Crafting a musical skeleton that has as much in common with British folk as it does with West Coast jam bands, DARK wouldn't be unlike a lot of other psychedelic bands in the late sixties/early seventies. What made them different was one thing: a solid understanding of fuzzy guitar. Rather than merely using the fuzzbox to show off, DARK incorporated it into the build of their songs, laying it across moody, heavy tracks that approached sprawling.It all began in 1968, when guitarist Steve Giles grabbed other guitarist Martin Weaver, drummer Clive Thorneycroft and bassist Ronald Johnson, and formed Dark at a school in Northhampton. Local touring followed for several years, until, in 1972, the band only produced their first album, the not-quite-as-scary-as-you'd-think "Round the Edges" (occasionally featuring Colin Bush on bass. Go figure). Only about sixty copies were issued, and original albums remain a collector's item to this day, and has been hailed as the UK's most expensive album. Soon after the album was released, the band broke up, and its members were scattered to the four winds (aka other bands and failed solo projects). An effort was made at a revival in the early Nineties, which resulted in more local live shows; however, no new album was produced. Despite a couple of records of outtakes, the only true album by this intelligent jam band remains "Round the Edges". Line-up / Musicians Colin Bush/bass Steve Giles/guitar,vocals Clive Thorneycroft/drums Ronald Johnson/bass Martin Weaver/guitar Martin Moloney/organ,vocals Discography(Album) Round the Edges 1971
1.Darkside 2.Maypole 3.Live For Today 4.R.C.8 5.Cat 6.Zero Time
The group was produced in May 1968, in Bienne, by Pierre-Alain Kessi (Pakman) (guitar and vocal) and André (Dédé) Pascal (drums), reinforced by Bruno Zuest (vocal) (future father of “QL”s bassist) and by “Noldi” (bass guitar). One of its first gig consisted in the featuring, in Spring 68, into a pop contest organized by a Zurich magazine. Disqualified without glory with this commentary : “the group might be good if the guitarist did not use so much distortion…”. Nevertheless, the group carried on playing the blues out of the repertoires of Cream, Hendrix, Mayall, Led Zeppelin and Deep Purple. A first single was recorded but never marketed (Look for a woman), because the group had run out of money. After different changes of line up, the group consisted in a trio in 1970, following the withdrawal of lead singer and bass guitarist, this last one being replaced by Jean-Claude Fontana (Cacou). With this new formation, the group won the famous first price in Golf Drouot in Paris in November 1970. In December 1970, Dédé decided to quit the group and was replaced by the late and regretted Rodolphe (Jötu) Baumgartner.Between 1971 and 1974 After Shave became famous, creating their own legend and repertoire. They begun touring in Switzerland, France and Germany, and experienced their first LP called “Skin Deep”. This album is now being gloriously praised in “Hard rock anthology 1968-1980” by Denis Meyer, Editions Enfer Magazine, as well as in the “Encyclopédie du hard rock des seventies” of Denis Protat, Editions Alternatives. Those two specialists repertory more than one thousand groups and records. After Shave also produced two singles. The group took on a new English singer named Barry James Brown, and a new bass guitarist, Silvano “Gugus” Paroni replaced Cacou. At that time, Pierre-Alain Kessi and his drummer Jötu had the great honour to accompany Champion Jack Dupree on his last Swiss tour. After Shave recorded in 1974 a new LP called “Strange Feelings”, accompanied by a second guirarist, Peter “Misteli” Mischler, in a studio proposed by the producers in Antibes. Unfortunately, the producers not having ever paid the bill, the tapes were impounded and reappeared at the beginning of the 90’s with an Italian pirater edition, mentioning other name and titles of the pieces. Copies of the original mixing still being in Pierre-Alain Kessi’s possession, a new production can still be envisaged. At the beginning of 1975, After Shave recorded a demo with two titles : “So you’r gone away” and “Ain’t ready for you yet” that draw EMI’s attention, in England, who was ready to sign the group, as long as they changed their name. So After Shave became Slick. The contract would nevertheless not being signed, being cancelled by EMI’s directors who had just hit the jackpot with Ten CC’s “I’m not in love”, this last piece sounding like “So you gona way”. It seems not to be such a good idea to compete with oneself! Exit After Shave, exit Slick! Everybody was back again to its first occupations. Line-up / Musicians Jean-Claude"Cacou"Fontana/vocals,bass Rodolphe"Jötu"Baumgartner/drums Barry James Brown/vocals Sylvano "Gugus" Paroni/bass Pierre-Alain "Pakman" Kessi/guitar,vocals Discography(Album) Skin Deep 1975
1.Skin Deep 2.Him 3.Paper Woman 4.Ride, Ride, Ride 5.Sweet Home 6.Amsterdam in My Living Room 7.Near the Sun 8.Pink Rose 9.Sunflower
JUNIPHER GREENE was a Norwegian progressive rock band who were formed in Oslo in 1967. The initial line-up included Bent Aserud on guitars, keyboards, flute and vocals, Geir Bohren on lead vocals, drums and sax, Helge Groslie on keyboards, Freddie Dahl on guitar and vocals and Oyvind Vilbo on bass. They released their ambitious debut album in 1971 called "Friendship". It stands as one of Norway's earliest progressive album and the country's first double LP.They were one of Norway's best bands together with RUPHUS and HOST, although they only released one album in 1973 "Communication" (also very good) before splitting in the mid 70s. Two compilation albums, "Best Of" (1975) and "Rewind" (1981), which also featured a number of unreleased tracks recorded between 1969 and 1980, were issued. Helge Groslie left the band to join TITANIC in 1972, Aserud and Bohren kept the JUNIPHER GREENE name for various incarnations during the 80s, although these were very different to the original group. Line-up / Musicians Helge Groslie/vocals,keyboards Bent Aserud/guitars,flute,harp,vocals Oyvind Vilbo/bass,vocals Geir Bohren/drums,vocals Freddy Dahl/vocals,guitars,vibraharp Discography(Album)
Friendship 1971
1.Try To Understand 2.Witchesi' Daughter 3.Music For Our Children 4.A Spectre Is Haunting The Peninsula 5.Sunrise/Sunset 6.Magical Garden 7.Autumn Diary 8.Maurice 9.Attila's Belly-Dance 10.Friendship
Spawning from Brazilian psychedelia and Anglo-American hard-rock, MÓDULO 1000 represented a fusion of both sonorities, coming up with something new in the Brazilian musical scene. The Rio de Janeiro group, featuring Luiz Paulo Simas (keyboards and vocals, later with VIMANA and O TERÇO), Eduardo Leal (bass guitar), Daniel Cardona Romani (guitar and vocals) and Candinho (drums, later with VIMANA), would put out only one album, 1971's "Não Fale Com Paredes", a clear display of their musical influences, ranging from BLACK SABBATH and QUATERMASS to OS MUTANTES through early PINK FLOYD. Totally fuzz guitar, a lot of atmospheric and spacy keyboards, good bass and drums. The production was very poor, but this helped to give the songs a dark atmosphere despite the happy and crazy vocals. Luis Simas was the first brazilian musician to buy a synthesizer. The lyrics are a mix of protest against the military dictatorship and things totally nonsense.Heavy influences of Black Sabbath, but this is progressive rock for sure! All great european bands of late 60's and early 70's are inspirations for Módulo 1000. Line-up / Musicians Luiz Paulo Simas/keyboards,vocals Eduardo Leal/bass Daniel Cardona Romani/guitars,vocals Candinho/drums Discography(Album) Não Fale Com Paredes 1971
1.Turpe Est Sine Crine Caput 2.Não Fale Com Paredes 3.Espêlho 4.Lem-ed-êcalg 5.Olho Por Olho, Dente Por Dente 6.Metrô Mental 7.Teclados 8.Salve-se Quem Puder 9.Animália 10.Curtíssima 11.Ferrugem e Fuligem
The progressive rock band, MICAH, was formed in Terre Haute, Indiana in the summer of 1971. The original band members were Gus HERNANDEZ (bass), Martin (Marty) HORNE (lead guitar), Gary Taylor OHLSON (keyboards, Hammond B3 organ, synthesizer), Robert (Bob) ROWE (lead vocalist) and George Robert WOLFF (drums, percussion). Robert (Bob) ROWE was the lead vocalist, although other band members did vocals on different songs.After organizing and performing as MICAH in Indiana, the band moved to upstate New York about four months later and performed throughout the mid-Hudson Valley and upstate New York. The band lived in Latham, New York.MICAH quickly attracted attention and a large fan base with their extraordinary keyboards and guitar-driven music and dynamic performances. MICAH's powerful and unique English-style hard rock/progressive rock sound and the musicians' talent were quickly recognized, and they were offered a recording contract with Sterling Award Records in New York City.MICAH recorded an original album, "I'm Only One Man", a music suite composed and written by Gary Taylor OHLSON and Martin HORNE. The album was produced by Sterling Award Records and Record Album Productions (RAP) in New York City in late 1971. Songs featured on the album included He's a Dreamer and I'm Only One Man, and have found their way on to YouTube and can be heard today. I'm Only One Man is considered to be a very rare and exceptional progressive hard rock album, and it is highly prized by collectors today. The suite contains: He's a Dreamer, Look Around You, So You Can See, I'm Only One Man, You Don't Really Care, Remembrance of Things Past, Finale. The album lists the following as the artists: Gus HERNANDEZ (Bass Guitar), Martin HORNE (Lead Guitarist), Gary OHLSON (Organ, Vocals), Bob ROWE (Lead Vocalist) and George WOLFF (Percussion, Vocals).The album, I'm Only One Man, is a true anomaly. The music on the first side of the album was recorded live in a quadraphonic studio in New York City in one day without any rehearsals and performed in its entirety without any breaks. What is heard on the album is the engineer's raw studio recording without any double tracks and no effects on the vocals. I'm Only One Man was a complete music suite. Recording and vocals work continued on the second day in the studio. The album did not contain a number of different songs; it consisted of one complete original musical suite which filled the entire first side of the album and continued on the second side. The album was issued as an unmastered work - pure, recorded-as-played music performed by the artists.Adding to its uniqueness, the I'm Only One Man album was only partially completed when it was pressed and released. The second side was not finished, and is only about 11 minutes long. The band members felt the album could have been better if they had had more time to track the music and use their own equipment - some of the musicians were using studio equipment rather than their own instruments.It is unclear how many I'm Only One Man albums were released - rumor has it that only about 1000-1200 copies were issued - and very few are now in existence. In addition to the I'm Only One Man album, there were at least two very rare promotion photographs of the MICAH band taken in Terre Haute Indiana, and a number of 45 RPM singles. It is unknown how many 45 RPMs containing I'm Only One Man (Side A) and So You Can See (Side B) were issued.The I'm Only One Man album is consistently listed on Reissue Wish Lists, and songs have recently reappeared and been played on music stations.The Micah line-up changed when Gus HERNANDEZ (bass) and Bob ROWE (lead vocals) left the band to pursue other interests. Tom GILLIS (bass) and David I FEDER (lead vocals) joined the band.MICAH continued to perform and produce original music until it disbanded in 1974, with members going on to pursue individual music projects. Line-up / Musicians Martin "Marty" Horne/guitar Gary Taylor Ohlson/keyboards,Hammond organ,synthesizer George Robert Wolff/drums,percussion Robert "Bob" Rowe/vocals Gus Hernandez/bass Discography(Album) I'm Only One Man 1971
1.He's a dreamer 2.Look around you 3.So you can see 4.I'm only one man 5.You don't really care 6.Remembrance of things past 7.Finale
Stray are a British band, formed in 1966. Vocalist Steve Gadd (born 27 April 1952, Shepherd's Bush, London), guitarist Del Bromham (born Derek Roy Bromham, 25 November 1951, Acton, London), bass player Gary Giles (born Gary Stephen Giles, 23 February 1952, North Kensington, London) and drummer Steve Crutchley (born c 1952) formed the band, whilst all were attending the Christopher Wren School in London. Richard "Ritchie" Cole (born 10 November 1951, Shepherd's Bush, London) replaced Crutchley in 1968. They signed to Transatlantic Records in January 1970.The group's brand of melodic, hook-laden hard rock proved to be a popular draw on the local club scene during the early 1970s. However the band did not have commercial success with its record releases. At one stage Charlie Kray (brother of the Kray twins Ronnie and Reggie), was their manager. Gadd left the band in 1975 due to artistic differences and was replaced on vocals by Pete Dyer. The original Stray finally dissolved in 1977, although Bromham later continued to play in various resurrected versions of the project well into the 2000s.There are two Iron Maiden connections to Stray. "All in Your Mind" from Stray's 1970 debut album was covered by Iron Maiden, and Maiden bassist Steve Harris's daughter Lauren has covered "Come On Over". From late 2006 until early 2007, the band's back catalogue of eight studio albums issued originally during the 1970s, were re-released by the UK based Sanctuary Records in compact disc format. The new releases were re-mastered and had bonus tracks culled from single B-sides, studio outtakes and BBC broadcast sessions. Line-up / Musicians Steve Gadd/harmonica,guitar,vocals,percussion Del Bromham/guitar,vocals,Mellotron,organ Gary G. Giles/bass Ritchie Cole/drums,percussion Discography(Album) Stray 1970
1.All in Your Mind 2.Taken All the Good Things 3.Around the World in Eighty Days 4.Time Machine 5.Only What You Make It 6.Yesterday's Promises 7.Move on 8.In Reverse/Some Say
In the mid 70's in Montreal existed a Hammond-driven prog rock quartet Incubus (there was also a US group of that name in those years) that could've been often compared to Emerson Lake & Palmer and haunted the scene from 70 to 74, but never released an album, although they had started on it (sessions took place in January 74 in Hérouville, France), when, they called it a day in late 74. So when three out of four original members reformed in 2007, they certainly weren't going to name themselves Incubus, since the name had been used once more, by a metal group whose fame belittled both previous groups. So while wanting to refer to their early 70's heritage, they chose to rename themselves ExCubus. ProgQuebec approached them about the session tapes of 74 and once through them, they selected 4 songs that they saw fit to release. The rest of the tracks present on this first album are the work the group (now a quintet) to rekindle the flame of their gone-by dreams. So Mémoires Incubussienes includes both the historic session and another recent one (January 2007) and the least we can say is that the latter one is definitely worth or the former, the former having no valid reasons for not seeing the light of day, except for the lack of luck and group quitting. The first four tracks develops a symphonic rock ala ELP, but with a solid guitar player answering the local Emerson. Actually the group might also sound between Atomic Rooster, Egg and even Anglagard. Of these track, the most interesting is Abomination D'Une Quarte De Triton, which is clever but complicated musical trick removing some triton quart (or whatever, you figure it out), seconded mello- fest of (Morning) Glass Army Parade. If the first track had some wordless vocals, the other three tracks are instrumentals, but something tells me, that this was probably not intentional back then.. that the session had stopped before they could have added the vocalsAs for the 2007 sessions, they sound like a very credible retro-prog, sometimes close to the Scandinavian school that should have all progheads climbing up the curtains in gleeful joy, three of them sung in English with Tales Of The Tree not being a tale. Clearly meant as the second era's centerpiece is the 9-minutes Pendergast, comes with the full dramatics and a great outro. The closing Child's Funeral is a fitting goodbye with full choirs in the last seconds. All four tracks appear to have been written back in the 70's if I judge by the booklet. Line-up / Musicians Marc Delage/guitar,bass,vocals Léo England/drums Michel Phaneuf/keyboars Pierre Poulet/bass,vocals Discography(Album) Mémoires incubussiennes 1974
1.Bléatis 2.Abomination d'une quarte de triton 3.Parade de l'Armée de verre (au matin) 4.Teeth
EL RITUAL is well crafted progressive/psych bluesy rock with nice organ, some Tull like flute here and there, nice guitars, with softer and harder rock/prog/bluesrock passages, sometimes with rather hard rock vocals, and a few times Uriah Heep-lkind of vocal harmonies, with lyrics in English. The fourth track, “Satanas” is more experimental, theatrical track mixed with bluesy rock, and a long drum solo, a song about being the devil. “Muerto E Ido” has a slight Canterbury touch. This deserves to be heard by all prog/psych collectors. It sounds as interesting as many English & American examples. Line-up / Musicians Gonzalo Chalo Hernández/bass Alberto Lalo Barceló/drums Frankie Barreño/vocals,guitars,flute Martín Mayo/keyboards Discography(Album) El Ritual 1971
1.Satanás 2.Peregrinación satánica 3.Groupie 4.Muerto e ido 5.Easy woman 6.La tierra de que te hablé 7.Bajo el sol y frente a Diós 8.Conspiración
Creative Rock are a loud, brassy, bluesy rock group found on the early Brain label who are obviously influenced by early Chicago (Transit Authority). There are eight tracks on Gorilla, the band's debut album from 1972. Throughout, we are given a taste of American-styled brass rock in all its bluesy guises, from full-title boogie to more, tasteful, progressive movements such as on the set's longest track "Blind People" and its follow-up "The Word Between 6 and 8 a.m." Due to the wealth of great music to be found on the original Green Brain series, Creative Rock are often overlooked, after all their music is much less inventive and engaging than at least half the catalog. But it's pretty fun rock in its own right, and there is an occasional twist here and there to keep it interesting. Line-up / Musicians Heiko Steinsiek/drums Klaus Weber/guitar,percussion Rainer Erbel/vocals Günter Schmeide/guitar,bass Michael Maas/bass,guitar Benny Stremmel/saxophone,flute Hubertus Kreutner/trumpet,flugelhorn Apostolos Papanikolaou/guitar Discography(Album) Gorilla 1972
1.Natron 2.A Horseman's Morningsong 3.Tapeworm 4.Hear What I'm Talking 5.Blind People 6.This World Between 6 And 8 A.M. 7.Wunderbar 8.Preussens Gorilla
One of several German bands fronted by British singers to emerge in the early '70s (see also Epitaph and Lucifer's Friend, for starters), Blackwater Park were based in Berlin and consisted of vocalist/guitarist Richard Routledge, guitarist Michael Fechner, bassist Andreas Scholz, and drummer Norbert Kagelmann. Also, much like many of their contemporaries during these early years of Krautrock -- as Germany's daring, post-psych musical movement would soon be tagged -- Blackwater Park combined elements from multiple extant and budding rock subgenres to construct their complex sound: hard rock, blues-rock, jazz-rock, acid rock, prog rock, and even proto-metal. Unfortunately, the group's one and only album, Dirt Box, released in 1972, failed to advance the band's career beyond its preliminary stages, and it wasn't long before Blackwater Park had quietly called it quits. But, as has often been the case with these obscure Teutonic bands, the cult of Dirt Box gradually grew over the years, and by the start of the new millennium, its occasional CD reissues were being eagerly snapped up by '70s hard prog collectors. Line-up / Musicians Richard Routledge/vocals,guitar Michael Fechner/guitar Andreas Scholz/bass Norbert Kagelmann/drums Discography Dirt Box 1972
1.Mental Block 2.Roundabout 3.One's Life 4.Indian Summer 5.Dirty Face 6.Rock Song 7.For No One
Taking their name from a French commune in Haute-Garonne, this Swiss five-piece, heavy progressive band comprised of Rinaldo Häusier (guitars), Denis Angelini (vocals), J-C. Balsinger (bass), Andrö Locher (organ/keyboards) and Gaston Balmer (drums).Their brief early 70's existence resulted in only one studio album; their poorly produced 1971 eponymous debut, which clearly demonstrated a combined influence of heavy UK proto-prog bands such as Deep Purple with the typically Teutonic 70's hard rock sound, with progressive, and occasionally bluesy touches. Locher's abilities in bringing the keyboards to the fore, will please fans of ELP, while the chunkier, heavy guitar will bring bands such as The Nice and even Uriah Heep to mind. Ultimately however, their music is considered to have produced little in the way of originality, and nothing is known of the musician's careers after the break up of the band. Line-up / Musicians Rinaldo Häusier/guitars Denis Angelini/vocals J-C. Balsinger/bass Andrö Locher/organ Gaston Balmer/drums Discography Cardeilhac 1972
1.Pick Up Your Gun 2.Everybody 3.Pushers Dwell 4.Sadness 5.She Don't Care 6.Neutral 7.Nightmare 8.Loch Ness
A hard Hammond-driven prog quintet from Speyer (Upper middle German Rhine river south of Mannheim), emanating from the ruins of 60's formation The Screamers and having recorded only one sole album. Their name was taken from the tall tree that served as a hanging tree in the small English town of Tyburn during the Cromwell era. In the course of spring 70, the group was augmented by a flute player and keyboardist Göttsche and bassist Gowa (also a trained pianist) started writing a three piece suite called Autogonia and premiered in a concert that also consisted of adapted pieces of Bach (Brandenburg concerto), Dvorak (New World symphony). The show was recorded and was released by Garden Of Delight in 1997. Touring Germany in support of Golden Earring, early Frumpy and Renaissance, but by the start of next year, Göttsche and the flute player had left and replaced by Magin (organ) and singer/percussionist Fresenius, which caused their musical direction to head a bit jazzier. In Spring 72, the group decided to record four tracks from their well-rehearsed show in the studio and issued a private pressing of 200 copies, of which 100 are reputed to have burned in a fire in a record shop. This was probably the most expensive prog vinyl in Germany until Penner than Garden Of Delight re-issued it, but from a vinyl, since the master tapes, but no miracles could be done as in the poor vinyl production, tape noises where already audible, but they added two bonus tracks. The band managed to survive until late 75, undergoing more line-up changes, touring for East of eden, Nine Days Wonder, Amon Duul II and Ekseption. Line-up / Musicians Stefan Kowa/bass Hanns Dechant/drums,percussion Klaus Fresenius/vocals Werner Gallo/guitar Reinhard Magin/keyboards Discography Tyburn Tall 1972
1.War games 2.In the heart of the cities 3.I am America too 4.Strange days hiding 5.Lost Angeles 6.Bring out your dead
Murasaki were a Japanese hard rock band, competitive, though a little too derivative (to say the least): their style was too influenced by Deep Purple for their own good. This self-titled album from 1975 it’s ok, good musicianship, not very good sound, and making a music that Deep Purple were making 3 or 4 years before (“Devil woman” for instance is almost a rip-off from “Hard lovin’ man”). There are more bluesy moments, like in “Rock and roll nightmare”, where can be heard some synths, or in the Murasaki’s version of Deep Purple’s “Lazy”, which is correct. The Deep Purple impersonation goes on with “Maze”: over 9 minutes of a quite dull hard rock with a solo of the drummer in the end. Possibly the song to pick up here (and that save the album) could be the last one: “Far away” that seems to have some note of distinction, other than that, Murasaki were mostly a replica of the Mark II, lacking the personality of their paisans The Flower Travellin’ Band, for example, and surviving only as a footnote in the 70s Japanese rock. Line-up / Musicians George Murasaki/keyboards Eiichi Miyanaga/drums Masao Jouma/vocals Ikuo Shimoji/guitar Kiyomasa Hika/guitar Toshio Jouma/bass
Discography(Album) Murasaki 1975
1.Double Dealing Woman 2.Devil Woman 3.Rock and Roll Nightmare 4.Lazy 5.Do What You Want 6.Maze 7.Far Away
This 1970 album by Charlies is one of the most rare and valuable vinyl records from Finland. The album is full of hard rocking material with magnificent lead guitarwork. There are clear progressive elements thrown all over the place on this record and their sound includes lots of blues rock influences as well. When it comes to the value of the original first press vinyl of Buttocks this one gets pretty close to Elonkorjuu's Harvest Time. Harvest Time is often called as the most valuable Finnish vinyl record but Buttocks isn't far behind. Very good hard rock album from the early 1970's Finland. Line-up / Musicians Eero Ravi/guitars Kari Lehtinen/bass Igor Sidorow/flute,saxophone,piano Ari Ahlgren/drums Vellu Lehtinen/vocals,harmonica Discography(Album) Buttocks 1970
1.Tuesday Song 2.Like The Purpose Told Me 3.Smoggy Story 4.Try,Try Or You Will Never Die 5.Feeling That Feeling 6.Living For Myself (I'm A King Dreamer) 7.Madness And Other Kind Of Influences 8.For You Catherine And Before You
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
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
