The album was recorded in Rosenberg Studio Copenhagen 1973 Issued in Iceland only. And just 1000 copies were made. Published by Icecross Records.
Members of the band were three: Axel Einarsson(guitar and vocals), Omar Oskarsson (bass, vocals) and Asgeir Oskarsson (drums, vocals).
Road manager Ágúst Harðarson (Gústi On picture at the back of the Cover)
Recording engineer was Tommy Seebach.
Cover design: Jón Erlings
Photographs: Júlíus Agnarsson
Pressed by EMI London
Printed by Ingólfsprent Reykjavík
All tracks are self-composed and sung in English:
Side one: 1. Wandering Around 2. Solution 3. A Sad Man's Story 4. Jesus Freaks
Side two: 1. 1999 2. Scared 3. Nightmare 4. The End.
Icecross deliver great heavy and dark hard rock with some searing fuzzed leads that belongs in any respectable hard rock collectors stash! A creeper and a keeper!
Review from http://www.dustedmagazine.com/reviews/2858
In Hinduism, “om” is the single most important syllable of existence, representing the confluence of deep sleep, dreams, and consciousness, and their mystic separation from the idea of the absolute which is beyond everyday human comprehension. There are also connections with the life cycle - the sound “om” being made of “a” which represents creation and Brahma, “u” which is Vishnu or the middle period of life, and “m” represents Shiva, whose meditation frees us from the concrete world. Om is a trinity, the exact components of which depend on which interpretation you’re using. I won’t pretend to be an expert in Hindu myth or meaning, but these basic tidbits are enough on their own to at least partially explain the sounds contained on Conference of the Birds. And while it may be mere coincidence that Om formed out of two thirds of Sleep (you could probably debate which two parts of the “om” Al Cisneros and Chris Hakius represent, but it would only make any sense if you were either a huge metalhead, a giant stoner, a Hindu scholar, or some combination of the three), the symbolic connection between the two in this context is too much to ignore. To get perhaps a bit too literal here, om is the step beyond sleep towards some kind of transcendence. Which isn’t to say that music of Om is any “deeper” or “more advanced” than that of Sleep, just that it operates on a different level with a different set of tools.
Conference of the Birds is structurally and sonically similar to its predecessor, Variations on a Theme – repeated bass licks and drum patterns that gradually evolve over the course of about 15 minutes. The second song (each song spans about 20 tracks, presumably to thwart piracy), “Flight of the Eagle,” could very easily be the fourth track on Variations both in character and in sound. Cisneros’ bass sound is dense and fuzzy and his vocals are an imposing chant musing on some mythic journey or battle occurring in ancient Egypt, while Hakius keeps a solid beat centered around his bell-like cymbal.
“At Giza,” on the other hand, represents a very different side of the group, one much closer to the concept of om than anything else they’ve done. Simply put, the music is much tauter than before, with less overall weight. The bass tone is clean, devoid of any distracting distortion, the drums are slower, more hypnotic, the vocals more an incantation than a chant, returning to words like “sentient,” “aperture,” and other archaic multisyllabics. And while the imagery is more an opium-den vision than a meditative dream, the words are there more as sounds and rhythm and quickly lose their meaning.
Whether you view it as stoner wisdom, opium hallucination, or mystic journey, this album is about transcendence. The Conference of the Birds is, amongst other things, a 12th century Sufi metaphysical parable on discovering the true nature of God, mimicking the journey of the avatar protagonist of both of Om’s songs. Farid ud-Din Attar’s poem comes to the conclusion that God is not to be found in a single place but all around, in every aspect of life and the world. So despite the fact that Om comes from the Hindu, references the Sufi, and uses the language of the Egyptian, they draw from each the same idea: that the world beyond the tactile is not that far away.
By Dan Ruccia
Lyrics to "At Giza"
Rise aviator - sun will follow. Aperture on door the wave form school. Sentient ground of the light shrine shining. Aperture on door the lind-hymn stone.
Sentient ground of the light shrine shining. Aperture of door the lind-hymn stone. The orbits arms oscillate to freedom. Params the shore of celestial sea.
Rise aviator - sun will follow. On aperture on door the wave form school. Sentient ground of the light shrine shining. Semblates the finite - to autumnate seen.
Electron sea - now set free - takes into the sky above on sentinel stream. And grant to me - a light to see - and pilgrimage to mountain of the votaric form. And lighten pon day - the solarics raise - falls upon the ziggurat electron school. And reap upon field - the host moon fade away - glides the aeronaut toward the object form.
And lighten pon day - as scintillate rays - augurate arrival of a seraphic form. From Lebanon reels - the obelisk seen - called now inverse upon the currenter-sign. The matter form wanes - the host moon fades - takes into the sky ascends the freedomward dove. The rite of fall sealed - descendant orb hails her - down to the ground of electron form.
And travel under twin suns rays - the host-moon fades - takes into the clesiast at oracle school. An epison raise - the pole star fades - wakes into availed light of aurican form. To reach a suns rays - through glowing bronze grace - leaves the lake and rises toward empyrean sun. The swans array - the crane stands veiled grace - tunnement to the omen of the object form.
And travel on toward the lighten pon day - on through a spine's gates - climbs the silken thread to cross a silvering sun. The Orphic glow seen - as aural sounds ring - climbant to throne within on spine's attuned prow. Empyrean rays - engulf the nine gates - dove ascends to freedom through a lantern filled sky. Awakens from field - availed light's salving grace heralds arrival of the solar-object form.
Reemerge to breathe - the outform seen - vivified by illumined glow through auric-clad sheath. An epison raise - the pole star fades - wakes into availed light of aurican form. To reach a suns rays - of glowing bronze grace - leaves the lake and rises toward empyrean sun. The swans array - the crane stands veiled grace - tunnement to the omen of the object form.
And lighten pon day - as scintillate rays - augurate arrival of a seraphic form. From Lebanon reels - the obelisk seen - called now inverse upon the currenter-sign. The matter form wanes - the host moon fades - takes into the sky ascends the freedomward dove. The of fall sealed - cremation now reclaims - bows toward the sun and sheds the object form.
Morly Grey is a progressive rock band that formed the late 1960s. The group recorded a single album, The Only Truth, which was recorded and released in 1972. Some discographies and music catalogs continue to list the album’s release date as 1968 or 1969.The confusion over the release date may come from the album’s serial number of 69000 (originally released through the unpublished Starshine label) and the fact that the album had a very short release period. The first single from the album was "Who Can I Say You Are". Most pressings of this single incorrectly list the album’s original title—The First Supper. In the 1980s and 1990s, the original vinyl LP pressing of the album had become somewhat of a collector’s item due to its rarity and the fact that it came with a full-size color poster.
Morly Grey is an important historical musical example of the foundations of progressive rock and demonstrates how early 1970s psychedelic-style rock influenced later, more established progressive rock bands like Yes before the genre was know as "progressive".
Musicians: Tim Roller - Composer, All guitars, backing vocals, Mark Roller - Composer, Bass, Lead vocals, Paul Cassidy - Composer, Lead vocals, drums, Bob LaNave - drums (Side II of "The Only Truth").
Review and info from progressiveworld.net
Reviewed by: Keith "Muzikman" Hannaleck, December 2002
Morly Grey had only one album, titled The Only Truth. Originally released in 1969 on the Starshine label, it was a rare collector's item for years. Now it is available as a reissued and digitally remastered LP and CD by Comet Records. The first few original releases came packaged with a poster, which is reproduced beautifully from the original artwork as a bonus to this LP.
This great rock record is one of those amazing classics that you never heard, wish you did, and then wonder why you have not. The music sounds unexpectedly advanced considering the tracks were committed to tape in1969. You will hear rock, psychedelic sounds reminiscent of The Doors and Jimi Hendrix, and jazz-rock fusion, like on the track "Our Time." For a trio, their sound was an electrifying full exciting new sound that was just starting to make its way into the consciousness of young adventurous musicians. Bands like this jump-started the beginning of many major changes in music. The title track, which is a flat out progressive rock tour de force running over 17 minutes long, brings you full circle from a rocking entrance, to a spaced out eerie middle section, then to a meaningful powerful ending. I do not want to imply that it is something that you would hear today. It sounds more like a formative free form track that develops and comes to a head like a musical eruption exploding from the core of their base sound. The group works very hard to maintain and expand this format in many of their songs.
It comes as a shock that they did not continue to record after such a successful recording session as this. One never knows what the circumstances may have been at the time though. One thing I do know, they left their ineradicable mark on early progressive rock music.
Rating: 5/5
More about The Only Truth:
Track Listing: Side One: Peace Officer (5:30) / You Came To Me (4:12) / Who Can I Say You Are (3:40) / I'm Afraid (4:32) / Our Time (6:29)
Side Two: After Me Again (3:07) / A Feeling For You (2:33) / The Only Truth (17:02)
Musicians: Tim Roller - all guitars, backing vocals Mark Roller - bass, lead vocals Paul Cassidy - guest vocals, drums (Side I) Bob LaKnave - drums, percussion, lead vocals (Side II)
Well, if you havent heard this one, its about time, it is truly amazing.
One of the most important underground hard rock band from Britain and also a very influential group , although they never managed much commercial success. Their sound in their two historical album can be likened to BLUE CHEER or STEPPENWOLF ( but with lenghty improvisations in some tracks) and is sometimes mentioned as one of the first example of Heavy Metal music , some progheads on this site even going as far as citing them as the grandfather of Prog Metal.
The Original line-up was a quartet consisting of a superb singing guitarist , A violinist sometimes playing KBs and a good rhythm section. After the second album's release , their drummer left for health reason , and HIGH TIDE did not release another album for some 18 years although they still recorded aopparently fairly regularly with an unstable permanent line-up with Tomlin, Theaker , House and Pavli coming and going almost at will, the only mainstay being Tony Hill. Starting in 88, they will release seven records in a span of three yearts , very confused affairs with tracks from all those lost years appearing on different records and no clear recording dates given. Apparently they played together until 1990 , and their latest release is yet another mixed-bag of tracks from all eras released on Black Widow label in 98, but with recording dates at last clearly mentioned .
HIGH TIDE is a highly influential underground band likely to please all Prog Metal fans looking for roots of their beloved music style.
Story From http://www.sssc.vic.edu.au/masters/panama/story.htm
In early 1971 the Masters had released Choice Cuts, recorded at the legendary Abbey Road studios.
Relesed and getting rave reviews in England and Europe, Jenny Halsall who worked for EMI alerted her brother, John Halsall a promoter and huge fan. He contacted the Masters in Australia and urged them to come back. They reformed and set off back to England. Again on a boat!
When they arrived 7 weeks later all interest in Choice Cuts had fizzled out (It had sold 12000 copies). EMI had offered to finance the recording of another album. EMI England set the recording date for 3 months away. That gave the band plenty of time to write, rehearse and polish the songs. They went back to Jeff Jarratt and the same team at Abbey Road studios. A Toast To Panama Red was the result.
The title is a homage to an illicit national crop picked up while traveling through the Panama Canal on the way to England.
The band took their time and experimented with a variety of styles and sounds and produced a far more diverse set of songs than those on Choice Cuts. It was a personal creative venture that was the most enjoyable thing they had done.
Recording this time much more relaxed as the Masters new the routine. However Glenn had a part time job that interfered with rehearsals and recording sessions. The upshot of it meant Doug ended up recording some of the bass parts.
The album was released early 1972. Again, like Choice Cuts, to good, solid reviews despite it being undeniably self-indulgent. Doug Ford, whose soloing dominates the album came in for particular acclaim. Europe once again took to the album warmly. It is still a popular bootleg there today.
The band were broke, under-rehearsed with Glenn being part-time and they were unable to promote the new album properly. The single Love Is failed to do anything significant and the end was near.
Glenn left for a lucrative job in Australia and soon after Jim reluctantly quit and returned to Australia, both sad and glad that it was all over. Colin's brother Denny joined on bass and the Masters continued for about 6 months in England. They only recorded one song - Freedom Seekers (available on the Hands of Time CD compilation, also the only Master's song Jim did not contribute too)
Review from http://www.headheritage.co.uk/unsung/review/1689
1. Rio De Camero 2. Michael 3. Easy To Lie 4. Because I Love You 5. Catty 6. Our Friend Owsley Stanley III 7. Death Of A King 8. Song For A Lost Gypsy 9. I'm Your Satisfier 10. Song For Joey Part II
If you are not yet familiar with The Masters Apprentices, I should direct you to the fabulous anthology "Hands Of Time-1966-1972" on the Raven label. This faultless collection was compiled by Australian rock historian Glenn A. Baker, and provides and excellent introduction to this great Australian group, who along with The Easybeats were the two top acts down under in the late 60's early 70's.
The Masters started life in 1966 as a primal R&B garage outfit that specialized in ultra primitive rock and roll in the style of The Pretty Things and Van Morrison's early group Them. Their early sides were penned by the group's guitarist, a gifted writer named Mick Bower, but their obvious focal point was lead singer Jim Keays. Keays had both style and talent, and possessed a wailing vocal range that would rival Pretty Things lead singer Phil May.
Early Masters recordings such as "Undecided", "Buried And Dead" & "Hot Gully Wind" are top drawer, freakbeat ravers that take a back seat to no-one. As time went on Mick Bower's songwriting became more sophisticated and reflective, tracks such as "Wars Or Hands Of Time", "Theme For A Social Climber" & "Tired Of Just Wandering" showed tremendous maturity. Sadly Bower suffered something of a nervous breakdown and was advised by his doctor to leave the pop business, which he eventually did.
This could have spelled the end for the Masters, but Jim Keays picked up the pieces and weathered the group through the flower-power era. This era of the group was resonsible for the classic "Elevator Driver" 45 and also "But One Day" (which was a Mick Bower holdover.) The Masters entered their next phase leaning towards a harder, more progressive sound which was first introduced with the 1969 album "Masterpiece." All the while the Masters were incredibly popular in Australia regardless of their several lineup shifts. Jim Keays was the one constant that kept the group's head above water. However as 1969 turned into 1970 the group felt they were stagnating in Australia and decided to take a shot at global acceptance and relocated to England.
The Masters arrived in England in the spring of 1970 and signed with the EMI progressive label Regal Zonophone (home to The Move, The Tickle, Procol Harum & others.) This lineup featured Jim Keays on lead vocals, guitarist Doug Ford (previously with The Missing Links & Running, Jumping, Standing Still), Glenn Wheatley-bass and Colin Burgess on drums. This lineup would prove to be group's finest since the Mick Bower days.
The Masters managed to book Abbey Road Studios to record their first album on UK soil. "Choice Cuts" (which was issued in the UK simply as "Masters Apprentices" or the "chair album") was nothing short of a revelation and a quantum leap artistically for the group. This album is just a drop dead classic from the word go. Released in 1970 "Choice Cuts" is the equal of any great record you care to mention from that year. The Masters prove to be just that, masters of any style they chose to attempt, pop, folk, progressive and full tilt, heavy rock. It's all there and it's all good!
"Rio De Camero" is a vibrant opener which combines a latin, shuffle beat with Glenn Wheatley's fluid, upfront bass lines and funky minor chords played by Doug Ford. Keays interjects with his shrieking, double-tracked vocals, the whole thing ends with a rush of guitar muscle (this track was included on the "Hands Of Time" collection.) "Michael" begins as a plaintive acoustic ballad that quickly evolves into an all out heavy guitar blitz that simply never lets up.
"Easy To Lie" is absolutely threatening! It begins with Wheatley's throbbing bass line and leaps right into a massive acid guitar frenzy, Keays has his vocals treated to where he sounds like Ozzy Osbourne. Doug Ford hammers at his axe with the savage intenisty of T.S. McPhee of The Groundhogs, while the rhythm section lays down a sinister, gorilla beat that would have made the Hogs proud. Then comes an absolute curveball in "Because I Love You" which reminds me of Peter Frampton's melodic contributions to Humble Pie, the song employs bright acoustic guitar patterns to a rousing chorus which fades in the manner of The Beatles "Hey Jude" & Donovan's "Atlantis." I'm sure the female fans of the group dug this romantic tune all the way.
"Catty" returns to the blistering hard rock of "Easy To Lie", the spare, punishing guitar chords remind one of Free's late, great guitarist Paul Kossoff. While the overall feel of the number is that of a funky Black Sabbath. "Our Friend Owsley Stanley III" is also in Black Sabbath territory with an equal measure of "Stand Up" era Jethro Tull. Obviously the song is an ode to the US acid kingpin, perhaps acid got to Australia a bit late, as most groups were more into singing about granola and ecology flags in 1970.
"Death Of A King" is another Groundhogs style pissed off heavy ballad which concerns itself with the tragic death of Martin Luther King. This song addresses the subject in a much more convincing fashion than U2's self-serving "Pride" anthem. "Song For A Lost Gypsy" goes for the heavy thud of Blue Cheer with positive results. "I'm Your Satisfier" is a down and dirty, funky number that once again draws a Free comparison. The final piece "Song For Joey Part 2" begins with some lovely acoustic guitar work from Doug Ford before hurling another curveball at the listener, this piece quickly shifts into the greatest Van Morrison copy since the USA garage band Things To Come's "Sweetgina", however this one goes for Morrison's "Astral Weeks" style and Keays and Co. pull it off perfectly.
"Choice Cuts" was greeted by glowing reviews in the UK press but somehow the record failed to attract much action at the shops or on radio and sank into obscurity until being re-discovered by collectors in the 1980's. The record now changes hands for $150+ but it lives up to that lofty price tag with room to spare. There have been a few legal and semi-legal CD re-issues of it down the years, but it seems to be out of print at the moment. Hopefully this will change very soon. "Choice Cuts" is a dazzling blend of folk, heavy and progressive styles that should be in every serious record library. The good news is that the Masters would actually up the ante with "Choice Cuts" brilliant follow-up "A Toast To Panama Red" (more on that one in a bit.)
The Masters Apprentices were one of the great groups of the late 60's early 70's and it's about time their name starts getting mentioned next to the MC5, Pretty Things, Stooges, Groundhogs etc. because they no doubt belong in that company.
Review from http://www.headheritage.co.uk/unsung/review/1295#
1 Freelance Fiend 2 Sad Road To The Sea 3 Drowned My Life In Fear 4 Work My Body 5 Stray 6 With A Minute To Go 7 Growers of Mushroom 8 Stagnant Pool 9 Sawdust Caesar
10 It's Going To Get Better (bonus track, originally a German b-side) 11 Hip Shaker (bonus track, previously unissued)
Pete French - vocals Mick Halls - lead guitar Derek Brooks - rhythm guitar Stuart Brooks - bass Keith Young - drums
Leaf Hound is one of the literally dozens (seemingly hundreds?) of groups that arose from the late 60's "Progressive Blues" scene in the UK, who then went in a heavier direction as the style of the times changed in the early 1970's. Most of this particular group were formerly a more properly "bloozy" outfit called The Black Cat Bones whose sole 1970 album "Barbed Wire Sandwich" almost certainly inspired Spinal Tap's "Shark Sandwich". Leaf Hound's particular corner of the rock family tree also includes cross-references with members of such other sub-luminaries of the day as Atomic Rooster, Cactus, Foghat & Free. Later singer Pete French would audition for Deep Purple & Uriah Heep, but lose out to fellow journeymen like Dave Coverdale and John Lawton.
So knowing all this you shouldn't have too much difficulty pre-supposing what Leaf Hound is gonna sound like: succinctly in two words, "LED ZEPPELIN." Only dumber, cruder, uglier, and generally lacking any notion of subtlety (as the blatantly druggy band & album titles would suggest.) Except when they sound like The Who or Black Sabbath or Uriah Heep. Actually, the band they keep reminding me of the most is Sir Lord Baltimore -- there almost seems to be some subliminal transatlantic psychic link between these two groups, who would have been recording their debut albums at about the same time (so I don't see how one could have directly borrowed anything from the other. Unless someone can find a link between them we must assume that the times REQUIRED music like Leaf Hound & Sir Lord Baltimore, and thus it was summoned forth from all corners of the globe. Just like a whole bunch of different guys all invented radio at about the same time in different parts of the world.)
"Freelance Fiend" kicks things off in fine style with a scrungetastic Baltimoresque riff and a funky cowbell (can never get too much cowbell now can we?) French does his mushmouth macho manboy yowling bout "I'm gonna live my life like a freelance fiend / build all my castles on top of my dreams!" Mick Halls' lead guitar work throughout the album is a bit on the trebly-needly side, and he's certainly no Louis Dhambra. What makes this one is the Sabbath-like aural blending of low rhythm guitar & massive bass tones locked in on a grind-o-matic machine riff. In other words, METAL!
"Sad Road" is driven by acoustic guitar strumming over that fat-tastic bass, rocking it in the style of The Who's "The Seeker." More wah wah wangdoodle & predictable bloozoid lyrics delivered with mushmouth melisma.
"Drowned" features a grinding circular riff that keeps on going, yet more sub-Mick Box wah wah soloing, and the first uncomfortably Zeppelinish moments in French's redline blues howling which bears more than a little resemblance to Zep's "Ramble On."
"Work My Body" is an evil creepy jazz-blues type of thing, somewhere between "Planet Caravan" and The Doors. Again the guitar heroics are a bit strained and for the most part the lyrics are silly sexo rapping, but the massive coda riff with organ sounds cool (hello, Uriah Heep!) and on the whole this winds up being one of the more distinctive sounding numbers on the record.
"Stray" bears an eerie resemblance to Sir Lord B's "Woman Tamer" riff, which is to say both sound a bit like Zep's "Heartbreaker" thrown in a blender. The relentless riff only ever pauses for big bad drum fills (hello, Bill Ward!) and a brief psychjazz bridge. More early 70's metal heaven.
"With A Minute To Go" uses the acoustic guitar & rumblin bass approach again, adding some shimmery powerchords to make me think of The Who's "Naked Eye" this time -- that is until the descending riff at the end where French nicks the melody & cadence of Bob Plant's "well the wind won't blow and it really goes to show uh woah woah woah" right down to the umlauts.
The title track of the album is the goofiest thing here, a taut little 2 minute multi-sectioned pop operetta in the vein of The Who's "Happy Jack" or maybe MC5's "Human Being Lawnmower". It's also the most blatantly druggy number here, he keeps repeating "nobody could tell we were growing some mushrooms!" but with verse lyrics like "my life was a beetle that ran down the wall!" one has to wonder.
"Stagnant Pool" is some gawdamn effing METAL, in fact I can't imagine this was inspired by anything less that the previous year's smash hit single "Paranoid", as they've got the same locked-in machine grind chugga-chugga going on here. However, it's got lots more parts to it than the Sabbath song, including one riff that again is eerily similar to the climactic riff of Lord Balty's "Caesar LXXI" -- as well as another bit that sounds so much like the Jefferson Airplane you expect to hear Marty Balin's sweet tenor floating by instead of Ol' Raspy there.
"Sawdust Caesar" whoops it up and makes a fine ending to the original LP. Shambolic whiteboy lumbering funk with MORE COWBELL!!! that is just plain irresistable. Mick's guitar solo is also his looooosest playing on the record, making this track another of the highlights.
The first CD bonus track "It's Going To Get Better" is pretty useless, a piano-driven ballad that sounds like another band entirely. Reminds me of mid-70's Guess Who (not in a good way.)
"Hip Shaker" is much better though, sounding like a garage band pastiche of the Faces and Humble Pie. The bashing post-gogo boogie metal groove is happenin', so who cares that the lyrics are simple-minded "hip shaker / love maker" nonsense.
Doing research for this review* I've come across quite a few other reviews of Leaf Hound already out there in Internetland, most rife with cliches about "bludgeoning riffs" and superlatives to make you think Leaf Hound is the hottest shit you've never heard before. I dunno, on the one hand it's nothing original and not all that superlative as far as he-man guitar histrionics go -- but I must admit if you were to ask me to make a list of five albums which fit well with the phrase "bludgeoning riffs" this would probably make it. Which is to say if you can't get enough vintage 1971 proto-metal crunch, here's another platter to add to your Unsung diet. But if 70's stoner cock-rock is not your bag, save your drachmas for some other din.
Leaf Hound's music first saw release in Germany in 1971 on Telefunken (where they did a lot of touring; this self-titled "first" album was the same as "Growers of Mushroom" minus a couple tracks.) Later the same year the album was released in their UK homeland by Decca, with nine tracks as shown above (didn't make it across the pond I don't think.) The CD reissue on the See For Miles label includes the 2 bonus tracks listed above. This same label has also reissued the aforementioned "Barbed Wire Sandwich" LP -- which I've not heard, but the album cover to that one is even more hideous than "Toe Fat"! Hard to resist! Lawd help me, I think I have a problem!
* Here's a factoid mentioned in almost every review, so I'll repeat it here as well: the band's name & most of the song titles on the album are taken from an anthology of horror stories by Herbert Van Thal.
URIAH HEEP certainly comes to mind when you hear LUCIFER’S FRIEND, as do LED ZEPPELIN, DEEP PURPLE and BLACK SABBATH to some extent, although you can’t accuse the FRIEND of cloning them as none had attained their notoriety as yet. The band started off as ASTRIX in 1970, with frontman and future URIAH HEEP vocalist John Lawton teaming up with guitarist Peter Hesslein, keyboardist Peter Hecht, bassist Dieter Horns and drummer Joachim Rietenbach. Through various personnel changes over the course of twelve years – including Lawton exiting in ‘76 and then returning for a last gasp in ‘81 – the band released nine studio albums and two compliations. In ‘82, they split up but reunited in ‘94 for a night album.
Their earlier releases are aggressive and raw, not unlike The SCORPIONS, JANE or LONESOME CROW. Living up to their sinister name, they performed heavy, mean, keyboard-based rock that should please LED ZEP, SABBATH or PURPLE fans. Then came their absolute masterpiece, “Banquet”, in 1974, which focusses on epic prog numbers with complex instrumentation, complete with string and horn arrangements, and Lawton giving his full-throttle vocal performance. This album perfectly pulled together the many different elements of their sound: prog, soul, jazz and hard rock. If you want to sample some LUCIFER’S FRIEND, you could try their compilation albums; if you want to hear LUCIFER’S FRIEND at their proggiest, go for the “Banquet” – their subsequent releases received mixed reviews, particularly “Sumogrip” in 1994.
Fans of URIAH HEEP or those interested in the roots of heavy metal definitely ought to get their hands on some of these items.
MAY BLITZ Biography MAY BLITZ were formed by vocalist/guitarist Jamie Black who recruited Tony Newman on drums, (ex Sounds Incorporated and Jeff Beck Group), and Reid Hudson (bass, vocals) in 1969. The original lineup featured bassist Terry Poole and drummer Keith Baker, from Bakerloo, but both left before recording anything for the band. Baker had a better offer from Uriah Heep, and went to record "Salisbury" with the band.
The band survived long enough to record two incredibly heavy, powerful and psychedelic albums with strong blues undertones and progressive tendencies, despite the lack of keyboards. These were released on Vertigo, who we also associate with Black Sabbath and Uriah Heep - but the music is probably heavier than either. Their style comes in somewhere around High Tide and the Pink Fairies - but these are really ballparks.
Their debut album is a must-hear for anyone curious about the development of heavy music, and features a production in which it is not only almost possible to smell the ganja smoke, but is also rich and clear enough to provide the striking dynamic contrasts the music needs, as it occasionally veers from ambience to crushing riffs in the blink of an eye. It is certainly very unpredictable, even now.MAY BLITZ were formed by vocalist/guitarist Jamie Black who recruited Tony Newman on drums, (ex Sounds Incorporated and Jeff Beck Group), and Reid Hudson (bass, vocals) in 1969. The original lineup featured bassist Terry Poole and drummer Keith Baker, from Bakerloo, but both left before recording anything for the band. Baker had a better offer from Uriah Heep, and went to record "Salisbury" with the band.
To celebrate my lucky day when i found this record for 50 kr (approx 5 us dollars) on original philips 1:st press, im posting this badboy. For those who dont know Weed is Ken Hensley (Uriah Heep) and some german dudes who later formed kraut band Virus. Anyhow, its a execlent slab of 70's hardrock/proggressive.
Only album from german krautband Silberbert released in '71, ultra heavy psych. Review from www.progarchives.com
SILBERBART were a power trio from Germany who released one album back in 1971.These guys are twisted man,i mean they aren't normal! When the singer screams and shrieks he sounds like a young Geddy Lee,and the music here is very psychedelic and "out there" at times,while at others it's heavy and raw. Some great ideas from these guys though as they take us on a trip far from what is sane and normal.Yes this is vintage krautrock. The first song "Chub Chub Cherry" is my least favourite and the most straight forward of the 4 tracks.It's the shortest(4 1/2 minutes) too as the others all clock in at over 10 minutes.Aggressive guitar and raw vocals lead the way until the chorus where he whispers "chub chub cherry" a few times.That's the part i don't like. "Brain Brain" is haunting to begin with as softly sung vocals come in.A sudden unexpectant explosion of sound erupts 3 minutes in with a chilling and deranged scream for good measure.It kicks into an uptempo melody 5 1/2 minutes in and vocals come in before 6 minutes.I really like the guitar 7 minutes in and the psychedelic freak outs that follow.A "far out" calm settles in and then he starts singing in a reserved manner before 12 1/2 minutes.A heavy beat arrives before 14 minutes and the guitar starts to make some noise. "God" is heavy and kind of dark to open.Nice.It turns psychedelic before 2 minutes before kicking back in a minute later with an awesome guitar solo that lights it up.Vocals are back before 4 minutes.It turns gloomy with almost spoken vocals then it kicks back in again. Fantastic sound 8 1/2 minutes in.Several times this song seems to end but then starts up again. "Head Tear Of The Drunken Sun" is where he reminds me of Geddy when he screams,and he does that a lot.Haha.A nice heavy sound here and it's kind of catchy.It turns spooky almost alarming really before 6 minutes.Dissonant sounds follow or maybe insane is the word i'm looking for.It kicks back in before 9 minutes.Nice bass here with some blistering guitar a minute later.Vocals are back again 10 1/2 minutes in. An adventerous trip into the bizarre and unknown awaits for all who are willing to take the chance.
Brittish Psych masterpiece featuring Martin Weaver from Wicked Lady.
Review from
Reviewed by: Keith "Muzikman" Hannaleck, October 2002
This LP is a long lost rock classic. Some folks consider this to be progressive rock, I however would consider it as pre-progressive in that it was more like Blue Cheer than it was any of the other prog bands emerging at the time. The guitar is hard and fast and the vocals run hot and cold. The first side of the album was luke-warm from an overall standpoint ... side two however is excellent. The playing is superlative and the vocals are kicked up a notch to match the intensity of the music. There are only three cuts on side two, but they certainly get the job done and prove how talented a band they could be when they got down to business.
There is more to like than dislike when you listen to this album. I would suggest you listen to side two first then side one, you will see how their sound takes on different elements and influences, some stronger than others. The bottom line is that this is a worthwhile collector's piece and a slice of rock music worth hearing, especially if you are a progressive rock enthusiast interested in the development of the genre.
More about Around The Edges:
Track Listing: Side One: Darkside (7:27) / Maypole (5:02) / Live For Today (8:08)
Side Two: R.C.8 (5:05) / The Cat (5:21) / Zero Time (6:48)
Musicians: Colin Bush - bass Steve Giles - guitar Clive Thorneycroft - drums Ronald Johnson - bass Martin Weaver - guitar
This is one of my favs from 2008, two long tracks of pure psychedelic doom.
And please leave some comments if you have the time, some feedback is allways nice, and feel free to request stuff too. And a happy new year to my reader(s).
Like it says on the top of this page ill be sharing mostly 60s-00 psych rock, doom and kraut, but its not impossible that other genres will show up, like Dub, Indie or Metal etc.
Have fun and please leave comments.
feel free to mail me for requests or other stuff @ jahanders@gmail.com
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