bass Jun Isobe/drums Discography(Album) Junaokissei 2004
1.Jemah & She 2.Afro 3.Eat Triplet 4.W.P. 5.To King Rush 6.Get Up 7.E.G.F. 8.Chili Mens Ballade 9.Seven Spices 10.Abraham Bee 11.San-Byou-Shi 12.Hane 13.Strange Smoke 14.Zoo Zoo Da Juju 15.Shuffle De Go 16.Zoo Zoo Da Juju
Bangor Flying Circus consisted of David "Hawk" Wolinski (bass, keyboards, vocals), Alan DeCarlo (guitar, vocals), and Tom Schiffour (drums), who was replaced in late 1968 by former H.P. Lovecraft member Michael Tegza (drums, percussion). Wolinski and Schiffour had previously been in the Shadows of Knight. They put out one self-titled album in 1969, which peaked at No. 190 on The Billboard 200.[1] In this album you can find strong rock composition sprinkled with jazz and occasional country fills by guitarist Alan DeCarlo. Alan is the better vocalist, although Dave Wolinski, the keyboard/bass player does a excellent job as well. Dave provides better bass on the organ pedals than most bass players. The guitar solos are searing on some pieces like 'Violent Man' and 'In the Woods'. DeCarlo knows how to take a motif and develop it, vary it, play it in octaves, scats and utilizes other techniques to create solos that demand to be listened to time and again. The drummer, Michael Tegza, together with Wolinsky know how to compliment DeCarlo's solos. Wolinski demonstrates a good jazzy piano solo on 'Violent Man', and has a few organ solos spread throughout the album. After they broke up, Wolinski and DeCarlo formed Madura, while Tegza participated in two reconfigurations of Lovecraft, a successor band to H.P. Lovecraft. Line-up / Musicians David "Hawk" Wolinski/bass,keyboards,vocals Alan De Carlo/guitar,vocals Tom Schiffour/drums Michael Tegza/drums,percussion Discography(Album) Bangor Flying Circus 1969
1.Violent Man 2.Come on People 3.Ode to Sadeness 4.Concerto for Clouds 5.A Change in Our Lives 6.Someday I'll Find 7.Mama Don't You Know 8.In the Woods 9.Norwegian Wood
Ballettiros adimacchia is certainly an oddity in the RPI canon of the various progressive rock websites. The band is a mystery. No one knows for certain who the musicians were, where they were from, or even when their lone album was recorded. Stories vary from them being Italians living abroad in Germany to them being Japanese RPI fans making an "homage" album to the genre. The album's recording date is just as mysterious. Some sites denote the album as 1974, while others claim it may have been recorded in the late 1980s. The bottom line is that until the musicians come forward and spill the beans, this title will remain one of the biggest mysteries for RPI hounds. The music is not super complex but features nice organ, mellotron, and guitar. Vocals are in Italian though somewhat poor Italian, which fuels the speculation about their origins. It is not an easy recording to find. Line-up / Musicians Tonino Leo Ucchi/vocals,bass,guitar,flute,keyboards Antonio Sassada/guitar Gianni Mazzi/keyboards Marcello Taddeo Matteotti/drums,percussion Discography(Album) Ballettirosadimacchia 1974
1.Ascolta! 2.Sandiego 3.Altre Guei Colli 4.E Tutto un Sogno 5.Interludio 6.Oggi 7.Dalla Mattina al Pomeriggio 8.Suono 9.Se ti Piace
Born in 1972 in Lecco, in northern Italy, from the ashes of Gee and Mako Sharks, Un Biglietto per l'Inferno are still regarded as one of the most influential Italian prog bands, despite a single LP release, their magnificent eponymous album from 1974. The band had an intense live activity, that took to a very powerful sound driven by the twin keyboards of Banfi and Cossa and the lead guitar of Mainetti, with flute intermissions by singer Claudio Canali.The album is a masterpiece, its hard-rock based sound being perfectly enriched by keyboards and flute, and the lyrics are strong and effective. The five long tracks are all very nice, and the album is worth its high price. Two tracks, Una strana regina and Confessione were also released as a single, the latter in an instrumental-only version, with the same cover design as the album, the classic picture of jumping singer Claudio Canali, taken by Caesar Monti.A second album was recorded and ready to release under the production of Eugenio Finardi, as was a single taken from it, and the band was even in touch with Klaus Schulze, but the Trident label's end brought Biglietto per l'Inferno to split after some concerts in Italy and Switzerland at the end of 1975. The album had a limited circulation among fans as a bootleg tape, and only gained an official issue in 1992 on the Mellow label.Of all the band members only keyboardist Baffo Banfi had a relevant solo career (as J.B.Banfi) with three solo albums in a cosmic vein between 1978 and 1981 (the last two of these came on Klaus Schulze's IC label), while drummer Gnecchi has played in jazz groups and collaborated with PFM guitarist Franco Mussida in his first solo album Racconti dalla tenda rossa, from 1991. Singer Claudio Canali has become a friar, unusual choice after the strong dialogue with a priest in the lyrics of Confessione. Line-up / Musicians Fausto Branchini/bass Mauro Gnecchi/drums Giuseppe Banfi/keyboards Marco Mainetti/guitars Claudio Canali/vocal,flute Giuseppe Cossa/keyboards Discography(Album) Biglietto Per L'Inferno 1974
1.Ansia 2.Confessione 3.Una Strana Regina 4.Il Nevare 5.L'Amico Suicida 6.Confessione (strumentale)
Blackbirds hailed from Puettlingen, Germany, formed around singer/guitarist Werner Breinig in 1965.In 1968 they made their debut ''No destination'' on Saga Records' parent label Saga FID, featuring Helmut Vigneron on drums, Heinz Koop on bass and Hubert Koop on keyboards. By 1970 they signed a contract with BASF's sublabel Cornet, which proposed them to change their name to Blackbirds 2000.The new line-up comprised of Breinig, Heinz Koop, Peter Bely on keyboards and drummer Eckhard Gross. A couple of singles later BASF decided to end the contract with the band, disappointed by the limited sales and Blackbirds returned to their original name. Breinig set up a fresh crew with keyboardist Bely, Wolfgang Bode on bass and Charles Sikora on drums.They made an impressive return for the OOP label in 1971 with the album ''Touch of music''. The Blackbirds were going in a much more prog rock aligned direction on their second and final album. That much is evident from the opening instrumental, "Praladium," which sounds kind of like Emerson, Lake & Palmer with a dusting of bubblegum pop, as ludicrous as that sounds. The cathedral-like aspects of the organ were amplified upon on this outing, and at times it seems like it might actually be a subtle satire of the kind of pomp rock being ground out by ELP and others during the era. It's got more cheer, verve, and a gutsier edge than typical keyboard-dominated progressive acts. At the same time there's a quasi-religious vapor to some of the proceedings, as though they're performing a prog rock mass of sorts. Like much prog rock, the instrumental parts of the songs do tend to go on longer than necessary, which is why this album rates lower than its predecessor, although it's still stamped with some alluringly sorrowful melodies and vocals. Line-up / Musicians Peter Bely/piano,organ,vocals Wolfgang Bode/bass,vocals Werner Breinig/guitar,violin,flute,vocals Charles Sikora/drums,vocals Discography(Album) Touch Of Music 1971
1.Präludium 2.All You Need 3.Return From The Water 4.Give Me Freedom 5.What Is Free 6.Come Back
Formed in Cambridge, Massachusetts, Bead Game’s original line up consisted of rhythm guitarist K. Westland Haag, singer/drummer Jim Hodder, keyboardist R. Gass, bassist Lassie Sachsand, and lead guitarist Jim Sheldon. Even though they apparently weren’t big on rehearsals, the group managed to attract a local following on the Boston club circuit, eventually cutting a series of demos for a planned album that was promptly shelved until 1996. Luckily, the group somehow captured the attention of AVCO Embassy Records, which promptly signed them to a recording contract. 1970′a “Welcome” was produced by Gary Kannon and recorded at New York’s Record Plant. Featuring all original material, tracks such as ‘Punchin Judy’ and the fuzz guitar propelled ‘Wax Circus’ showcase an engaging mix of hard rock with occasional jazz touches. Line-up / Musicians K. Westland Haag/guitars,vocals Jim Hodder/vocals,drums Robert Gass/keyboards Lassie Sachs/bass John Sheldon/guitars Discography(Album) Welcome 1970
1.Punchin Judy 2.Lady 3.Wax Circus 4.Mora 5.Natural Song 6.Country Girls 7.Amos n' Andy 8.Slipping
Bob Downes was a well-known "studio rat" or a "session man" that played on many 60's records, from MANFRED MANN to ANDWELLA'S DREAM (and later on EGG); and his fantastic flute was second to JETHRO TULL's Ian Anderson only. By the turn of the decade, he had decided to try his own luck and 1970 was a particularly fruitful year for him: 2 full solo album and one collaboration. Released on the legendary Vertigo swirl label, Electric City was a strange album between avant-garde jazz and hard rock. The album failed to sell and by the time Bob Downes was ready to record his second album, Phillips had demoted him to their "normal" label (only GRACIOUS suffered the same treatment). Actually "Open Music" came out as his more successful release and has been a collector item for years, now. The same year, Bob Downes also released a wild album called "Deep Down Heavy" (and its spectacular artwork) with poet Robert Cockburn reading out his text, making another unusual record. None of the three albums sold enough for Downes to keep trying out his solo stint. Comes then a gap where he returned to studio sessions for the next couple of years, most likely appearing on avant-garde jazz albums. This in turn led him to be noticed by some Modern Artistic Dance companies and in 72, he was commissioned for two "dance" project. Forming his own trio OPEN MUSIC, named after his more successful album, "Diversion" proved an interesting release where jazz-rock alternated with free form music, while the catastrophic "Episodes At 4AM" (74), which was a Welsh project, filled with obtuse free-form music. The following year saw Downes release "Hell's Angels", then later "Dawn Dreams", "South American Journey" and "Inside Stonehenge", before taking a long break. Bob Downes moved to the continent in the late 80's and is now currently based in Germany, and continues to perform as a solo artiste, playing during the execution of paintings and art exhibitions running flute workshops and releasing the odd album now and then, such as 93's "Dreams of Nature" . Line-up / Musicians Don Faye/Baritone Saxophone Robin Jones/Congas Alan Rushton/Drums Clem Cattini/Drums Dennis Smith/Drums Bud Parks/Flugelhorn Harry Beckett/Flugelhorn Ian Carr/Flugelhorn Bob Downes/Flute,Vocals,Saxophone Ray Russell/Guitar Chris Spedding/Guitar Bud Parks/Trumpet Harry Beckett/Trumpet Ian Carr/Trumpet Kenny Wheeler/Trumpet Nigel Carter/Trumpet Daryl Runswick/Bass Harry Miller/Bass Herbie Flowers/Bass Discography(Album) Electric city 1970
1.No time like the present 2.Keep off the grass 3.Don't let tomorrow get you down 4.Dawn until dawn 5.Go find time 6.Walking on 7.Crush hour 8.West II 9.In your eyes 10.Piccadilly circles 11.Gonna take a journey
BRAINSTORM is an early 70's fusion quintet from Baden-Baden whose influences range from ZAPPA to SOFT MACHINE, CARAVAN and SUPERSISTER. Made up of unusual and highly complex harmonies, their music is dynamic and features lots of sax, flute and (distorted) organ. Although most of their albums are instrumental, their eccentric sense of humour surfaces at times in the form of quirky vocalizations à la MOTHERS OF INVENTION and GONG (they once called themselves FASHION PRICKS but got into a bit of trouble when they tried to sign a record deal, so they switched to FASHION PINK and then eventually became BRAINSTORM). The core of the band is made up of a trio of schoolmates with conservatory training: Roland Schaeffer on sax, vibraphone, guitar, bass and vocals; Eddy von Overheidt on organ, piano and vocals; and Joe Koinzer on drums and percussion.Their discography comprises two studio and two lives albums plus a compilation disk. "Smile a While" (1973), their first studio release, shows some SOFT MACHINE leanings whereas "Second Smile" (1973), a bit more diversified, is somewhat reminiscent of Dutch band SUPERSISTER. The sound on both live albums, "Brainstorm Live Bremen" ('73) and "Last Smile" ('74), is exceptionally good - the latter was specifically recorded for a West German radio show. Finally, "From Fashion Pink to Brainstorm" (2001) is a compilation of their early material, from their FASHION PINK days. Line-up / Musicians Eddy van Overheidt/keyboards,vocals Rainer Bodensohn/flutes,bass Roland Schaffer/sax,clarinet,bass,guitars Joe Koinzer/drums Harold Wagner/bass Discography(Album) Smile A While 1972
1.Das Schwein Truegt 2.Zwick Zwick 3.Watch Time Flow By 4.Bosco Biati WeiB Alles 5.Snakeskin Tango 6.Smile A While 7.You Are What's Gonna Make It Last (live) 8.Don't Forget (live) 9.Thesen & Antithesen (live) 10.Einzug Der Elefanten 11.You Knock Me Out
North Carolina afro jazz artist, Brother Ah (playing trumpet, flute, jazz French horn.) made a name in the late sixties thanks to a clever and innovative use of non-western music. During this crucial period he started studies of Indian and Japanese music. In 1970 is written "Sound Awareness" (published 5 years later). It's an impressive medley of free jazz improvisations, hand percussions, eastern buzzing sitar drones and voices. This release features an obvious meditative, enchanting "cosmic" atmosphere. This afropsychedelica manifest is followed "Move Ever Onward" (originally released in 1975 privately) which carries on the same ritualistic, spiritual acclamations but with less emphasis on experimentations. An important material for those who enjoy East meets West musical experiences. Line-up / Musicians Brother Ah/French horn,flute Pat Dixon/Cello Barbara Burton/Percussions Barbara Grant/Vocals Max Roach/Rap Howard Johnson/Tuba Discography(Album) Sound Awareness 1972
BULDOZER was formed in early 1975 in Ljubljana, present Slovenia, when an avant-garde singer/songwriter Marko BRECELJ joined the band SEDEM SVETLOBNIH LET ("Seven Light Years") led by guitarist and lead vocalist Boris Bele. Apart from them, the original line-up included keyboardist/composer Borut Èinè, bassist Andrej Veble, lead guitarist Uros Lovsin and drummer Stefan Jez. They released their debut album "Pljuni istini u oèi" in December 1975 to shocking reactions of the public and music business authorities due to its twisted black humor filled with sarcasm, satire and touching "sensitive" issues of drugs or pornography. They also utilized the Zappa-like stage freak-out performances and ridiculed some generally accepted morals of the so-called socialist state of Yugoslavia. The cover sleeve of this album was designed as a magazine sheet (similar to JETHRO TULL's "Thick As A Brick") filled with funny and ridiculous social vignettes and some pornographic cartoons. After the first circulation was sold out, the recording label PGP RTB refused to print more copies. In 1976 they recorded the second album "Zabranjeno plakatirati" but due to their label's policy (the band had to modify their lyrics if they wanted to release the record) it was released only in late 1977, when they joined their hometown label Helidon. In the meantime, the rhythm section changed, so the bassist Vili Bertok and drummer Tone Dimnik participated in studio sessions. Brecelj left the band in 1979 to pursue solo career, while Bele-led BULDOZER embraced then popular punk and new wave aesthetics to gain enormous popularity across ex-Yugoslavia. New members in this period were guitarists Davor Slamnig, Janez Zmazek and drummer Dusan Vran. Highly eclectic studio album "Izlog jeftinih slatkisa", including a radio smash hit "Zene i muskarci", and double live record "Ako ste slobodni veèeras" are among the top-sellers of this era. Still, many of their song lyrics and stage theatricals are full of the local meanings and hard to comprehend outside of the scope of the post-titoist Yugoslavia. Along with his band activity Bele also worked as a chief music editor of Helidon label and succeeded in this period to purchase the copyrights of their debut from PGP RTB, so the reissue came up in 1981 to face very affirmative reviews. Their activity slowly diminished in mid-1980s, after the poor album "Nevino srce". Although they never officially broke-up, their "come-back" album "Noè" was released more than 10 years later, in 1995. BULDOZER was the first domestic rock band to release an album in a compact disc format in former Yugoslavia, not counting international imports - it was a compilation album "Nova vremena" in 1989.First two albums "Pljuni istini u oèi" and "Zabranjeno plakatirati" are essential for avant-prog listeners who like slightly psychedelic moments with Hammond organ and "acid" guitar solos. Their lyrics and performance are quite anarchic and close to RIO movement. "Izlog jeftinih slatkisa" is a diverse collection of more accessible songs ranging from punk aggressiveness to pure psychedelic moments, while "Noè" presents a refreshed band of the 1990s that is also worth checking out. Line-up / Musicians Bele Boris/guitar,vocal Marko Brecelj/vocal Borut Cinc/keyboards Tone Dimnik/drums Uros Lovsin/guitar Vili Bertok/bass Discography(Album) Zabranjeno plakatirati 1977
1.Ne brini, mama 2.Dobro jutro, madam Jovanovic 3.Helga 4.Jeste li vidjeli djevojcice 5.Doktore pomozite
