CMU, also known as CONTEMPORARY MUSIC UNIT were an UK band active in the early 1970's. They were fusing various aspects of art-rock, jazz-rock and folk with a nod to the psychedelic rock.A unique (at the time) characteristic of the band was a combination of female and male vocals, making an interesting blend. The male vocalist was James Gordon (who was also participating with percussion in the band),the female vocalist being Larraine Odell (later of RED EXPRESS, still active in various jazz projects nowadays). Other members were keyboardist Terry Mortimer (who also played some violin), Ian Hamlett (guitar, flute), Ed Lee (bass) and Larraine's husband Roger Odell (on drums).The band released their debut 'Open Spaces' for Transatlantic in 1971. The record is an unpretentious mixture of psychedelia and blues, with some bizarre sonic patches here and there. The opener "Henry" is one of the better tracks, based in a nice melody and with tasteful, atmospheric arrangements consisting of piano, guitar, bass, drums and some almost inaudible flute. "Voodoo Man" sounds like something Arthur Brown could have done, and the heavy chorus in the middle introduces the raspy voice of James Gordon, who together with guitarist Ian Hamlett is the main reason for the bluesy touch of this album. Hamlett really proves that point on the instrumental "Slow and Lonesome Blues" that is actually a bit faster and more energetic than what you would expect from such a title. "Chantecleer" starts slow, dark and moody with some haunting pairing of vocals from Odell and Gordon, but builds quickly up to a fast, organ-driven and almost funky tune where an influence from Arthur Brown again can be detected.The second side opens with "Japan", an attempt at traditional Japanese folk music that sounds surprisingly authentic, especially when considering that the band just used their usual instruments. "Clown" is a lightweight and whimsical tune, but catchy enough to be worthwhile, and Gordon's vocals has an unusual operatic twist here. One of the most best melodies on the record can be found in "Mystical Sounds", a ballad dominated by Hamlet's flute and Odell's voice. The title-track is a lengthy, mystical and atmospheric journey with lots of dreamy, wordless vocals from the two singers, and keyboardist Terry Mortimer also contributes with some spooky violin here. They changed their line-up drastically for the following album: instead of Mortimer, Gordon and Lee, the band hired Richard Joseph on acoustic guitar (and vocals), Steve Cook on bass and Leary Hasson on keyboards (Hasson came from MARSUPILAMI, which was also on Transatlantic label).Reinforced with new members, and a moderate shift in their sound (the presence of Mellotron and spacey synthesizers), the band released their second (and last) album titled 'Space Cabaret' in 1973. This effort was much more elaborate, complex and original. Line-up / Musicians Jim Gordon/vocals,guitar,keyboards Ian Hamlett/guitar Larraine Odell/vocals Leary Hasson/keyboards Richard Joseph/vocals,guitar Roger Odell/drums Ed Lee/bass Discography(Album) Open Spaces 1971
1.Henry 2.Voodoo Man 3.Slow & Lonesome Blues 4.Chanticleer 5.Japan 6.Clown 7.Mystical Sounds 8.Open Spaces
ALBATROS only had one album, in which they were invited into a studio to record. The 3 songs written had to be shortened to fit an LP format. However, this one album was the only effort that we heard from ALBATROS, and that's a shame because their theatric and complex arrangements similar to early GENESIS and EMERSON, LAKE & PALMER, were great to hear, they had a very distinct sound. The band was a sextet and consisted of Peter Breitbarth on guitar, Thomas Büscher on drums, Achim Hubricht on bass, Harald Hubricht on keyboards, Christian Köppen on piano, Hansi Köppen on vocals and Jürgen Polzin on congas.Of course, "Garden of Eden" is recommended, the songs included on it were actual shortened versions of the real arrangements even though they seem extended anyways. It was the only album from them and now that it's on CD, it's a tad easier to find even though there were only 500 pressings of this album. Line-up / Musicians Peter Breitbarth/guitars Thomas Büscher/drums Achim Hubricht/bass Harald Hubricht/keyboards Christian Köppen/piano Hansi Köppen/vocals Jürgen Polzin/congas Discography(Album) Garden Of Eden 1978
TROYA is a quite obscure symphonic krautrock inspired german band that was formed in 1972 in Werne an der Lippe by Elmar Wegmann, Klaus Pannewig, Wilhelm Weischer. The band was first called Drastic. They changed the name and the line up to record symphonic psychedelic influenced music based principally on electric guitar, mellotron and vocals. The band disbanded during the end of the 1970s.Influenced by classical and baroque music, in 1976 they released their unique self-financed album; Point of Eruption, with very little means. This album was originally pressed in a quantity of 200 and sold at concerts. It features enchanting melancholic music with long instrumental passages, mainly guitar and organ.The music is symphonic prog and sounds like Camel of Eloy. Line-up / Musicians Elmar Wegmann/guitars,flute,vocals Klaus Pannewig/drums,vocals Wilhelm Weischer/bass Peter Savelsberg/keyboards,Mellotron Discography(Album) Point of Eruption 1976
1.She 2.Battle Rock 3.Chromatik 4.Festival 5.Sinclair 6.Choke
Modulos was an extraordinaire band formed in 1969, unfortunately too late for the classic rock of the 60's and when the Spanish labels were not decided for supporting the winds of change coming from the outside. Modulos created an own and distinctive sound without loosing the commercial punch (mainly thanks to the talent of the "magician" Rafael Trabuccelli). In their sound they mixed the inherence of 60s' spanish pop español with the intensity of Vanilla Fudge, the Cantatas of J. S. Bach or the delicious touch of Le Orme. That exceptional band was formed up by Pepe Robles, singer of a very large register, composer and remarkable guitarist. The rhythm section was for other two talented players: Emilio Bueno on bass and G. Reyzabal on drums and also on violin. Finally the chief on Hammond was Tomas Bohorque, howling like never heard before. In addition he played accordion and triangle, providing a characteristic "clinc". Innovative and avant-garde, they take care of their sound to the maximum. They were very professional (the first having an office in Madrid). Their first presentation was prepared until the smallest details. But that was never recognized. Too hard for their time, with too weak words compared to those of bands coming later. Their influences could be found in bands like Vanilla Fudge, Cream, Young Rascals, Italian progressives and lately Yes, but their hippism led them also to the west coast bands. They were pioneers and really good. Not an usual band. Their first three singles become hits but it was their first LP their actual "hit". For the first time in Spain a band gave more importance to the Long Play than to the singles. No one can miss hearing it. One year later (1971) "Variaciones" was released. More optimistic than the former, more "hippy", those nine songs kept a high level.vuelven a mantener un nivel tremendo. In 1973, after another nice single, they made "Plenitud", thir best album for many people. Anyway, some changes were present. Pepe was not at his best in vocals (he was on guitar) and it seemed that the keyboards tried to sound like Yes without achieving their goal. It seemed that they were trying to experiment into progressive rock. 1974: what a pity!. "Modulos 4" points to the other side. Even Reyzabal seems tired when playing drums. It has its moments, but clearly their label (Hispavox) wants another thing. It's decadence. Just when Yes, Genesis, Deep Purple or Pink Floyd were at their best. After a number of line-up changes (Chupi on drums, Sherpa on bass) and singles they released a last LP through Olympo. Line-up / Musicians Tomas Bohorquez/Hammond organ,mellotron,accordion,moog Pepe Robles/vocals,guitar,flute,oboe,bongos Emilio Bueno/bass Juan Antonio Garcia Reyzabal/drums,violin Discography(Album) Variaciones 1971
1.Un nuevo dia 2.Adios al ayer 3.Solo tu 4.El bandolero 5.Quiero olvidar 6.El sonido del silencio 7.En mis suenos 8.Juan 9.Quisiera conseguir
Carpe Diem was a rather short-living French band with (unfortunately) not more than two albums and though they are considered in general by Prog fans of minor significance compared to i.e. Ange, Clearlight or Pulsar. Actually they’re quite difficult to categorize because they revealed elements of symphonic Prog, jazz-rock fusion and space rock. Their debut opens with the short “Voyage du Non-Retour” in a rather quirky and up-tempo vein and here in fact the jazz-rock classification still fits quite well. But “Reincarnation” reveals already very obviously a sound typical for this band starting with slow e-piano which reminds of harpsichord, gentle flute play and spheric synths. The composition continuously gains momentum and develops into an excellent and wonderful symphonic Prog piece with both a jazzy touch (due to the saxophone) and a slightly spacey one (due to tone modulated vocals). “Jeux du Siecle” reminds much more of classical music than of jazz and offers a very warm, gentle and harmonic sound dominated by saxophone, tasteful keyboards and Camel-esque guitar play (actually the only element this band comes to mind) with nice contributions by flute. Most of the track is kept instrumental, only in the final minute there are some vocals. The closing all instrumental one “Publiophobie” is like the introduction again more lively and represents a highly appealing hybrid between symphonic and jazz rock. Especially in its second half there are nice sections where the guitar’s coming more to the foreground for the first time. Carpe Diem presented on their debut a felicitous mix of traditional Prog and jazz fusion in a very dense and highly intriguing sound that fascinates the prone listener in a mesmerizing way. Line-up / Musicians Christian Truchi/keyboards,vocals Gilbert Abbenanti/guitar Alain Berge/bass Alain Faraut/drums Claude-Marius David/flute,sax,percussion Discography(Album) En regardant passer le temps 1975
1.Voyage du Non-Retour 2.Reincarnation 3.Jeux du Siecle 4.Publiophobie
German heavy band MAMMUT is nowadays a pure and absolute rarity in the lights of rock classic music; their only album is also a record rather impossible to track down, plus it excels as a fantastic jewel of heavy music, scorching composition and optical art. The music is close to the early classic expressions of progressive rock, showing besides that an empathy for strange visions, compact concepts, psychedelic hazes and fuzz-growing emotions. The ensemble seems to be a fusion between former bands THE ROPE SET and THOSE, consisting of Klaus and Peter Schnur on lead guitars and lead vocals, Rainer Hoffmann on piano and organ, Tilo Herrmann as bassist, flutists and backing vocalist, and Günter Seier on drums and percussions. MAMMUT was, anyhow, raised within the Stuttgart jazz scene, the German rock ideals, the heavy and dark music inspiration conceptuality, plus within the howling feelings that make rock an explosive and exploratory art. Their work scored an unique private print in the Orschwahl label, but was quickly confronted with legal issues, and was re-licensed by Little Wing of Refugees. The same label problems emerged when "Mammut" was re-released, since it was withdrawn quickly, disappearing for good. References drag this hard rock (of psych smokes) movement into Krautrock, given that it is a German classic scene music print. Sometimes, the references to EMBRYO or AMON DUUL bewilder beyond how the music's strength mainly sounds like. The band had a special likeness for DEEP PURPLE, otherwise their main acid thrill had everything to do with the evolved giant lengths of Hard Rock, Hard Blues and Hard Psych. The particular slight references to Canned Heat, Tomorrow's Gift or FRUMPY surface interestingly. MAMMUT unsightly plays heavy concept rock, with an entire arch sketched from the acoustic and lyrical breadths to the violently onirical and strangely (ec)static drone-like jams. The tangent values - that reflect pure psychedelism and concept composition, hard sounds manipulation or a bit of a symphonic crust - are of no surprise at all, they add up both an unusual complexity and a decisive precision of trembling rock, within the popular intense graphic. This music generally raises above the limits of pushy and grouchy music, even if its dust art is of an underground music satisfaction. The programmatic movement, creating completely different values of music within each piece (not superficial are all the tracks conceptualized under the word of "Mammut"), gives a plus in talented (or wildly erupted) music writing. Line-up / Musicians Klaus Schnur/guitars,vocals Peter Schnur/guitars,vocals Rainer Hoffmann/piano,organ Tilo Herrmann/bass,flute,vocals Gunter Seier/drums,percussion Discography Mammut 1971
A Spanish Progressive band with a few albums out. BLOQUE blend synth and Spanish vocals with electric and acoustic guitar (lots of electric) in a wide variety of styles (some people dislike this). They were strongly influenced by the jazz, flamenco, and hard rock (a cross between THIN LIZZY and BLACK SABBATH). "Hombre Tierra Y Alma" is strongly of the 70's italian scene with a strong folk- influenced feel in a way similar to BANCO or PFM. "El Hijo del Alba" is also excellent. Their best is "Musica Para La Libertad" which includes the incredible instrumental tracks.Spanish music elements. But in comparison with Triana, his music is far from,Spanish flamenco rock. Of course, La Noche Que Precede A La Batalla is entirely different from jazz rock or fusion. The album marks a number of positive upgrades in the sound of Bloque. Firstly, the Allman Brothers vibes are extremely reduced, if not absent, with the band heading for a more personal style. Second, the music sounds more compact, the songwriting more efficient and the instrumentation more balanced, even if the guitars remain the leading instruments. Third, while Bloque retain much of their Classic Rock variety, ''Hombre, tierra y alma'' sounds much more progressive and definitely more inspired than their debut.So, all these factors helped the Spanish combo come up with a fully convincing style, somewhere in the middle of Hard and Progressive Rock, where Juan Carlos Guitierrez'es flexible keyboard themes start to play a basic role in the music and the raw sound of Bloque is now often covered by a dash of symphonic grandieur.Additionally there are some great, lyrical moments in here and the dual guitar leads belong among the highlights of the album.Certain melodies here and there are absolutely great and memorable, the music contains lots of impressive twists and turns and the performances are pretty solid.The flipside of the original vinyl apparently contains the brightest material of the album, full of MEZQUITA-like intense synthesizers, dramatic instrumental guitar runs and some excellent electric solos, while there are even some dark-sounding choirs and ROBERT FRIPP-like guitar manifest, cleverly adapted in the hard sound of the band. Line-up / Musicians Juan Carlos Guitiérrez/keyboards,vocals Luis M. Pastor/sound,vocals Juanjo Respuela/guitars,vocals Sixto F. Ruiz/guitars,bass Tivo M. Salmón/effects Carlos Terán/percussion,vocal Discography(Album) Hombre, Tierra y Alma 1979
1.Humanidad indefensa 2.Ya no hay nada en la calle 3.El llanto del poeta 4.En infierno esta aqui? 5.Una posibilidad 6.En infierno esta aqui? 7.Meditacion parte I 8.Descubrir el sentido terrible de la vida 9.Meditacion parte II 10.El verdadero silencio parte I 11.La muerte renacida 12.El verdadero silencio parte II 13.Por fin he vuelto a ti
AVE ROCK is a classic example of Art Rock in the form of a progressive band that demonstrates a variety of genre sounds without any one of them being dominant. The guitar on “Dejenme Seguir” is definitely blues-inspired, and would not have been out-of-place on any number of early 70’s ‘heavy rock’ bands like Wishbone Ash, Babe Ruth, maybe even Deep Purple. The vocals are Spanish, and not particularly strong, and also very much an early 70’s sound. Great guitar driven heavy prog psych drenched in tons of Hammond organ. Songs are very well developed with some nice mood variations and dynamic arrangements. Although there are some vocals they play a minor role as the album is mostly instrumental. The entire album is pretty trippy and spacey really with tons of great guitar, bass, drum and Hammond interplay. Line-up / Musicians Luis Borda/guitar,vocals Oscar Glavic/bass,vocals Osvaldo Calo/keyboards Federico Sainz/guitar,vocals Daddy Antogna/percussion Discography(Album) Ave Rock 1974
1.Dejenme Seguir 2.Viva Belgica 3.Gritos 4.Ausencia 5.El Absurdo Y La Melodia
Bubu are an outstanding representative of Argentinian Progressive Rock. Anabelas consists of three long epic compositions, and features mostly instrumental music that sounds like a cross of early King Crimson, Magma and Anglagard. Bubu was quite a large band and actually with a wide range of talent and instrumentation. Along with the traditional rock set-up (guitar, bass, and drums), the band featured a violinist, flutist, saxophonist, and pianist. Each composition is filled with intense interaction between the musicians, dozens of melodic surprises, and unexpected tempo changes. Their music is complex, energetic, and diabolical in a King Crimson-ish sort of way. Very surprising is that there is no noodling and very little soling to be found here and although does offer a pretty trippy and wild musical experience, never gets too out of control or becoming un-accessible for the listener. Without a question this is an awesome recording and a necessity in anyone’s progressive rock collection. Absolutely brilliant progressive rock. Line-up / Musicians Sergio Polizzi/violin Cecilia Tenconi/flute Win Fortsman/sax Petty Guelache/vocals Eduardo Rogatti/guitar Eduardo "Fleke" Folino/bass Eduardo "Polo" Corbella/drums,percussion Daniel Andreoli/composition,arrangement Discography Anabelas 1978
1.El Cortejo de un Dia Amarillo 2.El Viaje de Anabelas 3.Suenos de Maniqui
Spektakel was formed as a trio in 1969. Detlef Wiedecke (guitar), Eduard Schicke (drums), and Werner Protzner (bass),were all members of Oldenburg`s underground rock scene. Their common bond was a passion for spontaneous improvisations and the music of Deep Purple. They found an isolated rehearsal space in the countryside where they could jam. These sessions would go on for hours, sometimes even days! Gigs would always start with cover versions of Deep Purple songs and end with long improvisations. SPEKTAKEL concerts would sometimes last for five hours. All three musicians moved with their families to Steenfelde, Ostfriesland, where they built a house together .In 1973, Detlef switched from guitar to keyboards (Hammond organ, Moog synthesizer, and Mellotron). Many Guitarists auditioned for the band. Ultimately they decided on Heinz Fröhling, who moved into the SPEKTAKEL-HOUSE with his wife and his daughter, Melanie. The band rehearsed constantly. Although the songs were more composed they still left space for improvisations. SPEKTAKEL`S music blended all styles from hard rock to 12-tone-music! They wrote music and lyrics together. They lived together. They worked together. Ultimately this was the reason why this version of the band only lasted one year. SPEKTAKEL`S gigs became legendary for their enormous light show and the equipment that was used. Even today people still remember their gigs. Shortly after the music on this CD was recorded the band dissolved. Heinz and Ede joined with Gerd Führs to form Schicke Führs Fröhling. Line-up / Musicians Heinz Frohling/guitar,Mellotron,vocals Werner Protzner/bass,vocals Eduard Schicke/drums Detlef Wiedecke/Organ,Mellotron,vocals Discography Spektakel 1974
1.The eternal question 2.Big boss' eyes 3.7 pounds Tommy 4.No no not you
Brazilian band The Bubbles became the toast of the underground Rio de Janeiro scene, backing Tropicalist singer Gal Costa's residence at the Sucata night club in 1970. They won the "Best Band of the Festival" award at the VII FIC of 1971 (International Festival of Songs), the same year they appeared on Leno's "Vida y obra de Johnny McCartney" album. After venturing to England to attend the Isle of Wight Festival, they decided to experiment with a heavier sound, more akin to UK bands of that era (Deep Purple, Cream, King Crimson, Humble Pie, with a little Beatles' "White Album" in for good measure) than that of their Brazilian cohorts. At this point they changed their name to A Bolha. Still loaded with verve, swagger, and fueled by drugs, they recorded their first album, which has secured a permanent place as one of the best hard psych rock albums to ever emerge from South America. The LP, "Um Passo a frente" (A step forward), was released in 1973 by the Continental label, in a gatefold cover which was quite luxurious for the era. This masterpiece, now impossibly hard to find as an original, certainly made a name for A Bolha in the pantheon of 1970's Brazilian rock. But success in the early 1970's was not like it had once been in the old Jovem Guarda or Tropicalist days, when bands had weekly TV shows to help them become well-known nationwide—and eventually, worldwide. In other words, the meager abilities of Continental to promote the album made it a collector's item, not the fate a band would actively seek for their recordings. Luckily, we at Lion Productions are able to present these recordings to the world all over again, with the additional benefit of a 20-page booklet with band history, photos, and comments on the songs by band leader Renato Ledeira. Includes both sides of the band's infamous hard-rocking 1971 single as bonus tracks. Line-up / Musicians Renato Ladeira/guitar,keyboards,vocals Lincoln Bittencourt/bass Pedro Lima/guitar Gustavo Schroeter/drums Discography(Album) Um passo a frente 1973
1.Um passo a frente 2.Razão de existir 3.Bye My Friend 4.Epitáfio 5.Tempos constantes 6.A esfera 7.Neste rock forever
Vox Dei (Latin: God’s Voice) is an Argentine rock band. Its most prolific years were the 1970s, having recorded 10 albums. The band’s original members were Juan Carlos “Yody” Godoy (guitar and vocals), Ricardo Soulé (guitar and vocals), Rubén Basoalto (drums) and Willy Quiroga (bass and vocals). In 1968 they recorded a version of Percy Sledge’s “When a Man Loves a Woman”, and the company Mandioca organized an audition for them in the Payró theatre. The members of Manal and Almendra were also present, and a few hours later they played together. In 1970 they recorded for Mandioca their first album Caliente. In the B.A. Rock Festival Vox Dei played the first part of the theme “Genesis”, which had no lyrics yet. In February 1971 they released La Biblia (‘The Bible’) the second and best-known album. Being the first Argentine concept album, it became a turning point in the history of Argentine rock; Based (as the title suggests) on the Biblical story (similar to other concept albums on that subject) it presents an apocalyptic tale of the world. The music is truly exceptional as are the instrumental parts, especially the guitar solos. At the time of recording this album, which was a double vinyl LP, the group was a quartet, with lead guitarist / violinist / vocalists Ricardo Soule, bassist Willie Quiroga, drummer Ruben Basoalto and rhythm guitarist Juan Carlos Godoy, who left the group after this album was recorded, leaving them as a trio. Some of the tracks on the album include orchestral arrangements. This expanded edition adds to the original album a plethora of additional tracks from the album's sessions and some live performances. Line-up / Musicians Willy Quiroga/bass,guitar,piano,vocals Rubén Basoalto/drums Ricardo Soulé/guitar,bass,violin,piano,harmonica,vocals Juan Carlos "Yody" Godoy/guitar,vocals Ignacio "Nacho" Smilari/guitar,vocals Discography(Album) La Biblia 1971
1.Génesis 2.Moisés 3.Las guerras 4.Profecías 5.Libros sapienciales 6.Cristo y nacimiento 7.Cristo - Muerte y resurrección 8.Apocalipsis
VELUDO started as VELUDO ELETRICO; they're Brasilian band formed in '74 and disbanded in '78. They have no official releases save for the live recording 'Ao Vivo' from 1975. Later, they regrouped around 2000 and released a new CD, named "A Re-Volta", in 2002.The sound of VELUDO could be described as a progressive rock with heavy tendencies and predominant organ, but also elements of symphonic prog and krautrock. However a Brasilian prog momentum is also present, since one can here OS MUTANTES influences. The original band members were Nelsinho Laranjeiras on bass, Elias Mizrahi on keyboards (he suggested the band's name to be shortened), Paul de Castro on guitar and Gustavo Schroeter on drums. Line-up / Musicians Nelsinho Laranjeiras/bass Elias Mizrahi/keyboards,vocals Paul de Castro/guitar,violin Gustavo Schroeter/drums Discography(Album) Ao Vivo 1974
1.Veludeando 2.Egoísmo 3.Antenoriun II 4.A Chama Da Vida 5.A Unica
VYTAS BRENNER was a German born Venezuelan pianist, keyboardist and composer. His career started in the late 1960s and released his first album (of nine in total) in 1973. His music took Latin American rhythms, as well as from unique Venezuelan tradition and combined them with Progressive Rock, to create delightful Symphonic prog, with elements of fusion, space rock and acoustic folk.Vocals on his albums are mostly in Spanish. His brother Haakon Brenner produced his first album and was an executive producer on "Hermanos" and "Jayeche".Vytas released an EP "Brenner's Folk" (recorded while he was resident in Spain and featuring his brother Haakon Brenner, as well as Jordi Soler and Jordi Barange) in the late 1960s and formed the VYTAS BRENNER QUARTET.In 1973, VYTAS BRENNER recorded a 45 EP with Maria Fernanda Márquez, called "Con Vytas y Mafe".His debut album "La Ofrenda de Vytas" was released in 1973, which introduces to a mix of different styles, with a lot of folk music influence. He assembled a band for this album (and the following also) which was apparently known as OFRENDA (Offering). There was much less synthesizer work on this album, but this would fully develop on later albums, this release is still mostly symphonic in sound, with wonderful guitar playing by Pablo Manavello (as was the case on all his albums until 1978 release "Ofrenda"). His next album was "Hermanos", released in 1974 which continued on in a similar vein to the previous releases, again mixing Latin American themes with intelligently composed Symphonic Prog. 1977 Brought Brenner's first live album, "En Vivo! Ofrenda" which was also his first double LP. His live output was even more exciting and the band often focused in long jams. Percussion was a very strong aspect with Brenner's sound, which often made them an awe-inspiring band to appreciate live. By this time Brenner was becoming more popular outside of Venezuela, as this album was mixed in Miami by Jack Adams. This LP also brought in the percussionist Felipe "Mandingo" Rengifo. In 1978 the same band that recorded the double live LP "En Vivo! Ofrenda", recorded the album "Ofrenda". This was the final release with the OFRENDA band, although it's classified as a solo album, as the band officially split after En Vivo! At this point, his music changed style and moved away from the progressive style and moved into the realms of pop, funk and soul. VYTAS BRENNER sadly died of a heart attack on March 18, 2004 in Salzburg, Austria, leaving 9 albums of wonderful music as his legacy. Line-up / Musicians Vytas Brenner/piano,organ,guitar Pablo Manavello/guitars Carlos Acosta/bass Frank Rojas/drums Jesus Chinchilla/drums,percussion Angel Melo/cuatro Ramon Hernandez/harp Alfredo Rojas/maracas Discography(Album) La Ofrenda De Vytas 1973
1.Morrocoy 2.Ofrenda de Miguel 3.Tormenta de Barlovento 4.Frailejon 5.La Sabana 6.Tragavenado 7.Araguaney 8.Canto de Pilon
A Japanese brilliant progressive gem, the young four-piece outfit YONIN BAYASHI was formed in 1971.Two musically talented high school students, Daiji Okai (drums, various instruments) and Katsutoshi Morizono (guitars, voices) had a fateful rendezvous at Saginomiya High School in 1969. With Shin'ichi Nakamura (bass) and Hidemi Sakasita (keyboards) joining, they played a complete but fully improvised version of Echoes by Pink Floyd, shocking and amazing the audience. YONIN BAYASHI made their debut in 1974, releasing a legendary work Isshoku-Sokuhatsu through Toho Records.In their early days, they were, as everyone says, under the influence of Pink Floyd and psychedelic rock, in addition to the spiritual lyrics by Yasuo Suematsu.The bassist was replaced by Masahide Sakuma and they released the second album Golden Picnics, but soon Katsutoshi dropped out. YONIN BAYASHI exited the crisis with the arrival of Mitsuru Satoh(guitars, vocals). They changed music styles, approaching pop and electronic, and shot three more good albums - Printed Jelly (1977), Bao (1978), and NEO-N (1979).After a long hibernation, once Dance (1989) was released, YONIN BAYASHI is active again in the 21st century, playing gigs, joining festivals, and making their historical compilation. Line-up / Musicians Daiji Okai/drums Katsutoshi Morizono/guitars,vocals Hidemi Sakasita/keyboards Shin'ichi Nakamura/bass Discography(Album) Isshoku-Sokuhatsu(一触即発) 1974
1.Hamabeth 2.Sora To Kumo 3.Omatsuri 4.Isshoku-Sokuhatsu 5.Ping Pong Dama No Nageki
