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21 Sep 2017

Hadal Sherpa "Hadal Sherpa" 2017 Finland Instrumental Prog Rock debut album

Hadal Sherpa  "Hadal Sherpa" 2017 Finland Instrumental Prog Rock debut album


We are Hadal Sherpa, a progressive instrumental rock band from Finland and we would appreciate your help with finishing our debut album release. We are currently in the process of mastering the tracks and need your help for the final push to get the album out and spread around the world. Check out the sample track and feel free to participate and share our campaign! All contributors are highly respected at the “Hadal Zone”!….

We are Hadal Sherpa, a five member progressive instrumental band from Finland. We have been active for few years now, during this time we have played a few shows in Finland but mainly we have been working hard at our rehearsal place creating music. Now we are ready with mixing our debut album and soon it will be mastered, so the next step is pressing the album and this is where we need your help. We have eight songs ready and they will be released on CD, hopefully also on vinyl. The album will be an exiting journey through different moods and landscapes, from very mellow to quite dramatic… We hope to be able to share it with you as soon as possible!…

Το καθαρά instrumental και τζαμαριστό πνεύμα του φινλανδικού κουιντέτου μπορεί να προϊδεάσει τον ακροατή για τις επιρροές τους, ωστόσο η ποικιλία ιδεών και ο πολυσυλλεκτικός τους χαρακτήρας θα ενθουσιάσει και τον πλέον υποψιασμένο. Τα πανέμορφα ηχοτοπία που δημιουργούν οι διπλές κιθάρες, τα πλήκτρα και οι διακριτικές πινελιές του φλάουτου στο εναρκτήριο Nautilus Part 1 φέρνουν έντονα στο νου το ψυχεδελικό prog των αγαπημένων Σουηδών Agusa, ενώ το ελαφρώς υποδέεστερο Part 2 με το πιο δυναμικό του φινάλε συνεχίζει σχεδόν στο ίδιο μοτίβο. Όσοι περίμεναν τον υπόλοιπο δίσκο να ακολουθεί τα ίδια μονοπάτια πλανώνται οικτρά καθώς τα ανατολίτικα στοιχεία στα εξαιρετικά Chafa Azeno και Marracech προσδίδουν έναν oriental αέρα στο τελικό αποτέλεσμα. 

Το Hadal Sherpa φυσικά συνεχίζει να προσφέρει εκπλήξεις στον ακροατή, αφού στο Black Elka συνδυάζουν με επιτυχία το oriental πνεύμα με ψυχεδελικά τριπαρίσματα θυμίζοντας εδώ αρκετά Ozric Tentacles. Το ταξιδιάρικο Abyss αποτελεί την λιγότερο “παλαβή” σύνθεση, με την Floyd ατμόσφαιρα να είναι διάχυτη και το κιθαριστικό solo να συγκαταλέγεται στις κορυφαίες στιγμές του δίσκου. Τέλος, στα Ikaros και Heracleion (προφανής η αναφορά τους στην Ελλάδα και την ελληνική μυθολογία) καταφέρνουν να ισορροπήσουν μοναδικά μεταξύ ατμοσφαιρικότητας και επιθετικού jamming από τη μία και μεταξύ progressive εναλλαγών και βόρειας μελαγχολίας από την άλλη. 

Κρίνοντας τους Hadal Sherpa κυρίως τεχνικά αλλά και συνθετικά θα λέγαμε ότι παίρνουν ιδιαίτερα υψηλό βαθμό, έχοντας και κατά νου ότι πρόκειται για μία πρωτοεμφανιζόμενη μπάντα. Στα θετικά επίσης καταμετρούνται η κρυστάλλινη παραγωγή και το εντυπωσιακό εξώφυλλο. Οι μόνοι παράγοντες που αποτελούν τροχοπέδη ώστε να εκτοξευθούν είναι η αδυναμία απογαλακτισμού από τις επιρροές τους καθώς και η αρκετά μεγάλη διάρκεια του δίσκου που όπως είναι λογικό δημιουργεί μερικές «κοιλιές». Ωστόσο το πρόσημο κρίνεται τόσο θετικό ώστε πλέον οι Φινλανδοί progsters να μας αναγκάζουν να παρακολουθούμε στενά τα επόμενα βήματά τους!…by….Πάρης Γραβουνιώτης

Line-up / Musicians 
- Vesa Pasanen / guitar, bouzouki, keyboards, percussion 
- Sauli Marila / bass, cello 
- Matti Elsinen / keyboards 
- Ilja Juutilainen / drums, percussion 
- Ville Kainulainen / guitar 

- Pi Kiviharju / flute (1,2,8) 
- Arttu Muhonen / percussion (8) 
- Olli Rautiainen / trumpet (8) 

1 Nautilus Part 1 7:52 
2 Nautilus Part 2 7:57 
3 Chafa Azeno 9:07 
4 Ikaros 7:49 
5 Heracleion 11:14 
6 Marracech 7:24 
7 Abyss 9:30 
8 Black Elk 7:20 

Beaver & Krause “In a Wild Sanctuary”US 1970 Electronic,Experimental,Prog,Ambient

Beaver & Krause “In a Wild Sanctuary” US 1970 Electronic. Experimental,Prog,Ambient

On In a Wild Sanctuary, their second recording issued in 1970, Beaver & Krause moved into new territory. They were inspired by the words of 19th century writer Ellen Glasgow who wrote: “Preserve, within a wild sanctuary, an inaccessible valley of reveries,” as well as those visionaries and activists like Ralph Nader (wonder what they would think now?), Pete Seeger (Bernie Krause was a one-time member of the Weavers), Paul Erlich, the Whole Earth Catalog and the Sierra Club. Other musicians included Dave Grusin, Bud Shank, Howard Roberts, and percussionist Milt Holland. The music here is a reverie of primitive synths, organs, jazz orchestras, and natural sounds from the environment, all woven together here as is evident from the opening cut, “Another Part of Time,” which blends gothic organs, Moogs, and a bluesy B-3, and trap drums to wind blues, jazz and classical themes into a framework of constant evolution. “Spaced” is one of the first true pieces of ambient music, years before Eno would coin the term; it’s full of divergent tonalities from the synth, spacious textures, sine waves, and a gradually unfolding presence brought by the Moog that is a bit tense for a moment before ending on a truly majestic plane. “So Long as the Waters Flow” brings a Bach theme into plain aural view before winding in ocean sounds, small blips, and watery sounds from the Moog. There is humor here, too, where the pair blend in the theme from Richard Strauss’ “Also Sprach Zarathustra,” which had been used effectively two years before on the soundtrack to Stanley Kubrick’s film 2001: A Space Odyssey – here titled in a brief interlude as “Aurora Hominis.” The most beautiful thing here is “Walking Green Algae Blues” that employs jazzy guitar, Moog, space, texture, dimension, canned voices, and real voices in various tones speaking the word “War!” to weave a flowing dynamic whole. This is dated material to be sure, but it is nonetheless fascinating and curious…….by Thom Jurek………

One of the groups that benefited a great deal from appearing at the Monterrey Pop Festival in 1967 was Beaver and Krause. They never appeared on stage, but they did man a booth at the festival to promote a new contraption called the Moog Synthesizer. It caught a lot of interest. Roger McGuinn bought one that weekend. So did Paul Simon and Brian Jones. And since Beaver and Krause were two of only a handfull of musicians who knew how to get anything out of this new instrument, the musicians brought them in to teach them, help them set things up, and even play the synth on their albums. Eventually folks like George Harrison, The Doors, Phil Spector, The Beach Boys and many more would call on Beaver and Krause for their expertise. The got well known enough to get signed to Warner Brothers records, and recorded this little gem. Some parts obviously sound quaint by todays standards, but other parts, especially “Spaced”, “And Then There Was Morning’ and "Walking Green Alge Blues” are quite good, and in the case of “Spaced” are downright gripping. If you are interested in the evolution of this interesting if not over used instrument, and want to hear some real visionary music that came out of the synthesizer’s birth.  This is very good …

Beaver & Krause were one of the first bands to buy themselves a Moog (1966!), For Bob Moog the instrument at the Monterey-Pop-Festival 1967 in all possible bands (including the Stones, the Byrds, G.Harrison) but too lazy to explain it to the people as well. Krause himself was a member of the well-known folk band “The Weavers”. He also recorded with tape and micro nature and other environmental sounds (today he makes this professionally and has written a readable book about it “Into a Wild Sanctuary: A Life in Music and Natural Sound ”). 

This reissue CD contains the 2nd and 3rd LP of the two. 

“In a wild sanctuary” is the more electronic record. With an old German choral, the LP, played on the MOOG, an organ and a drums, is reminiscent of Tonto’s Expanding Headband. Then it becomes freer - it plinks and chugs quietly like wood and from there rises a powerful sound, inspired by a church organ, for pastoral heights before white noise and the already known sounds transfer the title to the next track. 

“Spaced” consists of a flute sound lost in outer space, here, too, it is futuristic in the background until the redeeming Moogakkord finishes the title by becoming ever higher in the pitch. “So long ..” consists of an electronic thunderstorm (and here again the soft woody sounding sounds in the background), in which the melody for Psalm 137 “By the waters of Babylon” rises from the rain Version of MMEB on “The Roaring Silence.” “Aurora huminis” underlines the rise of man with the title melody of 2001, the film “Salute to the vanishing ..” is the attempt with a deep MOOG bass the eagles into the air to lift - a more conventional title, again in the tradition of the already mentioned TONTO’S … 

“People’s park” sounds like a spontaneous jam session in Asbury Park, it drums, the congas sound, someone annoys a flute, all clatter with something: nice to listen, but rather than Joke thought. The blues is one, played with organ and guitar, and has all the natural sounds that Krause has recorded: waves, surf, gulls, lions, radiomoderators, children - a nice collage. This LP is completed with Bach (“O Haupt voll Blut und Wunden”), played on an organ. 

The LP “Ghandarva” starts with atonal, but soft moogies, before “Saga of the blue Beaver” sounds as if SANTANA had already crossed, a typical Westcoastjam with a great guitar, organ and congaas and well-embedded moogsounds , that here actually should be electronic. “Nine moons over Alaska” is MOOG pure, cold and frosty are the sounds, but Alaska is in the far north, like an arctic winter storm sounds the song. On the other hand, “Walkin ’” is the fantastic sung opening of the next gospel, reverberated and soft piano, after all, the whole LP was recorded live in the Grace Cathedral, which has 7 seconds of reverberation. 

With “Ghandarva” and the ensuing titles, it will then be a matter of pastoral - church organ, moog, saxophone and flute in the alternating interplay in the church space, Jon Hassell or Jan Garbarek anticipate years ahead. As the room influences the sound, the saxophone sounds clear, the organ or the moog sounds. In between, “Short Film for David” is a more melodic game with guitar, saxophone and harp - also here under the use of the Hall. These songs are all class. 

Those who appreciate early electronic plates can access here. The sound is great, which shows that you do not always need 64Spur consoles. Now it is only to be hoped that the last record of the two as well as the solo disc by Paul Beaver will finally be reissued. …by…….Andreas Pläschke…

You do not remember Beaver & Krause for particular songs. But that drawn-out gunshot in the “Turner’s Murder” segment of Performance, and the cut, “Harry Flowers,” on the soundtrack — those were Beaver & Krause. That swelling in Garfunkel’s voice when he sings “Save the Life of My Child” — that was synthesized by Beaver & Krause. The “Space Odyssey” segment on The Notorious Byrd Brothers: Beaver & Krause. Neil Young’s “Old Laughing Lady.” The Beach Boys’ Sunflower. The Doors, on “Strange Days.” That splash of chimes that used to signal “20/20 News” on your local AM. Little sound effects in Catch 22 and Grand Prix, and film-scoring on The Anderson Tapes, Hellstrom Chronicle, Drive, He Said, and 60 or 70 others. Numerous, numerous sound-affected lacings for radio and television spots, for everything from the Bank of America to Sunkist prunes. 

Also, several albums bearing their names, most notably In a Wild Sanctuary, a whooshy paean to what’s left of our ecological wonders, and Gandharva, a sun-kissed blend of Moog, Bloomfield, gospel, and Gerry Mulligan, Howard Roberts and Bud Shank, bouncing off the high walls of Grace Cathedral, the cavernous gothic church on Nob Hill in San Francisco. And, flashback: one of the first astrology albums — Zodiac Cosmic Sounds, on Elektra — and The Nonesuch Guide to Electronic Music. In short, a mountain out of a Moog. 

And if you knew what their next album’s going to be — it’ll be earthier music, off the church walls and down to the ground, to the Nez Perce Indian reservation in Idaho, where an old woman’s rap about religion serves as the pivot for the music — you might think Beaver & Krause weren’t as much a mountain of eclectic sounds as a lump of faddy tissue; astrology, electronic music, ecology, a church jam, and now, the Indians. 

There’s a lot of oh-no-no-no anxiety in Bernie Krause’s voice as he speaks from his nondescript office (there being nothing to describe about its Early Dentist’s Office decor) in Fisherman’s Wharf. 

“It’s not what’s being done,” he says, “but how it’s being done. It’s important to be said.” Right, but by a white, Jewish mooger? “I’m not religious in any way — I just don’t know how to explain it — it’s more a pantheist earth-consciousness.” 

And, true enough, Krause has worked with the Nez Perce Indians on and off for five years, and he spent last October there to record the Indians playing their flutes in the woods, and Chief Joseph describing the oldest Indian religions, and the 70-year-old woman. “She talks about the old religion, before the missionaries came, about when the land was clean. The spirit we extracted out of her talks—she had such a sense of love and of sadness at the way things are changing.” 

Which ties back in to Wild Sanctuary. Only it wasn’t an old Indian who inspired the concept. “We were talking to Van Dyke Parks at Warners about ecology, and we thought it was important to do something not screaming.” Instead, Beaver and Krause managed an album of sort of white-noiseless, synthesized soul, the more exotic percussion instruments balanced out by sounds of city buses, animals at the city zoo, and the sea beyond the city. The soul came from the songs themselves, sitaric/organic jazz, a J.S. Bach riff, a fugue once the basis of a Weavers song. 

But just as Paul Beaver, a 46-year-old veteran sound-effects man and former jazz organist in Hollywood, is no dabbler with either keys or electronics, Bernie Krause is no musical dilettante. This 33-year-old white, Jewish mooger is steeped in serious music. 

As a kid in Detroit, he studied violin and composition and sat around at small clubs like the Rooster Tail, and listened to the jazz vocal troupe, Lambert, Hendricks & Ross, and to the likes of Yusef Lateef, Johnny Smith, and Barney Kessel. He took up jazz guitar and played in high school rock bands, and he idolized Joe Messina, who played an old Epiphone guitar on the local Soupy Sales TV show. Messina most recently worked on Marvin Gaye’s What’s Goin’ On. At the University of Michigan, Krause went acoustic; in ‘56, the college music scene was the Weavers, Josh White, Pete and Peggy Seeger, Odetta, and Ewan McColl. 

Krause graduated in '60, floated over to MIT in Boston, and graduated again, into the music business, working for booking agent Manny Greenhill. “Manny was booking the Weavers, and I sang in night clubs imitating them.” Krause ended up with the Weavers — “I had the Seeger chair” — for a year, beginning in 1963, following Erik Darling and Frank Hamilton. 

Krause ended up at the Mills College Tape Center, which was becoming, in the mid-Sixties, a gathering place for sound artists, children of Varese, from the University of Illinois and UC San Diego. Before the Moog, the ARP, the Buchla, and the Putney, it was music electronically processed through filters, tape-impulse distortions creating the nonesuch music. 

In Los Angeles, Paul Beaver had long been employing tape-delay units and banks of extravagant audio equipment on his sound-effects work for films. He worked with Mort Garson and played Moog on the Zodiac album Garson had composed. Shortly before, Beaver and Garson had been to the Mills Tape Center, where Krause showed them a new synthesizer developed by Don Buchla. In April, 1967, Beaver and Krause became a professional team. 

They quickly became the authorities on the Moog, eventually acquiring two of the $12,500 full-sized synthesizers and a pair of mini-Moogs, and put out the Nonesuch Guide; in an unfortunate episode in late '68, Krause taught George Harrison how to Moog, and the teaching tapes, Krause said, wound up as one side of Harrison’s first and only electronic album. “I said I hoped there’d be royalties or some sort of publishing, and he said 'No, I’ll send you a couple of quid.’ ” They argued there in George’s house in London, stoned and hungry (“He was into ecology and not eating meat”), and George, according to Bernie, ended it with a flat: “I’m a Beatle and I’m right; you don’t have the humility that Ravi Shankar has.” 

Another musique concrete artist who worked with Beaver & Krause was George Martin, who contributed liner notes to their first music LP, Ragnarok. “In this album,” he wrote, “they have succeeded in displaying their virtuosity with skill, sensitivity and humor.” 

“It was a garbage dump,” said Krause of the album. “We had a lot of stuff we had to get rid of — we had folk tunes in our head, old things on tapes.” It was all Moog with bits of guitar and a coarse Krause vocal here and there. Today, it’s Moog here and there and more actual musical instruments. “We were just so awe-struck by the Moog,” Krause said, “We thought it was the panacea, that it’d get rock out of its bag. It’s a very imposing instrument to have, to be able to do all the sounds of all instruments in a symphony orchestra on eight tracks. Now, to us, it’s just another instrument, although we’re somewhat falsely considered in the area of electronic music.” 

Not so falsely, actually, since Beaver & Krause began to coast through Hollywood rock recording sessions with their mini-Moogs doing as many as 20 dates a week. “Jack Nitzsche was hired to play the harpsichord in just about every session in California from '64 to '67,” said Krause. “Well, using the Moog became the thing to do.” Now, as more artists are playing their own synthesizers, business has dropped (although Beaver & Krause just finished some work with Van Morrison for possible use in his next album). 

“Electronic music,” whatever Beaver & Krause’s role, “is gonna become a standard instrument in groups and recording,” said Krause. “It is now, with electric organ, fuzz tones, wah-wah pedals, distortion and such. It’s happening now.” 

As for the team, there is their Parasound Inc., which continues in the commercials and jingles business to pay for their more expensive habits, such as the Grace Cathedral, which required rental of equipment costing $10,000 for two nights even before the studio recording and mixing began. There is the back-to-tunes, back-to-rhythm next album, which they’ll call Gold Record, despite depressingly consistent sales figures of no more than 30,000 for any previous effort. And Beaver & Krause hope to hook up with video artists, but not on a soundtrack/film-scoring basis. Beaver & Krause music was part of a flowing half-hour electronic collage on videotape, The Stars Are So Big, The Earth Is So Small, by the San Francisco Sunshine Company, an innovative little TV production firm. “I want to get into a visual trip as an art rather than a story line as art,” said Krause, “and do in music what (producer) Tom Gericke is doing on videotape.” 

And Beaver & Krause may yet return to Grace Cathedral for their first live performance. They never have before simply because the Moog, without studio overdubbing, is a puny, monophonic one-sound-processor machine, its sound unpredictable, depending on power sources. But with a band, and maybe a gospel choir, and perhaps Ry Cooder as a sideman, Beaver & Krause could be comfortable. Right. A white man can synthesize the blues……Rolling Stone…….
Beaver & Krause were a musical duo made up of Paul Beaver and Bernie Krause. Their 1967 album The Nonesuch Guide to Electronic Music was a pioneering work in the electronic music genre. 
Beaver introduced Monkees singer-drummer Micky Dolenz to the Moog, which became a featured instrument on the fourth Monkees album, Pisces, Aquarius, Capricorn & Jones Ltd., and Beaver himself performed on one track, “Star Collector” in 1967. In addition, he led workshops at the Beaver & Krause LA studio attended by a who’s who of film composers and session keyboardists of the time. 
In June 1967, Beaver and Krause set up a booth at the Monterey Pop Festival, demonstrating their newly purchased electronic synthesiser, one of the first constructed by Bob Moog. 
Thanks to their demonstrations of the Moog at Monterey, Beaver and Krause also introduced the instrument to a number of other leading American pop acts including The Doors, Simon & Garfunkel and The Byrds, helping to create the vogue for the Moog that emerged in the late 1960s and early 1970s. 
Krause introduced the instrument first to Sir George Martin, producer of the Beatles, and then to George Harrison during Harrison’s 1968 visit to California while producing the Apple artist, Jackie Lomax. He used it to generate his 1969 free-form solo Electronic Sound album for Apple Records’ spinoff label Zapple, with the first side of the disc consisting of not only Krause’s composition, but also his performance – one that remained completely unacknowledged and uncompensated for. 
In 1968, Beaver and Krause released an album for Mercury Records imprint Limelight Records, Ragnarok, then released a series of three albums for Warner Brothers Records, In a Wild Sanctuary (1970), Gandharva (1971) and All Good Men (1972), effectively creating both the electronica and New Age musical movements. 
A variation of the end of their track “Spaced” from the Wild Sanctuary album became the inspiration for dual gliding synthesizer soundtrack for the copied THX Sound Logo in movie theaters, also for which neither Beaver or Krause were compensated. 
Both Mike Bloomfield and Ronnie Montrose played guitar on the Beaver & Krause song “Saga Of The Blue Beaver”. 
The duo ended with Beaver’s premature death in 1975, at age 49. 
Krause released at least two more solo albums: Citadels in 1979 and Gorillas in the Mix in 1988, plus several movie soundtracks, and now specializes in recording naturalistic sounds, combining them with synthesizers…

Paul Beaver, producer at Elektra Records, became known for his work with Bernie Krause - formerly with the Folk group The Weavers - and exchanged with him about electronic music. When the first modular synthesizers from the company Moog were available in 1966, Beaver and Krause were among the first to buy a device and immediately sought connections with rock musicians in order to introduce them to the instrument. For instance, they showed the drummer and singer of the Monkees, Micky Dolenz, their synthesizer, which was then also used on the LP “Pisces, Aquarius, Capriconr & Jones Ltd.” of the Monkees; Paul Beaver even took part in a track on the LP.
Full of missionary zeal, Beaver and Krause set up their synthesizer at the Monterey Pop Festival in 1967, not only attracting the interest of many festival visitors, but also musicians like Simon & Garfunkel and the bands The Doors and The Byrds. When George Harrison came to California the same year, Beaver and Krause also introduced him to his Moog synthesizer. The impressed Harrison bought a device and used it for his LP “Electronic Sound”, published by ↑ Zapple Records in 1969; Krause later harassed Harrison and accused him of having used more or less detailed demonstrations of the synthesizer for one of the two LP pages.
From 1968, Beaver & Krause released LPs themselves. In 1968 “Ragnarock” appeared, in the following years “In a Wild Sanctuary” (1970), “Gandharva” (1971) and “All Good Men” (1972). The last LP of the duo, “The Nonesuch Guide to Electronic Music”, was released in 1975. In the same year Paul Beaver died. Bernie Krause remained connected to the music business and produced pieces of music, in which he combined recordings from nature with electronic sounds into an esoteric whole. Still active, Krause also composed functional music for the search engine operator Google.
Beaver and Krause are well-known among Rockhörern, even if they themselves probably not as Rockmusiker understood. On the LPs of the duo is usually a mixture of jazz - on »Gandharva« are heard for example the Baritonsaxofonist Gerry Mulligan and the bassist Ray Brown - a little rock - about Mike Bloomfield and Ronnie Montrose produced - and diverse more or less plausibly inserted, with the help of the synthesizer generated sounds, which bring one or another title also times into the environment of New Age Music. Beaver & Krause undoubtedly has the merit to have developed rock music for electronic music and especially the use of the synthesizer……………

The buzz: Moog jazz with environmental sounds.
This duo was responsible for playing the Moog Modular on literally dozens of records produced in Los Angeles from 1967 to 1972. If somebody in L.A. needed the sound of a Moog, they called Paul Beaver and Bernie Krause. In A Wild Sanctuary is an important milestone in many ways. The record departs from strictly Moog-only arrangements to incorporate the instrument in a jazz-rock setting. Beaver was also an accomplished Hammond organ player, so it’s fun to hear the duo wail on several organ-Moog duets as on the track “Another Part of Time.” Other musicians on the album include Dave Grusin on Hammond organ and piano; Milt Holland on tablas, drums, and congas; Bud Shank on flutes; and Howard Roberts on guitar. In addition to this instrumentation, however, the album also interleaves the sounds of the environment, a first for them and a hint at Bernie Krause’s later and continuing avocation as an important contributor in the study of natural sound environments. The album was promoted as “environmental impressions recorded with Moog Synthesizer” and other instruments. The result is a blend of Moog jazz with the sounds of the sea, lions, birds, monkeys, cable car tow cable clicks, and San Francisco “muni buses.” The album is a forerunner of ambient and environmental records that followed.

American inventor Robert Moog smiling as he rests his arms atop his pioneering Moog synthesizer, with a keyboard and electronic circuits, circa 1970. Jack Robinson archive

A1 Another Part Of Time 5:00 
A2 And There Was Morning 2:35 
A3 Spaced 3:51 
A4 So Long As The Waters Flow 5:35 
B1 Aurora Hominis 1:19 
B2 Salute To The Vanishing Bald Eagle 2:48 
B3 People’s Park 2:33 
B4 Walking Green Algae Blues 7:07 
B5 Sanctuary 1:43 

Ragnarock (1969) 
In a wild Sanctuary (1970) 
Gandharva (1971) 
All good Men (1972) 
The Nonesuch Guide to Electronic Music (1975) 

Free “Live at Radiohuset,Stockholm” 1970 (bootleg)

Free “Live at Radiohuset,Stockholm” 1970 (bootleg)

This is the last of the 3 well-recorded live sets of Free in 1970. The 2 previous (Sunderland Locarno and Croydon) have been posted previously. Don’t expect the intensity of these live shows. This one is strangely weak and rather soporific. A day off it seems. Probably the fact that the radio studio with a small audience doesn’t stimulate their adrenals enough. At the begining of the set, Paul Rodgers says they have been relax in Sweden, and unfortunately, it’s quite obvious when listening to the show. Everything seems to be taken on a slow pace and chosen songs are mainly the sad and melancholic ones. Paul Kossoff is fantastic on one song (“Be My Friend”, in streaming below) but rather catastrophic on many songs, notably “Mr Big” that is the shittiest version I heard by Free. All in all, an interesting but rather deceiving testimony of the well-known uneven quality of their prestations

The Band: 
Paul Rodgers - vocal 
Paul Kossoff - guitar 
Andy Fraser - Bass/Piano 
Simon Kirke - Drums

A1 The Stealer 4:09 
A2 Fire And Water 4:23 
A3 Ride On Pony 5:08 
A4 Heavy Load 6:11 
A5 Woman 4:48 
B1 Love You So 5:46 
B2 All Right Now 5:14 
B3 Be My Friend 6:06 
B4 Mr. Big 7:04 

60,000,000 Buffalo ‎"Nevada Jukebox"1972 US Psych Blues Rock

60,000,000 Buffalo ‎"Nevada Jukebox"1972  US Psych Blues Rock

60,000,000 Buffalo were the rock and roll manifestation of Judy Roderick. This album was the first recording of songs from the Judy Roderick/Bill Ashford catalog. The album was recorded over a period of five days at the legendary Record Plant West, in September, 1971. Raw around the edges it was produced “live” with minimal overdubbing by not yet, but soon to be famous producer Bill Szymczyk. Good songs, played and sung with passion……. by William Ashford……

Just as there was a queue to replace The Beatles in the public’s affections, Janis Joplin left a much-coveted throne when she departed this life in 1970. Judy Roderick was one of several females touted to replace the much-missed Miss J, and the clumsily-named 60,000,000 Buffalo were formed in Colorado to showcase her talents in a band setting. She’d already recorded solo folk for Vanguard and went on to perform jazz in the 20 years her that followed this release. 
Nevada Jukebox is in the Firefall/Zephyr/James Gang vein and, like the last-named act, was produced by a pre-Eagles Bill Szymczyk. But while the band and Roderick makes a decent fist of it, the unmemorable songs she wrote with Bill Ashford don’t give her the best chance of taking off commercially. It’s all just a little mannered and polite. Doubtless live favourites, 60,000,000 Buffalo split the year after the album’s release and all bets were off. 
Judy Roderick was the doppelganger of Linda Ronstadt, and one suspects she would have preferred the more sophisticated material Linda slipped into later on in her career. Sadly, diabetes complications mean that Judy’s no longer with us – a downbeat demise compared to Janis, and that fact reflects their respective careers…..Record Collector…

Mark GUTKOWSKI • organ, vocals (A) 
Judy RODERICK • guitar, vocals 
Brent WILLIAMSON • bass, vocals 
Don DEBACKER • guitar, vocals 
John KERNS • drums

A1 Royalty Rag 1:00 
A2 Cocaine Shuffle 3:47 
A3 Canyon Persuasion 2:54 
A4 Lovely Ladies 4:13 
A5 Denver Dame 3:53 
A6 Maid Of Constant Sorrow 4:02 
B1 Shake It And Break It 2:40 
B2 Callin’ You Down 4:22 
B3 Country Girl Again 3:27 
B4 American Money Blues 5:38 
B5 Do What I Tell Me To 3:56 


johnkatsmc5, welcome music..