Hannibal came together, from a band called Bakerloo around Birmingham that featured a guitarist called Clem Clemson, Clem Clemson was a brilliant young musician who went on to work with John Highsman in Coliseum and became a big session guitarist, with his manager Jim Simpson from Birmingham, Jim had funded an album for Bakerloo and shortly after, virtually at the same time, Clem Clemson left to do other things so Jim Simpson had got this album that he wanted promoting in Germany so they actually did a tour of Germany under that name - Bakerloo, before changed the name to Hannibal.With some member changes the band found the spot to record an album that was based around the guitarist Adrian Ingram, who -before Hannibal- had a three piece blues band that were known locally, a fantastic guitarist and although he hadn’t got any education or musical qualifications then, but did get a load, and went on Guitar Chair at the Leeds School of Music for Jazz he's a brilliant jazz guitarist, he does Jazz gigs now over here and the states and has written books on Wes Montgomery and various guitarists so a very accomplished musician, Adrian Ingram was the main feature of the band, all the tracks were written by him. Their horn player and keyboardist Bill Hunt was a member of Breakthrou and later joined Jeff Lynne’s Move. As a seminal and jazzy prog-rock band from the late '60s, Hannibal shared stages with Free, Black Sabbath, Pato, ELO and Johnny Winter. Their album is jam packed with early cutting-edge examples of Jazz-rock fusion guitar playing together with Adrian Ingram's quirky Zappaesque compositions. Hannibal was ahead of its time and eventually became a much sought-after prog, collector’s item. Line-up / Musicians Alex Boyce/vocals Jack Griffiths/bass Bill Hunt/keyboards Adrian Ingram/guitar John Parkes/drums Discography(Album) Hannibal 1970
1.Look Upon Me 2.Winds of Change 3.Bend for a Friend 4.1066 5.Wet Legs 6.Winter
This album offers a pleasant instrumental musical voyage to the world of classical psychedelic progressive rock elements. Neat walls of raw organs, guitars, bass and furiously rolling drums summon forth a pleasant realm of acid rock where one can relax by escaping troubles of logical reasons. Violin fits marvelously as a supporting solo instrument to the sound context, strengthening the sound perfectly. Fast grooves are counterbalanced with quieter sequences and short pieces building up from guitar chord progressions and flute interludes. In the middle of the record jazzy lounging for fuzzy guitar in a relaxed hippie glade follows, allowing to be enrichened with dialogues for violin and keyboards. In the later part of the album are discovered very beautiful classic music melodic tunes, first with flute and harpsichord madrigal, then followed with a piece for violin accompanied with organs and bass guitar. Hollow calls indicate return to more atavistic levels of surreal rock poetry, leading to strongly riffed heavy acid jazzy groove. Funky and vital turns twist a delightful trip in progressive rock styled treatments of jazz standards, giving associations of early German art rock bands sound. After a traditional chamber quickie, the album closes to a melancholic tune with beautifully weeping violin and subtle support from the group. Line-up / Musicians Hiro Yanagida/organ,harpsichord Kimio Mizutani/guitars Hiro Tsunoda/drums Hiroki Tamaki/violin Keiju Ishikawa/bass Nozomi Nakatani/flute Discography(Album)
Milk Time 1970
1.Love St. 2.Running Shirts Long 3.When She Didn't Agree 4.Happy, Sorry 5.Yum 6.Love T 7.Fish Sea Milk 8.Fingers Of A Red Typewriter 9.Milk Time 10.Me And Milk Tea And Others
French band formed in the 70's by guitarist and multi-instrumentalist Richard Pinhas (sometimes called the 'French Fripp'), synth player Patrick Gauthier, drummer François Auger and scores of other musicians dropping in and out over the course of six albums between '74 and '79. Their sound could best be described as a mixture of Frippian guitars with the cold, icy prog of KING CRIMSON and the hypnotic drones of CAN over a harsh, aggressive electronic background.Their six first albums range from fairly spacy and quiet ("Allez Teia") to brain-searing sonic attacks ("Interface"). The easiest one to get into and most recommended to neophytes is "Stand By", their strongest effort to date. It is the least chaotic and most CRIMSON-like of the lot yet still features Pinhas' frenzied/tortured guitar play that verges on heavy metal in spots, complete with growling bass and guttural vocals. In 1998, Pinhas has tried to revive the band with an album called "Only Chaos Is Real", featuring French SF-writers Maurice Dantec and Normand Spinrad (their voices digitally treated) as well as trash singer David Korn. This album isn't quite in tune with the rest, sounding more like 'punk meets techno'. Overall, the music of the original six albums is dark and cold, yet fascinating and intense. It combines the elements of the French and German schools of electronic into something uniquely. Line-up / Musicians Richard Pinhas/synthesizers,guitar Alain Renaud/guitar George Grunblatt/synthesizers Patrick Gauthier/piano,synthesizers Coco Roussel/drums Pierrot Roussel/bass Gilles Deleuze/vocals Discography(Album) Electronique Guerilla 1974
1.Zind 2.Back to Heldon 3.Northernland Lady 4.Ouais Marchais mieux qu'en 68 5.Circulus Vitiosus 6.Ballade pour Puig Antich
A five piece from Turin, Horus (not to be confused with Il Sigillo di Horus) never had the chance to release a full album, and their only record issue at the time was a beautiful single on the Shirak label (that had also released both albums by Living Life, also from Turin). The band had a good sound, with keyboards in evidence and nice use of vocals, but were probably too late, in 1979, to be successful. The single went unnoticed and their name has only reached a wider audience thanks to the Mellow CD including the recordings for an unreleased album.Horus backed Tito Schipa Jr. in his 1981 tour, from which the LP Concerto per un primo amore was taken. The group included, at this point two original members, Antonino Valenti and Beppe Bellussi, along with another keyboardist, Giuliano Miglietta, saxophonist Gigi Cavicchioli and drummer Benedetto Pizzuto. Another musician from Turin, Marcello Capra, ex-Procession, plays guitar on that record. Line-up / Musicians Beppe Bellussi/drums Roberto Freggiaro/bass,guitar Battista Leone/vocals Antonino Valenti/keyboards,vocals Italo Vercellina/guitars,vocals Discography(Album) Stelle di Battaglia 1993
1.Respiro 2.Figlio D'autunno 3.Il Bosco 4.Stelle Di Battaglia 5.Sottoterra 6.Danzatore Cosmico
Before to start a fruitful career in solo, Michael Rother integrated Cluster's side project called Harmonia. Initially formed by Hans Joachim Roedelius and Dieter Moebius, the band had the intention to go further in ambient music approach. Rejecting a great part of the experimental side of Cluster's music (I & II), they recorded "Musik von" in 1974. Michael Rother who produced the same year Cluster's zukerzeit, collaborated in Harmonia for guitars, ambient synth parts. With rather discreet appearances of the band on stage, the promotion of "Musik von" failed to attract the attention of the public. Musically the compositions stay obscure, consisting of complex, "avant-garde" pieces made for electronic gadgets, organs, including drum machines, repetitive pulses. The atmosphere is "abstract", sometimes "cosmic" but still melodic. In 1975, the trio recorded its seminal "Deluxe" with the participation of Mani Neumeier (Guru Guru) on drums. The album was produced by Michael Rother himself. With new, various compositional ideas, inventive synthesized sounds and Rother's guitar signature, this album is more relaxed, light than the previous one. Historically it remains a pre-ambient electronic standard. Brian ENO who is fascinated by the music of Harmonia joined the musicians on stage during a concert at the Fabrik Club in Hamburg. Line-up / Musicians Roedelius/organ,piano,guitar,percussion Dieter Moebius/synthesizer,guitar Michael Rother/guitar,piano,organ,electronic percussion Discography(Album) Musik Von 1974
Hungry Wolf's sole album is primarily instrumental pop-influenced soul jazz, with some splendid heavy Hammond organ courtesy of the Mohawks' Alan Hawkshaw. Loosely played electric guitar, simple rhythms, brass charts, and even some vocals which is fairly rare for an album like this. File alongside The Bigroup. The band is related to Rumpelstiltskin and Ugly Custard, the latter of which it is similar to musically.It's a nice little obscurity, rare as hens teeth in original form, though nothing really that special. Naturally, given its rarity, the album has been often pirated. It would seem that a label who specializes in film library music may pick up on this one - even if that's not the main purpose of the album. Line-up / Musicians Clem Cattini/drums John Edwards/trombone Tony Fisher/trumpet Herbie Flowers/bass Ken Gouldie/trombone Cliff Hardy/trombone Bobby Haughey/trumpet Alan Hawkshaw/keyboards Alan Parker/guitar Peter Lee Stirling/vocals Derek Watkins/trumpet Discography(Album) Hungry Wolf 1970
1.Melanie 2.Watching and waiting 3.Custards last stand 4.Country wild 5.Waiting for the morning sun 6.Like now 7.Hole in my shoe 8.Sleepy 9.The drifter 10.Revolution
Relatively unaware from the rest of the planet, South Africa apparently had their own rock scene in which a few groups evolved in the scope of ProgArchives, the first being Freedom Children and here, Hawk. Indeed the apartheid was an important factor running the country and the generally well-respected boycott made that a few artistes left the country (ie: Manfred Mann), but others remained and fought the Apartheid in their own manner. Whether Hawk really did so is anyone's guess, but the strong black African music sprinkled all over their music does give a hint they did. Hawk was a group that was apparently managed from afar by Lonstain, but the problems were numerous between artistes and producers. The Johannesburg quintet was formed Dave Ornelias (ac guitar, vocals) and Keith Hutchinson (winds & Kb) and comprised also guitarist mark Khan, bassist Richard Johnson and drummer Braam Malherbe (most likely a descendant of Huguenot, but no relation to the great Didier). The five musicians studied African music throughout a few trips and guest in their rented farm in the outskirts of the city. Apparently the group managed quite a live success based on their song Africa Day, then went on to record it along with more songs to make up their first album called after their success piece, that survived the apartheid Regime's censorship rules. Playing more concerts, the management were often not forwarding the money and by the time the group was readying its second album Africa, She Can Cry Too, the management enforced a line-up change where keyboardist/saxFflurteman Hutchinson and bassist Johnson were given their walking papers. The second album was a very different thing altogether, and the band was apparently able to tour Europe to good acclaim, but to little rewards financially or musically. The group disbanded a while after returning to the country, then reformed a few years later. Line-up / Musicians Dave Ornellas/Vocals,guitar,percussion Mark Spook Kahn/Guitar Braam Malherbe/Drums Richard Johnson/Bass Keith Hutchinson/Sax,flute,piano Dave/Percussion Discography(Album) African Day 1971
1.African Day 2.Happy Man 3.Look Up Brother 4.Love Song 5.Kissed By The Sun 6.Here Comes The Sun
Featuring members of the Gods performing under pseudonyms - Ken Leslie (keyboards/vocals/guitars), John Leadhen (bass), Brian Poole (drums), and Lee Poole (percussion) -- British hard rock quartet Head Machine was created to record an album of compositions by producer/songwriter David Paramor, the band members pledging themselves to a basic, pummeling rock sound redolent of Atomic Rooster. Their music was accented heavily toward crushing rhythms, with the Poole brothers providing a distinctive multi-layered backdrop to Leslie's alternately mythological or humor-based lyrics. Their sole album, Orgasm, was released in 1969 but failed to build a commercial profile. The band eventually morphed into Toe Fat and later Uriah Heep, after the band members had returned to their more famous billings: Leslie, aka Ken Hensley; Leadhen, aka John Glascock; and the Poole brothers, aka Brian Glascock and Lee Kerslake. Line-up / Musicians Ken Hensley/Vocals,keyboards,guitar John Glascock/bass,vocals Lee Kerslake/drums,vocals Brian Glascock/drums David Paramor/vocals Mike Road/percussion Discography Orgasm 1970
1.Climax - You Tried to Take it All 2.Make the Feeling Last 3.You Must Come With Me 4.The Girl Who Loved, The Girl Who Loved 5.Orgasm 6.The First Time 7.Scattering Seeds
Hoola Bandoola Band was, together with Nationalteatern, the biggest band of the Swedish prog rock movement. And where Nationalteatern put social realistic lyrics to rock songs, Hoola Bandoola had more political lyrics and swerved further from traditional rock. The origins of the band is to be found in the failed project Spridda Skurar, of which Clemmendson and Afzelius were members. Wiehe was called in as songwriter, but it ended up with the three of them forming Hoola Bandoola, taking the name from a phrase in a Donald Duck movie, together with keyboard player Randén, bass player Frank, drummer Kjellgren, and percussionist Skytte. In 1971, they had their first radio hit and were immediately contacted by two record companies, one commercial and one alternative, MNW. In the political climate of the '70s, the choice of side was crucial, and by choosing the alternative company, Hoola Bandoola came to be the most well-known band on the alternative side in Sweden. Their debut in 1971, Garanterat Individuell, was hailed as the start of a new era for Swedish pop and was elected the album of the year. It was not overly political when it came to lyrics, but on Vem Kan Man Lita På, released the next year, the socialist message was clearer. It still sold very well and included long-lasting hits like "Herkules." With På Väg, recorded with the balalaika orchestra Södra Bergens Balalajkor, Hoola Bandoola became one of the best-selling groups in Sweden. But the next year they took a break, during which Afzelius released his solo debut, Vem Är Det Som Är Rädd. In 1975, they reunited for the album Fri Information, where the socialist message was more outspoken than ever before. And this time, Afzelius had written half of the songs, where before it had been Wiehe writing almost everything. In 1975, the alternative moment gathered in opposition to a tennis game played between Sweden and a Chile ruled by the military dictatorship, and for that event, Hoola Bandoola released "Stoppa Matchen" as a single. This was to be their last studio recording. Next year, the band broke up and Wiehe and Afzelius started very successful careers as singer/songwriters, both together and by themselves. After 20 years' absence, Hoola Bandoola reunited in 1996, playing warmup for Bob Dylan and going on their own nationwide tour. On this tour, the album För Dom Som Kommer Sen was recorded. But in 1999, Afzelius died, making further reunions more unlikely. Line-up / Musicians Mikael Wiehe/vocals,guitar Björn Afzelius/vocals,guitar Peter Clemmedson/guitar,vocals Arne Franck/bass Per Ove Kellgren/drums Povel Randén/keyboards,trombone Håkan Skytte/percussion Discography(Album) Vem kan man lita på? 1972
1.Herkules 2.Vem kan man lita på? 3.Dansmelodi 4.Keops pyramid 5.Man måste veta vad man önskar sig 6.1789+0 7.Maya 4:00 8.Rocksamba
Hole In The Wall was the first country folk rock band in Norway. Starting out in 1971, they wrote all their own material and released their first LP “Hole In … Their first record has been released as a CD on Panorama/Pan Records.The frontman here is Rune Walle, known best for his later work with Ozark Mountain Daredevils. That should give you some clue to what sort of music this is. Rune Walle also played in a band called The Flying Norwegians, which took its name from Gram Parsons and his Flying Burrito Brothers one assumes. Line-up / Musicians Erik Moll/vocals,guitar Rune Walle/guitar,vocals,piano Trygve Thue/guitar Harald Dyb/accordion Kaare Oivind Moldestad/bass Gunnar Bergstrom/drums Lasse Berntzen /guitar,accordion Inge Glambek/mandolin,banjo,vocals Carmen de la Nuez/vocals,percussion Bjorn Aarland/bass Stein Nilsen/fiddle Kare Sandvik/piano Hans Petter Gundersen/guitar Atle Mjorlaug/bass Discography(Album) Hole in the Wall 1972
1.Restless Man 2.The Letdown 3.Lookout Mountain 4.End of the Effort 5.Big Nancy 6.Come on Over 7.Four Tomorrows 8.Pass the Word 9.Kilimanjaro Monday 10.Love Is Arranging My Life 11.Double or Nothing
Early 70's krautrock band from Berlin, Hanuman was formed by Peter Barth (flute, sax, vocals), Jörg Hahnfeld (bass), Thomas Holm (drums) and Wolf-Rüdiger Uhlig (organ, piano, vocals). In 1972 the band will change the name to Lied des Teufels. Rüdiger Uhlig will join the legendary heavy progressive rock band Murphy Blend. The band released an unique album in 1971, largely made of extravagant, colourful, tastefull hybrid rockin' compositions with discreet influences from Van Der Graaf Generator. Line-up / Musicians Peter Barth/flute,sax,vocals Jorg Hahnfeld/bass Thomas Holm/drums Wolf-Rudiger Uhlig/organ,piano,vocals Ralf Schultze/guitar,vocals Discography Hanuman / Lied des Teufels 1971/1973
1.Schadelstatten 2.Machtwechsel 3.Lied des Teufels 4.Taue der Fremdheit 5.Sonnenaufgang
1.Wenn Du Fragst 2.Nichts 3.Steht Nicht Abseits 4.Gott, Geld Und Freiheit 5.Ich Bin Nur Ein Kind 6.Das Lied Des Teufels
Häx Cel from Hanover only existed between the end of 1971 and the autumn of 1972, releasing one LP and one 7"-single on Dizzy Records, both of which have so far been hardly known even among collectors. Many fans of a fusion between classical music and progressive rock will appreciate this effort. We are not dealing with a cheap Ekseption or Renaissance clone but rather with very creative music which is convincing even without the use of a guitar. "Zwai" (Dizzy LP DS 726) features a live recording of their last gig on October 29th, 1972. The two tracks of their single, "Albinoni" and "Difference", are included as bonus tracks on the CD, which therefore features Häx Cel’s complete works. Apart from two Händel tracks and one by Albinoni, all the material was written and masterly played by the band itself. An interesting album with an uncommon musical style for the era. Line-up / Musicians Dieter Neumann/flute,voices Achim Neubauer/keyboards Michael Moebus/bass Rainer Greffrath/drums Discography(Album) Zwai 1972
1.Albinoni 2.A Second Time 3.Music 4.Julius Caesar 5.Bourree 6.Marsch 7.Land Of Dreams 8.To Barbara 9.Andante Bonus: 10.Albinoni 11.Difference
From Birmingham, this act evolved out of the remnants of Bakerloo and were heralded by their management as the follow-up to Black Sabbath. Their album, like most releases on this label, has become a minor collectable and is a Van der Graaf Generator-style progressive, housed in an odd gatefold sleeve. The vocalist is strongly influenced by Family's Roger Chapman whilst their music is strong, pleasant, jazz rock. Line-up / Musicians Alex Boyce/vocals Jack Griffiths/bass Bill Hunt/keyboards Adrian Ingram/guitar John Parkes/drums Discography Hannibal 1970
1.Look Upon Me 2.Winds of Change 3.Bend for a Friend 4.1066 5.Wet Legs 6.Winter
Haze was made
up of Kurt FREI on drums, Hans-Jurg FREI on rhythm guitar and organ,
Heinz SCHWAB on lead guitar, Christian SCHERLER on vocals, and Dietmar
LOW on bass and acting as solo songwriter. Their only record was
produced by Peter HAUKE and Dieter DIERKS, who also produced NEKTAR's
debut album. HAZE dished out a brand of heavy, spacey, funky art rock
that is most successfully compared to THE ARTHUR BROWN BAND, ARTHUR
BROWN'S KINGDOM COME and CAPTAIN BEEFHEART, due to the music's bluesy
feel and Scherler's vocals, which jump from dark gravel to over the top
screeching.It would also be safe to also compare the group to other
members of the Krautrock scene, as well as heavy blues bands that were
transitioning out of the psychedelic era into the 70's. However, Haze
came equipped with a tricky sense of humor, best evident in the lyrics
of "A Way To Find The Paradise". Unafraid to jam, the songs are loaded
with lengthy instrumental passages that highlight Schwab's guitar
skills. Line-up / Musicians Kurt Frei/drums Christian Scherler/vocals Hans-Jürg Frei/guitar,organ Dietmar Löw/bass Heinz Schwab/guitar Discography Hazecolor Dia 1971
1.Peaceful Nonsense 2.Fast Career 3.Be Yourself 4.A Way To Find The Paradise 5.Decision
Harvester was
formed in 1967 in Stockholm by guitarist Bo Anders Pärsson and included
cello player Ericsson and violinist Yman. They were first known because
of International Harvester and Pärsson Sound who delivered colossal live
sessions during the late 60s. In 1968 they changed their name for
Harvester. During that period they partly abandoned their psych-out
droning rock and focused their interest on traditional folk music and
acoustic performances. Harvester provided splendid homemade epiphanic
folk ragas made of ritual psychotropical moods and improvised bucolic
ballads. The debut album Sov Gott Rose-Marie was released in 1968 on
Love. In 1969 alternative labels had started to pop up, and with the
name shortened to Harvester the band released their second album, Hemåt,
on Decibel. Line-up / Musicians Bo Anders Persson/guitars,vocals Thomas Tidholm/saxophone,flute,vocals Urban Yman/violins Kjell Westling/violins Arne Eriksson/cello Torbjörn Abelli/bass Thomas Gartz/drums,vocals Discography Hemåt 1969
1.När Lingonen Mognar 2.Kristallen Den Fina 3.Kuk-Polska 4.Nepal Boogie 5.Everybody (Needs Someone To Love) 6.Bacon Tomorrow 7.Och Solen Går Upp 8.Hemat
Founded by
former Elohim members, brothers Jean-Paul Trutet and Daniel Trutet,
along with Delphine Douillard, and keyboard maestro Thierry Brandet.
This would prove to be mainly a Brandet venture, as the Trutets did not
stay for the second album. Brandet is also the primary composer. The
name is taken from a mysterious community of ancient Jews, called the
esséniens, who lived in the desert of Judea. Almost nothing was known
about them until the discovery of the Dead Sea Scrolls. They were
dislodged by the Romans, at the time of the Jewish revolution. As you
may have guessed, Keyboards reign supreme with this group. There are the
usual comparisons to Genesis, Yes, and even Marillion. The most obvious
influence is Rick Wakeman, but there is more. Douillard's Harp is quite
unique in the realm of rock music. Classical composers, and France
itself, are in the mix, thus giving a unique flavor to Hecenia. The
first album features the vocals of Jean-Paul Trutet, and the second is
entirely instrumental. Both are highly regarded, and Hecenia is a star
of modern French progressive music. Line-up / Musicians Thierry Brandet/keyboards,drum Pierre-Yves Chiron/bass,guitar Daniel Trutet/guitar Jean-Paul Trutet/vocals Pascal Tremblay/bass Claude Chauveau/drums Delphine Douillard/harp Discography Légendes 1989
1.Hécénia 2.Le passage 3.Le grimoire 4.La vieille femme et la chandelle
