bowl appeared in the scene of netherlands at mid seventies. they did several concerts. as far as i know they never came up with a release under a label, however several songs recorded on their live concerts in time, and what we got in this album is the songs that rescued from old tapes. about the album, it has so nice atmosphere beautified with baraque elements. the sound is similar to the bands like camel, alquin and kayak. there is not even a dull song on the album, and for some songs i like to listen over and over. as the time passes some members changed, some new joined. musicians in the records were; Hessel Hoornveld(Bass guitar, guitar), Hans Elmers(Vocals), Johan Spiering(Keyboards), Bas Blom(Guitar), Hans Andringa(Drums), Herman Meyer(Guitar), Bob Schaafsma(Guitar). A hidden gem for the lovers of 70s progressive rock.
Formed by former Dzyan members Peter Giger and Eddy Marron, along with jazz bassist Günter Lenz, this super trio offered a more jazz oriented yet similar music to Dzyan, but with a jazzier feel. Without the electronics and weirdness of Dzyan, their music centred around Peter Giger's flowery percussion and Eddy Marron's multi-guitars and ethnic saz, and was much more jazz-fusion based. Giger.Lenz.Marron dabbled with unusual time signatures and lots of experimentation with Eastern musics and off-beat rhythmic structures. read more here
Mara!’s musicians are among the most highly regarded world and jazz players in Australia. Together in Mara! they create one of Australia’s most exciting, innovative and uplifting ensembles. Over the last 25years, Mara! have developed a unique musical style which fuses folk roots with modern jazz expressionism, adding influences from rock to early music, while journeying through Anglo-Celtic, middle Eastern, Balkan and Mediterranean traditions. Nowadays Mara! perform many original works which are a musical mirror where these flavours find their dazzling reflection. Fronted by the remarkable and magnetic voice of Mara Kiek, Mara! have brought their virtuosic concert performances…read more here
The career of the Helpful Soul was a real case of wrong place, wrong time - for they hit their blues stride just as heavy blues was becoming hard rock, and graduated to heavy rock too late to capitalise on even that brief fad. However, they recorded one outstanding track, the ten-minutes-plus of "Peace For Fools", which appeared on their otherwise bog-standard blues dirge debut LP. This track in itself separates them from all Japanese blues bands for it is a Kim Fowleyan masterpiece of Jim Morrison mystical doggerel/truly possessed nihilist genius. Unfortunately, leader Junio Nakahara was so inspired by witnessing a performance by Blues Creation, when his band supported them at the Too Much Festival, that he was soon after driven to change his own name to Tstomu Ogawa while his band became known as ... Too Much. http://www.japrocksampler.com/artists/japrock/helpful_soul/
I think this album is a soundtrack of a movie and I'm sorry but I'm not sure it is complete. Maybe I just have the tracks of the band Helpful Soul. Any information or help is welcome. (New link with complete album in comments)
- Junio Nakahara – lead vocalist and slide guitar - Gene Shoji – lead guitar - Charles Che - bass - Eiichi Tsukasa – drums
If you enjoy the works of Okay Temiz like Oriental Wind, Sevda; then this is something for you. The band name arkadaş means friend in turkish. arkadaş was a swiss band appeared in early 80s and did 2 nice albums. Their music is a kind of free form jazz fusion with turkish folk spices. a hidden treasure for the lovers of east meets west works.
Akacis, a musical group that existed from 1977 into the 1990s, was the longest lived Latvian-American rock band of its time. While groups like Čikāgas piecīši and Trīs no Pārdaugavas performed and were influenced by traditional songs, Akacis was one of the first Latvian-American groups to be guided by more contemporary sounds, with aspects in its music of pop, hard rock, progressive rock, and even jazz rock, folk and reggae. The group performed throughout North America and Europe at Latvian song festivals, American Latvian Youth Organization (Amerikas latviešu jaunatnes apvienība, or ALJA) events and many other functions. The band also toured Latvia during the cultural exchanges of the Third National Awakening from 1989-1990. The group’s name means “pit in a bog” in English, and is similar to the literal definition of the word “quagmire,” something the group would later allude to when it gave itself the more “American” name of Quags. Why the band chose the name Akacis (the name itself was suggested by drummer Aivars Šmits) remains unclear, but apart from the standard reason of “it sounds cool,” there is also ...read more here
Percewood's Onagram had already found its own, original style of music and it wasn't "Kraut-Rock" at all, they sounded more like an English or American band. P. O.'s music is a strange and unique combination of R&B, Beat, Psychedelic, Folk and (garage-, livingroom-, prewave-) Rock. Catchy, timeless songs, rough and beautiful at the same time with pretentious sometimes provoking critical - but again timeless lyrics. Presented by the band in perfect English and unusual phrasing and backed up by strong acoustic & electric guitars, piano, harmonica, drums and bass. (A combination and sound of instruments that many new groups of today go back to ...)
01 - High in the Sky
02 - Seven Minds 03 - Summer Song 04 - Good Time on Earth 05 - Lesson for a Virgin 06 - Set You Free 07 - Mike, Are You Comin'... 08 - Seven Minds 09 - Sumer Song 10 - Good Time on Earth
- Wolfgang Michels (vocals, guitar) - Klaus Kaufmann (piano) - Eddy Muschketat (harp, percussion) - Hans Jürgen "Jojo" Ludwig (drums, 1969-73) - Peter Conant-Schaffer (lead guitar, 1973-74) - Geary Priest (drums, 1973-74) - Gerald Heinemann (vocals, percussion, 1973-74) - Uwe "Bass" Meyer (bass, 1974)
05 - Lesson for a Virgin... 06 - Set You Free... 07 - Mike, Are You Comin'...
It’s not known exactly how Steve Kaczorowski/Drake and Tiger Lily got hooked up; possibly he simply sent them a demo of one of his karaoke collections, as was his style, and Tiger Lily released it with no strings attached, as was their style. In any event, it is appropriate to the label that the Kacz-man here took his karaoke rock concept to even further heights: he stopped bothering with the vocal overdubs, but simply taped a bunch of tracks from obscure UK import albums and christened them Steve Drake Band recordings! The selection is even more schizophrenic and unlikely, throwing you abruptly between different soundscapes and moods. As on the earlier albums, several tracks inexplicably retain their original titles, rather than being anonymized under new headings. more... http://www.lysergia.com/LamaWorkshop/Kacz/lamaKacz.htm
A1 Nature Intended A2 Rap On A3 Slark A4 Adam And I B1 Somebody B2 Dave Ross & Me B3 Eastern Wind B4 Perfect Love B5 Jennie's Extravaganza
No progressive rock music fan should be misled by the album title "Jazz macht Spazz", a bowdlerization of "jazz makes fun", this is progressive jazz-rock at its best. Büdi Siebert (flutes and saxes), Herbert Binder (gt), Frank Fischer (bass), later with Release Music Orchestra, Thomas Rabenschlag (keys) and drummer Bea Maier (later with Zomby Woof and Moira), all well trained on the instruments, played a varied, inventive, melodic and often furious kind of music with lots of Krautrock magic influenced by Frank Zappa, King Crimson, Soft Machine and Weather Report. 5 titles on this CD were recorded at German radio station SWF, 2 titles are live recordings (taped from the soundboard), all in all 77 minutes of great flute and sax playing, furious and lyrical guitar and bass work, hypnotic rhythm patterns and perfect keyboard sounds. Hard to believe, that Puppenhaus never recorded an album. In 1980 Büdi Siebert with friends recorded an album under the name "Herrgottsax", which also will be released in the next month on Long Hair. Digitally remastered from original master tapes. CD comes with comprehensive booklet, band story by the musicians, many photos and especially with a wonderful cover based on a painting by drummer Bea Maier. Highly recommended http://www.krautrock-musikzirkus.de/de,Puppenhaus_Jazz-macht-Spass_3147,N.html
01 - Anfang 02 - Jazz Macht Spazz 03 - Elefanten 04 - Let The Pig Out 05 - Imporvisationen 06 - 5 Mal Schnitzel 07 - Sabanone
- Herbert Binder - guitar - Frank Fischer - bass - Berthold Maier - drums - Thomas Rabenschlag - keyboards - J.P. 'Büdi' Siebert - flutes, saxes
A partir do grupo Plexus, banda que tocava Rock copiando os ídolos da época, formaram-se os Perspectiva, uma importante banda no panorama do Rock português, na Segunda metade dos anos 70 do século XX. O núcleo duro da banda era constituído por Tó Pinheiro da Silva (guitarra, flauta e voz) e Carlos Viana (piano eléctrico). Os restantes membros do grupo eram: Luís Miguel (baixo), Raul Rosa (bateria), Vítor Real(voz). A estes juntar-se-iam, mais tarde, José Firmino (percussões e voz) e José Manuel (guitarra). A banda, uma das primeiras a enveredar pelo estilo "sinfónico" e "progressivo" (a par dos Tantra), formou-se no Barreiro. Tó Pinheiro da Silva era membro de outra banda muito importante, nessa época, a Banda do Casaco. Após tentarem contrato com a Valentim de Carvalho, através da entrega de uma "maqueta" a Mário Martins, começam a ensaiar a sério (após terem sido expulsos de um local na sua cidade-natal porque faziam muito "barulho", passaram a fazê-lo num velho moinho abandonado) e a participar em muitos espectáculos pelo país. Em 1976 conseguem um contrato discográfico com a Imavox, para onde conseguiram entrar após terem sido ouvidos por Sérgio e Madi, produtores dessa companhia discográfica, onde pontuavam como directores António Pinho e Nuno Rodrigues. O primeiro disco gravado pela banda foi o "single" intitulado "Lá Fora A Cidade", que continha no lado dois o tema "Os Homens Da Minha Terra". Estes temas tiveram acompanhamento de uma orquestra sinfónica, para dar um tom mais "sinfónico" à música da banda. Muito elogiado pela crítica, este disco é hoje uma das grandes raridades discográficas portuguesas. Em 1977 gravam novo "single" com o título "Rei Morto, Rei Posto" em que o lado B era ocupado com o tema "O Oitavo Sorriso". O letrista ao serviço da banda era José Beiramar que escrevia os poemas com grande intensidade e revelando grandes sentimentos humanísticos e apontando problemas sociológicos comuns ao povo português. A revista "Rock Em Portugal", à época o único meio de comunicação social a interessar-se pelo fenómeno do Rock cantado ou feito por portugueses foi, desde sempre defensora acérrima da qualidade da banda, tendo-a destacado como uma das "Bandas do Ano" em 1977. Foi também a "Rock Em Portugal" que convidou os Perspectiva a participarem na festa de lançamento da revista, através da participação num Festival Rock no pavilhão do Clube Atlético de Campo de Ourique, em Lisboa, onde os Perspectiva foram os grandes vencedores. Participaram também os Kontrol e os Hosanna. Em Maio de 1978 a mesma revista produz uma longa entrevista com os membros da banda, que são capa da edição. Nesta entrevista ficou a saber-se as dificuldades que os músicos de Rock passavam na altura. O mercado estava virado para o que vinha do estrangeiro (e ainda não havia Play-Lists nas rádios) e o que era português não era muito bem aceite pelo mercado. A curiosidade desta entrevista foi a presença numa fotografia do "Nacib" da telenovela brasileira "Gabriela", após o entrevistador ter solicitada a Armando Bogus (infelizmente já falecido) a sua autorização para posar junto com os Perspectiva. Num dos espectáculos ao vivo, realizado nas ruínas do Convento do Carmo, a banda chegou a actuar com a orquestra sinfónica da RDP, mas a experiência não foi muito bem sucedida e acabou por ser abandonada. Outros temas da banda, tornados conhecidos através dos seus concertos, eram "A Quinta Parte Do Mundo"(um longo poema/hino à liberdade) para além de "Sul", "Norte" ou "A Primeira Flor". Esteve programada a gravação daquele que viria a ser o primeiro LP da banda que até tinha título. Seria intitulado "A Quinta Parte Do Mundo", mas nunca chegou a ver a luz do dia, porque a banda deu por terminadas as suas actividades musicais. Tó Pinheiro da Silva continuou nas lides musicais, não só como membro da Banda do Casaco, até ao seu desaparecimento, mas, também, como técnico de gravação em estúdio e técnico de som. Com esta última especialidade teve oportunidade de correr o mundo, já que foi técnico de som dos Madredeus até 1997. Como técnico de estúdio gravou com uma infinidade de artistas portugueses alguns discos importantíssimos do nosso panorama musical. ARISTIDES DUARTE - http://rockemportugal.blogspot.com/2005/04/biografia-perspectiva.html more http://a-trompa.net/recordacoes/recordacoesla-fora-a-cidade-perspectiva
'Lá Fora' A Cidade / Os Homens da Minha Terra 
A - "Lá Fora" a Cidade... B - Os Homens da Minha Terra...
Rei Posto Rei Morto / O Oitavo Sorriso 
A - Rei Posto Rei Morto... B - O Oitavo Sorriso...
English Guitarist/Singer “Rixsta” received his first guitar as a birthday present and started recording in 1999 on his home computer at the age of 16, inspired by the sounds of soul and rock, especially from the 70’s. Rixsta’s latest recordings are becoming inspired by jazz, blues & progressive rock.
This albums put together by the artist himself explores some of his best moments in 2007 to 2008 Mostly recorded improvisation at home and song ideas
Instrovization -- "The lead guitar was recorded on the third take, totaly improvised throughout. i remember letting go of all this emotion as i played. Atho this has no words i belive it to be very true to how i was feeling that day :)"
01 - Searching Out 02 - Somethin' About Somethin' 03 - Love Keeps Shinin' On 04 - We Can Heal Each Other (But I Could Heal Myself) 05 - Popfunk 06 - Wake Up (From Your Dream) 07 - Walkin' In The Park 08 - Winter Meloncholy Dream 09 - Jazzy Baby 10 - Sometimes Life Is Hard 11 - Just Can't Take It Anymore 12 - Jam 13 - Lighten Up My Friend 14 - Lonely Blues 15 - Exploding Within 16 - Rhythms Call You 17 - Instrovization
Named after the 19th Century mariner and novelist, this Glaswegian band made just one privately-pressed LP. Its back cover announces that ‘Captain Marryat is a Scottish band, and have been playing together for just under a year. They already have a sizeable following in the pubs n’ clubs circuit and this, their first LP, is a sample of the music that brought them success’. The line-up was Tommy Hendry (vocals, acoustic guitar), Ian McEleny (lead guitar, acoustic guitar), Allan Bryce (organ, vocals), Hugh Finnegan (bass, vocals) and Jimmy Rorrison (sic) (drums, vocals). They were originally intending to record a single, but the engineer at the Glasgow studio they’d booked told them that there was time enough to make a whole album. They therefore taped five tracks they’d already written (‘Blindness’, ‘It Happened To Me’, ‘A Friend’, ‘Songwriter’s Lament’ and ‘Changes’) and finished the LP with an improvised jam (‘Dance Of Thor’). The result came in a drab flipback sleeve, and according to one dealer is ‘a progressive rock rarity with psych flourishes – doom-laden organ plus acid guitar riffs and strong male vocals’. The 250 copies pressed were sold at gigs, and two that surfaced on eBay in late 2008 went for around £3000 each. (RMJ) http://www.galacticramble.com/page10/page3/page3.html
A1 Blindness A2 It Happened to Me A3 A Friend B1 Songwriter's Lament B2 Changes B3 Dance of Thor
- Jimmy Rorrison - Vocals/Drums - Hugh Finnegan - Bass/Vocals - Allan Bryce - Organ/Vocals - Tommy Hendry - Vocals/Acoustic Guitar - Ian McEleny - Lead Guitar/Acoustic Guitar
Thanks a lot to obscuremusic
Posted by obscuremusic on ProgNotFrog-Forum: http://pnfforum.com/index.php?topic=8563.msg24888#msg24888
St.Nic of Detroit a.k.a. Nicodemus I'm very happy to have found Nicodemus on site myspace from which I extract the text and pictures.
"I picked up an acoustic guitar at seven years old and could instantly play, much to my suprise. I played an unconventional style which many other guitarists could not figure out what I was doing or how- they were into the copy note for note conventional guitar lesson taught style of music-mimicking their heroes. In my teens I had a band, J.H. Trio, and got a real good shot at being signed to Motown, which was an exceptional experience. I remember David Ruffin telling me, "Man, it don't matter what they say about you as long as they keep talking about you and spell your name right." A Record deal was in the works when our manager split with the Master tapes and pressing plates- so much for that- The other members gave up, leaving the whole experience to just that, an experience, but one that shook me to the bones and kept me recording through the end of the sixties. I started my own label in 1970, Zedikiah Records, and started recording under the name Nicodemus, putting out 45's, Albums, and Cassettes, fighting against the media's eventual change to CD and then MP3. I recorded sporatically on a level of at least one or two releases per year as a soloist and then heavially with my brother, Matchez the Congo Kid- he dropped the Congo Kid in 1978 to be just Matchez. So we recorded as Nicodemus and Matchez, building our own studio called R.A.T. Brothers which stood for Recording Artist Techniques, and released the formats on my label Zedikiah Records. In 1974 we recorded as a band with a third member, calling ourselves N.M.G., releasing a couple 45's and one Album. The band broke up as touring was to begin due to ego problems concerning the monopoly of my tunes in comparison with how few Matchez and lead guitarist, M. Grozde, had wanted to contribute, which were unfinished creations. I sold my guitars, bought a flute and a five string bass(very rare at the time) and started creating more abstract styles of my work while using keyboard and working with sound inside and outside to get the background sounds as an influence to what I was creating. Matchez and I rejoined to record a few albums in the 80's and then again in the 90's, building up a vast library of work which I first called "Future Folk" starting in 1970 and stayed with for four Albums, "Spacechild Squall", "Backstreet Orange", "What For?", and "4 Candles for Angel". I went back to solo work and producing various bands as well as being a one album member for others. I did the Psyche Rock Scene with the acid jazz freestyle recordings of KhloeRoks Black, Gravitar: It's an Idiots Life, and Sweet Kelly. Sweet Kelly I had worked to build up and hype, but out of the three piece band, Radar(now of Alien Inquisition), was the only one serious enough to take the hard fact that music is work but work that is supposed to be fun, after all if you're not enjoying the work(and you beginners beware, serious music is serious business!) you aren't gonna follow through. So into Sweet Kelly's third album recording sessions, Sweet Kelly was already breaking up. While Radar and I see each other and exchange brainstorms, I went back to solo albums, one being "Antannae Moonlite", another being a CD version of 1979's "What For?" with five added songs, "The Strange Saga of Henryetta Flagetta", 1986's "Better Art Music" with my bro Matchez, "A Light in the Dark" which was released through Parallel World, a New York label which contacted Jello Biafra to ask if I'd let them release a' comp of my music. Which by no fault of Jello, he was just a messenger, the CD was released but not promoted which was pretty much fine with me, a new CD of my work that I got paid a paltry sum for. I figured it was like doin' a concert, whoever did hear it was still hearing my space cadet infusion of mind altering on many different levels.
I've changed styles and created styles and am working to continue after 40 years of being a professional Recording Artist- "I used to say insanity is the highest kind of high", and I used that theory through all the fazes and hazes of my career. Music is like lifes blood, without it I could not survive- Especially when hit with an inoperable brain tumor in 1990 and given six months to a year to live. I have died six times and been brought back to life, twice after being toe tagged and being covered with a sheet. A stroke in 2006 and another in 2007 knocked me on my ass, "Hospice was in the house giving me a' slow and easy way out with the Death certificate written out, only to be signed and dated- but i've recovered again, not completely but enough to know without my mental need like a child to suckle, a fish to swim, the whole human circus which sucks the ever polluted air in need to breathe, so I need to create my music." My experiments from the ambient soundscapes of Salunox, were a whirling carosal of brain damage put to good use. I would fall asleep standing up after three days of trying to get what it was that I had to pull from the manic universe and create still more. I hope to be here, Body and Soul, and still work solo and with others- walk into other studios and mesh sound and style vocal harmonies to my voice, besides me doing my own back ups. I have been amazed at the sounds my soul has encountered over more than fifty plus years and pray to the ever reeling creation of woman and man to touch another heart through their truly wonderous insights. Oh, and some final notes.... on "A Light in the Dark" on Parallel world. It was released in 1996, but in 2003, in response to their poor promotion, I released "Lights in the Dark", which contained some songs from from the Parallel World release, some from "What For?", and a hand full of new ones. And in 2007 "In the Math of an Unparallel Universe" was released on Fat Naybors Discs. "High on the Hill & Other Behavioral Questions" is due to be finished and released with hope in 2009. Since the sixth time I died back in 2001( My son, BluRaven gave me C.P.R.) I have been called St. Nic of Detroit a.k.a Nicodemus. Peace to all-Erase Racism-And there is no excuse for abuse-Save the Children-They are the ones who will wave upon wave bring their voices and sound out in rejoice or despair giving their dreams a' go. Some of all the millions of music makers and shakers become "popular" or "famous", I have settled for being what I wanted to be, an underground artist who answers to no one but my heart. This Legend Lives on... St.Nic of Detroit a.k.a. Nicodemus" www.myspace.com/stnicofdetroitakanicodemus
"I have survived 19 years with inoperable brain cancer (which has begun to return), after a stroke in 06 and another in 07, some long time radiation damage, and a 4am crash on I-94 back in 05 which broke me some bones and wrecked I.O., my 1969 rigid frame Harley Chopper(which now just sits at one of the club houses) I retired from my lifelong membership in Satan's Last Revenge motorcycle club (original chapter 1969 in detroit, 1%ers President from 1973 to 1980). I''M back up to speed onGUITAR & bass and my vocal abilities . I have these back...finally...now if providence will give me [if I even dare ask cosidering the luck I'VE HAD ]A CHANCE TO FOLLOW THRU WITH MY PLANS I shouldbe able to kick a lil' mofoking azz because the music -N- ART iz wat IZE all 'bout I've DONE MY WILD THANG , RODE MY RIGID FRAME UNTIL MY SPINE IS A 3rd of what it once was but,[IF I STAND UP REALLY STRAIT AN' DON'T SLOUCH] I CAN STILL HAVE A striking posture for a man whose broken just about every bone in my body at one time or another-N- many bones more'n once,but as two very special friends,[and i am basicly a stone loner,] friends I must add I'VE MET ON THESE HERE PAGES 1.who told me ST. NIC
it's time to start livin or start dyin'...and 2. It's all relative isn't it NIC? I ONLY HAVE TO CONCLUDE THAT THESE FINE FOLKS -R- NOT JUST RIGHT IN THEIR ADVICE TO ME.....THEY'VE GIVEN ME BACK THE KEY TO MY SOUL...TO ALL THE REST OF YOU WHO'VE LISTENED TO MY ALBUMS ...45'S..AN' CD'S FOR THE last 40 ought years and to my family of the crest spread far -N- wide thanx fer not givin' up on 'ol ST. NIC. here as, i've said I DON'T KNOW MY AUDIENCE,... BUT MY AUDIENCE KNOWS ME...THANX FOR BEIN' OUT THERE -N- AS BEST AS I CAN I SHAL KEEP THE LEGEND ALIVE ..... ALL MY BEST TO YOU ALL .. AND TO ALL IT'Z ALLRITE!!! St. Nic of Detroit a/k/a NICODEMUS" www.myspace.com/stnicofdetroitakanicodemus
01 Cabbage Head 02 Whiskey Bottle 03 Scream 04 I Am Not Happy 05 Curse This Syndrome 06 Diary of A Warped Thumb 07 Nothin's Out of Touch 08 Sittin' In Confusion 09 Legend of The Headless Harley Rider 10 Return of The Spider 11 No Sanctuary
I couldnt find english review, here is swedish one: "Tomas Ernvik (bördig från Kristinehamn)spelade 1971 in sin första lp "Små låtar" på det religösa skivbolaget "Cymbal", året efter kom denna rockopera-liknande lp ut. Involverade är gräddan av dåtidens Svenska jesusrockare, men förvänta er inget storverk, det är först några år senare med plattan "Tungt vatten" som Ernviks talang som tung gitarrhjälte blommar ut till fullo. De latar som saknar latlangt (dvs. fran Tomas tro till Bonestund) gar liksom ihop till en enda lang bonmassa medley. De blir tillsammans 6:31. Ratt okej skiva faktiskt. De kristna texterna gor den riktigt rolig! Battre an vatten!" http://www.progg.se/band.asp?ID=677
translation: "Tomas Ernvik (from Kristinehamn) played in 1971 his first LP "small songs" on the religious record label "Cymbal" the year after came this rock-opera simmilar LP out. Involved on this record is the creme of that dates Swedish jesusrockers, but don't expect a great work. it's first after a few years later with the record "Tungt vatten (heavy water)" that shows of his true talent as a heavy guitar hero first comes out to it's fullest. It seems like like the songs from "Tomas tro" to "Bonestund" is a long medley (6.31 in total) Pretty good record in total. The christian lyrics makes it pretty pleasant and easy to listen to! Better than Water!" FS Thanks a lot FS ;)
A1. Inledning (5:59) A2. Den uppstandne Jesus (2:30) A3. Marias lovsang (2:01) A4. Tomas tvivel (1:44) A5. Konfrontationsblues (4:04) A6. Tomas tro (6:31) - Jesu slutord 1 - Larjungakor - Jesu slutord 2 - Missionsbefallningen - Bonestund B1. Pingstafton (2:35) B2. Pingstdagen (10:18) B3. Petrus predikan (3:04) B4. hallelujakor (3:02)
- Bjorn Dahlberg - Trumpet - Bosse Lindqvist - Orgel - Jalle Ahlstrom - Trummor - Lars Folkerman - Trumpet - Marian Muzykant - Trombon - Pavel Cech - Tenorsax - Sigge Nilsson - Piccolotrumpet - Thomas Lindbjer - Bas - Tomas Ernvik - Piano, orgel, gitarr
Like the Wawel dragon, this mysterious band emerged from a cave in Cracow.
Osjan is undoubtedly one of the most fascinating bands on the Polish stage. Formed 28 years ago, they still remain part of the underground. They play concerts infrequently and rarely release records.
Osjan's work can be described as an original synthesis of many traditions and music cultures. The group's strength lies in its enormous musical imagination, creativity and genuine message. The musicians have never attached importance to their public image. Osjan is surrounded by a mysterious aura, and facts about the band's activities merge with legend.
The history of Osjan dates back to the 1970s and Crocow's musical circles grouped around the Piwnica pod Baranami club, then the center of Cracow's artists and counterculture. At that time Jacek Ostaszewski, a well-known jazz double bass player, and guitarist Marek Jackowski, both from the band Anawa, decided to start a new project. Soon they were joined by painter and poet Tomasz Hołuj. The group's early rehearsals took place in many different places, most often hotel rooms. The name Osjan was chosen after the band heard it in an Ewa Demarczyk song version of a Bolesław Leśmian poem.
Soon the band's line-up changed, but for 20 years the core of Osjan has been Dimitrios Milo Kurtis, Wojciech Waglewski and Radosław Nowakowski, together with Jacek Ostaszewski. Numerous distinguished musicians have worked with them including the trumpeters Tomasz Stańko and Don Cherry. The band used to regularly perform with Black Horse Cheavers, a Cherokee shaman.
However, it is not the musicians, but the search for their own artistic expression that explains the Osjan phenomenon. In the 1970s, in an atmosphere ruled by banal rock on the one hand and complicated jazz structures on the other, Osjan looked for a different way, for a simplified form of expression: "For example, we would play for half an hour on two or three notes," remembers Ostaszewski. "What fascinated me, not only in the sphere of music, was the search for forms that would allow free expression, not limited to the conventions of jazz, pop or classical music." Osjan was looking for alternative solutions. The group used various elements of traditional Balkan, African, Slavic and Indian music and managed to combine them with free jazz and European classical music. An important influence on shaping the group's musical image were concerts with Don Cherry, as well as inspiration from Zen Buddhism.
Osjan belongs to the small circle of performers who have developed their own original style. The group's compositions, labeled as ethnic music, world music, and so on, reveal the extent of its members' musical quest, as do their performances. For them, playing music together is a form of communication and constant dialogue between themselves and the audience. That is why concerts, when they do happen, are so important to them-there is a dialogue between Waglewski's guitar and Nowakowski's drums, Ostaszewski's flutes and Kurtis's percussion, but the freedom of improvisation does not destroy the overall structure of the concert.
No wonder then that Osjan's rich experience was emvulated by other performers, for example, Maanam (a group formed by Jackowski and Kurtis) in its early days and Voo Voo, another unique Polish rock band, headed by Waglewski... read more here
01 - Wstep Do "Ksiegi Chmur" 02 - Epilog "Muzyki Fruwajacej Ryby" A: Ten Sam Wiatr Porusza Dwa Drzewa B: Dziurawe Ucho / Prawe
- Tomasz Stañko - Jacek Ostaszewsk - Tomasz Holuj - Milo Kurtis
"Adaen is a one man band tending to be not just studio project but also a concert one. This project is started with ”Dancing Metropolis Burial” album recording where Adaen (a pseudo name of the musician) composed all the songs and played all the instruments without session musicians involving not to ruin the created musical/lyrical conception. Being an ex-former of some rock bands, playing progressive rock and some metal-like stuff in this project he chose a bit simplified form of prog rock with some grunge, psychedelic and even 90s’ music influences. Low tuned guitars, simple harmonic patterns, long songs, some sound effects in combination with abstract and depressive lyrics present a way of developing his own style. The warm voice with some Russian accent sings about things that seem simple: love, death, childhood, self-sacrifice and the main thing each song is about – being a king of a quiet and imperceptible person who lives his life invisibly for everyone and even his death can’t call for surrounding people’s reaction, whose funerals are nothing for the ones who dance, sing and seem to be happy almost always. The songs are songs; with no high-technical striking solos and complicated parts, but ”Burial” is really interesting with its emotional send. To help the emotions be intertwined into the music Alex Perfilyev, a young but very high-skilled and talented sound engineer and musician first of all (that mattered too much for Adaen), became the producer of the album. They played together in some bands and Alex perfectly knew about feeling and emotions led in this music and what to do to create really individual sound and how to play additional instruments in Adaen’s manner. Recording/mixing and mastering has engaged 11 months, but this record became a real pride for both of them. Now when the album is ready it appears on some sites and everyone can download it absolutely free, ‘cause only the moral aims are chasing but not the commercial ones. Now Adaen is working on his second album and looking for musicians to create a trio-band for shows."
1 Airships 2 Disconnected 3 Sounds of Running Trains 4 Cameras Set Within 5 The Second Wave
Adaen – voices, baritone guitars, bass, drum programming*. Music and lyrics by Adaen. Produced by Alexander Perfilyev and Adaen. Mixed by Alexander Perfyliev. Mastered by Bob Katz at Digital Domain, Orlando, FL, USA. * programming, additional guitars and bass by Alexander Perfilyev.
Here we go again! I've been busy the last six months with all kinds of stuff, but the hunt for good stuff haven't stoped! So here it is the latest album from Pogonophobia and this time with a drumer and on extra guitarist. And that does a lot for the sound! In fact this is an album that contains some material from their third (The Book Of Improvisa) album andsome newley recorded songs. It sounds like the old unknown kraut band Pyramid meets Tangerine Dream I really hope that they will develop their music and do what they do best great trippy psychadelic!
This is German prog from the late seventies. Instrumentally, acoustic guitar, flute, harpsichord and a variety of keyboards lock together to make an extremely rich and beautiful musical backdrop, with some absolutely gorgeous themes. The music is melodic with detailed arrangements and interesting orchestration. The vocalist sounds remarkably like Peter Gabriel; lyrics are all in English. The sound could be described as "Planets" period ELOY meets "Moonmadness" period CAMEL, with a touch of MACHIAVEL. The reissue on CD of a real "must", a mythical disk from unknown musicians. http://www.progarchives.com/artist.asp?id=261
01. Theme of Alice - The Flower Meadow - The White Rabbit (1:17) 02. The Gate to Wonderland (2:13) 03. Pond of Tears (2:45) 04. The conference of the Princess - Old Father's Song - Duchess' Lullaby (8:31) 05. Five-O'Clock-Tea (6:49) 06. The Marching of the queen - Palace of Wonderland (12:04) 07. The Court of the Animals (5:01) 08. Alice's Return (2:04)
- Thomas Neuroth (Keyboards) - Klaus Mayer (Flute, Synthesizer) - Roger Weiler (Guitars) - Frederic Joos (Lead Vocals, Acoustic Guitar) - Rainer Zimmer (Bass, Vocal) - Hans-Peter Schwarz (Drums) - Hermann Rarebell (Drums) (ex-The Scorpions)
06. The Marching of the queen - Palace of Wonderland 08. Alice's Return
One of the biggest groundbreakers in Estonian progressive rock history is Mess. This band, spearheaded by keyboard guru Sven Grünberg, paved the way for symphonic prog to expand in Estonia. The intricate symphonic nature of the music, alongside intricate playing and soothing atmospherics, made Mess recordings much sought-after a quarter of a century after their recording.
Mess was formed in January 1974 on the ashes of Positron, a groundbreaking musical unit that featured the interesting electronics work of Härmo Härm. The partnership of Härm and Grünberg was a natural one, as one was a master of electronics and one was a master of keyboards. Härm created some of the finest analogue synthesisers in the world during those years, with sounds that are truly unique in prog or any other music. Bob Moog and other synth connoisseurs would be knocked over if they heard these things.
Within a few months the "classic" line-up of Mess was formed, which also include bassist Matti Timmermann, drummer Ivar Sipra, and guitarist Elmu Värk. This line-up played many gigs around Estonia; adding an extra dimension for the live shows was artist Kaarel Kurismaa, who provided a ingenious stage design full of props, immersed with a intricate lightshow, and turned the entire concert into an experience. Soon Mess concerts became art events, delighting people visually and sonically.
During the years 1975 and 1976 the band recorded some of their material, with help from world-famous composer Lepo Sumera. Ruja founding member Andrus Vaht joined on percussions, as well as a host of other musicians playing oboe and horn. The world famous Tõnu Kaljuste also lend his choir to add flavour to some of the pieces. What resulted was one of the best symphonic rock pieces ever to be recorded in the mid 1970s. Some of the pieces, like "Rohelised leed" and "Küsi eneselt" are masterpieces. Sven Grünberg also lends his fabulous voice -- with some resemblance to another underrated singer, Eddie Jobson of UK fame -- to the songs.
The band gigged with their full stage show into 1977 (though with a few line-up changes), but still without recorded material released. The situation under the Soviet occupation did not allow for the material to be released, unfortunately. An EP was released in 1980 under the name Sven Grünberg/Mess with some excellent pieces, but all forthcoming recordings came under Grünberg as a solo artist.
The music was thought to be lost until Germany's Bella Musica released a collection of Mess pieces, cut down and edited by Sven Grünberg in 1995. The mix was shaky but the music is fabulous. It has since become a major seller in the US and other countries among symphonic prog fans for its excellent pieces, fabulous playing, and unique synthesiser sounds. However, the full version of the songs remain unreleased. For example the song "Küsi eneselt" was cut by at least half on the CD. Let's hope the full work of the period will be released at some point. Mess is clearly a symbol of Estonian prog, and it should be shared with the world. For those who have heard it, they've come running already! http://www.estmusic.com/index.php?0132104175812
CD 1 - Küsi Eneselt (Ask Yourself) 01. Pilvini (To The Clouds) (7:27) 02. Valged hommikud (Bright Mornings) (6:43) 03. Tiik (The Pond) (11:02) 04. Lugu (Story) (6:08) 05. Uksi (Alone) (4:34) 06. Rohelised leed (Green Hearths) (9:25) 07. Küsi eneselt (Ask Yourself) (16:33)
CD 2 - Kontsert (Live) 01. Intro (Intro) (1:36) 02. Pilvini (To The Sky) (8:25) 03. Rohelised leed (Green Hearths) (10:25) 04. Valged hommikud (Bright Mornings) (7:14) 05. Tiik (The Pond) (13:25) 06. Pilvini bolero (To The Sky Bolero) (3:53) 07. Tiik (The Pond) (3:28)
- Matti Timmermann / bass and voices - Sven Grünberg / compositions, lead voice, 12 string guitar, electronics - Elmu Värk / guitar - Andrus Vaht / drums - 3, percussions - Ivar Sipra / drums - 1,2,4,6,7
"Here's the extremely rare debut album from this excellent band, who kind of epitomized the huge German jazz-rock wave of the time. Released as a limited private pressing, this is very much a "home made" LP, from the simple cover design right down to where it was recorded, "Syncrisis-Studio", which was presumably located in drummer Uwe Holzwarth's basement or something. In fact, attentive listeners will note that "Bata Mata Moone Taboo" is actually an early version of "Don't Cry! Shout!" from "Sunny Crisis", which gives one the impression that even back then they realized hardly anyone had heard this album. That's too bad, because it's a highly entertaining effort in its own right." Fusionaut
A1 Just a happy time A2 Kamala A3 Reflections a) Wait a minute - a drum solo b) Katharsis A4 Daydreams B1 Bata Mata Moone Taboo B2 Mata Dalam, for the inside looking man B3 One Hope B4 Sweet nights
- Titus Köstler - Guitar - Edgar Müller - Electric piano and mini-moog synthetizer - Peter Frodi - Bass - Uwe Holzwarth - Drums Special guest: - Armin Keller - Congas and timbales (A1 and B4)
A3 Reflections B1 Bata Mata Moone Taboo B4 Sweet nights
Traphico (se pronuncia Tráfico), fue un grupo de rock colombiano activo a principios de los años 80. Es un caso excepcional dentro de esos años en la historia del rock colombiano, ya que a pesar del letargo que vivió en esos años el movimiento rock en su país, realizó una gira de 180 presentaciones y grabó dos discos larga duración con el sello Sonolux. También se le recuerda por ser la banda que abría con un concierto la exhibición en Bogotá de películas con temática alusiva al rock.
Integrantes Al grupo pertenecieron el ruso Vitalii Druzhinin (voz, teclados), Ernesto Rozo (guitarra), Miguel Alzate (bajo) y Enrique "Blue" Martínez (batería). En 1993, diez años después de su disolución, Rozo y "Blue" hicieron parte de la banda Ex-3, uno de los proyectos más exitosos del rock colombiano de los años 90.
Traphico (pronounced Traffic) was a Colombian rock band active in the early 80s. It is an exceptional case in those years in the history of Colombian rock, and that despite the lethargy that lived in those years, the rock movement in his country, made a tour of 180 presentations and recorded two albums with the label long Sonolux. He is also remembered for being the band that opened the exhibition with a concert in Bogota-themed movie alluding to the rock.
Members Group belonged to the Russian Vitalii Druzhinin (vocals, keyboards), Ernesto Rozo (guitar), Miguel Alzate (bass) and Enrique "Blue" Martinez (drums). In 1993, ten years after its dissolution, Rozo and "Blue" were part of the band Ex-3, one of the most successful Colombian rock of the'90s.
Early 80's privat-press of high-tension Progressive-Guitar Rock-Fusion... all-instrumental tracks laden w/incredible dense patterns, lines buildin' to intense, mercurial peaks, swarmed w/acidish trapdoors, classical structures transformed outta Fusion brews (one track is a Bach cantata performed on acoustic guitar) ...a Blues that seems to be based on "the same thing" w/sparklin' lead-work, tight drum- 'n bass-jobs! this album may help describe some hidden boundaries that lie in Rock's structures... it may appear as Head-Music at the first "assault" ...but its hipnotic speech sure will cause to 'plode a capsule of extended scope by the time you get reminded of Steve Tibbetts (on "frammis") Loch Ness, Horton and perhaps some crystallized Mad River drops destilled outta Hampton's grease!!! nice, thick card-board-jacket w/ an Allen Ginsberg quotation on the back! http://www.k-fox.ch/pages/rock308/rock121.htm
제3회 TBC 젊은이의 가요제에서 "하늘색 꿈" 으로 대상과 가창상을 함께 수상, 가창력 뿐만 아니라 연주 실력까지 갖춘 것으로 인정받은 아주 우수한 그룹 로커스트. 이 음반 <사철 매뚜기>는 그들의 독집으로 발매된 첫 음반이다. 가요제에서의 찬사에 힘입어 기대 속에 발매 되었지만 그들의 재능을 채 인정 받지 못하고 시장에서 사장되면서 안타까움을 안겨준 앨범, 결국 이 들의 첫 앨범이 이들이 마지막 앨범이 된 셈이다. 하지만 이 앨범에 대한 평가는 세월이 흐른후, 서서히 사람들의 기억에 떠올려지기 시작했으며, 박지윤이 이들의 히트곡을 리메이크 하면서 데뷔함으로써 더욱 더 관심을 끌게 한다.
앨범의 크레딧 속의 일면읠 보면, "내가 말했잖아(이연희 작사/작곡)"와 "그대여(조진원 작사/작곡)을 제외하고 모두 김창완 작사/작곡으로 김창완이 이 앨범에서 지대한 영향을 끼쳤음을 알수 있게 한다. 그런 면에서 김창완의 팬이라면 관심은 물론이거니와 반드시 수집을 할 만한 가치가 있는 앨범으로 손꼽힌다. 특히 김태민의 독특한 보컬은 이 앨범을 몇번이고 반복해서 듣게 만드는 가장 큰 이유이기도 하다.
이런 작곡의 우수성과 보컬의 매력 덕분에 한 곡도 놓칠수 없는 정말 주옥같은 곡들이 모인 이들의 유일무이한 앨범이 바로 이 앨범이다. 당시 젊은이들의 신선한 청춘의 맛을 느낄 수 있는 곡들은 물론이거니와 프로그래시브를 즐겨듣는 이들에게도 충분히 관심 가질만한 곡이 될 "그림자" 역시 김창환의 프로그래시브한 면모가 어떻게 당시의 시대와 섞여 새로움을 발현하는지 알 수 있게 한다. 기회가 된다면 " 박신덕의 앨범 "김창완이 쓴 박신덕의 새노래들(서라벌/SR-0224/80.12.10)"과 비교해서 들어보면 좋을것 같다.
TBC 3rd Song Festival of Youth in the "sky-blue dreams" with the target and gachang prize award, was recognized with gachangryeok as well as a very good group to play rokeoseuteu skills. The album dokjip as their first album is released. Thanks to the expected release in the Song Festival in the praise of their talent, but it does not receive the recognition of sadness in the giving of the album, even the first album that was the last album. But the years for this album heureunhu, people slowly started to remember, and remember thinking, while Park Ji Yoon This remake of the song is brought to his attention and more.
Ilmyeonuil of the credit in the album, "I told you (Lee Yeon Hee lyricist / composer)" and "you F (jojinwon lyricist / composer) and Kim Chang Wan All lyrics / composer Kim Chang Wan to have a profound effect on this album allows me kkichyeoteumeul is. that in terms of fan interest, as well as Kim Chang Wan yigeoniwa to be collected as an album's worth being. gimtaemin unique vocals, especially on this album to hear repeated again and again is the biggest reason to create.
The superiority of this composition and vocal charm, thanks to one of the gems of songs, I really do not miss this gathering of the same songs, the album that this album is unique. The young people can taste the fresh songs of youth, as well as the yigeoniwa professional geuraesibeu might be interested in jeulgyeodeutneun enough songs to be the "shadow" of the gimchanghwan how peurogeuraesibeuhan face and blend in the new era of will be able to know the expression. If the opportunity "of the album baksin Doug" Doug's baksin written by Kim Chang Wan saenoraedeul (Sorabol / SR-0224/80.12.10) "would be nice to hear and be compared.
With the same musical personality altoran not stop saying their own emotions on the album jacket, and a pure folk, but also a touch of nostalgia to get down and dirty. In the end only one of the music world for the nabeorin sadness are buried all over this album .....
Follow-up to his excellent "open the door"-lp earlier; double-pack rimful w/adventurous Fusion-Prog-Lounge moves w/ an epic context on the side-long title-track, full-band sound w/solid bass and exqusite lead-guitar work, organ maneuvres, synth colors; w/insert-sheet; http://www.k-fox.ch/pages/rock308/rock121.htm
01. Blue murder 02. Lazy bones 03. Walk on air 04. Suite a fatal beauty 05. Festival overture 06. Concerto in B minor 07. No shame 08. The Flower & the stone 09. Nothing to say
01. Blue murder 03. Walk on air 04. Suite a fatal beauty
Piirpauke was founded by Sakari Kukko in 1974, and it's one of the foremost world music groups in Finland. Since 1975 the band has released 24 albums, mixing world music with jazz and often incorporated foreign musicians in its lineup. 01. Laulu (Song) Old traditional from Eastern Karelia 02. Sirtos Greek dance from the Rumeli district - the rhythm is called kalamatiano 03. Fyssouni Greek dance tune from the Epirus (or Ipiros) district, the rhythm is called karsilamas 04. Prazider Adeus (Sanon hyvästi) (I Say Goodbye) Brazilian melody composed by Edu Lobo 05. Agjek Improvised melody 06. Peäldoaivi Improvised melody 07. Penang Parts 1 & 2 Composed by Antti Hytti and Sakari Kukko, dedicated to the fight for the black people's rights in South Africa 08. Imala Maika Composed by D. Janev and K. Stefanov, after Bulgarian folk tradition http://finnishrock.blogspot.com/2007/12/piirpauke.html
Born January 2, 1943 (1943-01-02) Died January 31, 1999 (aged 56)
Rest In Peace! The sudden death of Baris Manço (Baris means “Peace” in Turkish), predominantly a renowned pop singer but also a journalist, TV producer and traveller, deeply affected the entire Turkish nation.
No doubt, he will be remembered with great pride and wistfulness by all segments of Turkish society.
It is not wrong to say that Manço did not alter his style, both in terms of his musical preferences and his stance as an artist, from the beginning of his career in the late 1950s. Despite that, he succeeded in always remaining one of the most beloved of public figures. But what made him become the focus of such great popularity and admiration for old and young?
Baris Manço was among the first proponents of `ethnic-rock’, a musical genre which adheres to the synthesis of a rock beat with the harmonic structure of traditional Turkish folk music. From `Daglar Daglar’ to `Sari Çizmeli Mehmet Aga’ and `Gülpembe’, he demonstrated how Western and traditional elements in contemporary Turkish music could be combined and produced in such profusion. In this respect, he was surely before his time, an avant-garde composer and performer. Later on, pursuing his own path, he never yielded to the ephemeral demands of the popular music industry.
However, this musical dynamism had always been backed by original lyrics. Baris Manço never concentrated on cheap love themes. Rather, he took his themes mostly from everyday life and the daily inter-relations between people, focusing heavily on the problems rooted in the major cultural transformation taking place in Turkey. No doubt, it was his frequent reference to the “loss of traditional human values” which made him a perfect ethical role-model in the eyes of the public. He always adopted a critical stance against the recent distortion of the cultural realm, reflected in a suppression of honesty, selfless love and solidarity in favour of possesive individualism. Therefore his music, as well as his private life, invoked a clear social message.
Towards the mid-1980s, Manço intensified his efforts for the cultural improvement of the Turkish people. In this manner, he attached great importance to children and launched a TV show, called “7’den 77’ye” (7 to 77). In that series, he presented his journeys to almost every corner of the world with the aim of expanding the cultural and informative horizons of the Turkish people. In the “Adam Olacak Çocuk” (The Child Who Will Become a `Man’) segment of his show, he interviewed children every week and tried to imbue them with true virtues concerning mutual relations and self-care. Meanwhile, he served as a de facto “cultural ambassador” to the entire world, giving numerous concerts in Europe, America and the Far East. In turn, he was endowed the title of “state artist” in 1991.
The `Manço philosophy’ was primarily a combination of Turkish human values and progressive modern civic norms. His unusual ultra-modern outer appearance (with his long black hair and downward-slanting moustache, supplemented by fur coats and gigantic rings) and his orderly private life in full compliance with the national cultural structure have never been perceived as being contradictory by his 65 million adherents. On the contrary, he lived his life as a unique expression of devotion to music and the Turkish people, in which he was extremely successful in clarifying its underlying motive: the creation of a modern Turkish nation following the path laid down by Atatürk.
Rest in peace, Baris! You remain a role-model for every one of us with your diligence, modesty, ethical values, your love for the Republic and your faith in the Turkish people. Baris Manço Fan Club http://www.barismanco.de/index-bm.html
01 Sari Çizmeli Mehmed Aga 02 Gesi Baglari 03 Çoban Yildizi 04 Bir Selam Sana 05 Ne Ola? Yar Ola 06 Aynali Kemer 07 2024 Ikinci Yolculuk 08 Ham Meyvayi Kopardilar 09 Yeni Bir Gün 10 Bir Kelebegin Yasam Öyküsü
01 Sari Çizmeli Mehmed Aga 02 Gesi Baglari 04 Bir Selam Sana 07 2024 Ikinci Yolculuk
Piirpauke is a Finnish band that combines folk music, ethno and jazz in their music. The band was founded by Sakari Kukko in 1974 and over the years, a number of musicians from various countries have played in the band. Some of their most famous songs include Konevitsan kirkonkellot, Soi vienosti murheeni soitto, Swedish Reggae and Imala Maika. The band has toured throughout the world and has played at such major music festivals as Provinssirock, Ruisrock and Pori Jazz in Finland. http://en.wikipedia.org/wiki/Piirpauke
1. Joropo llanero 3:16 2. Samsunun avleri 6:02 3. Anjukka, Suaren neido 4:45 4. Birgi buhtui 4:36 5. Aagul nju 6:50 6. Nu aro vi redo att vandra till skogs 4:30 7. Nicin bende uzum pipo yok 7:36
- Sakari Kukko (woodwinds, keyboards, kantele, percussion and vocals). In addition, the following musicians have been part of the band at some point in time: ->Guitar ------------- - Juha Björninen - Malang Cissokho (kora, vocals, bass) - Badu Ndjay (+percussion: congas and talking drum, vocals, keyboards) - Pekka Nylund - T. T. Oksala (+synthesized guitar) - Pekka Rechardt - Jukka Tolonen - Hasse Walli ->Bass guitar ------------------ - Ville Herrala - Antti Hytti - Jorma Koivulehto - Tauno Railo (+vocals) - Ilpo Saastamoinen - Olli-Pekka Wasama ->Percussion ------------------ - Tom Nekljudow - Aku Nyyssönen (+vocals) - Markku Ounaskari (drums) - Ismaila Sane (+vocals) - Jukka Wasama -> Vocals ------------- - Cinta Hermo (+acoustic guitar, percussion, incl. castanets and flamenco shoes) ->Keyboards ----------------- - Joonas Ahonen (piano) ->Violin ------------ - Karri Koivukoski