Killer Uruguayan guitar psych! Little more needs to be said than that. South American shredding, punctuated by folksy interludes and stoned maté-blues. Definite similarities to compatriots Psiglo (although not as proggy, more straight-ahead blues-rock) (also: members of Psiglo apparently play on this record) as well as Southern neighbors like Almendra and Aquelarre, and more far-flung shredders like Shinki Chen. Figueroa was also in the group Opus Alfa; the bonus track included here (added onto the CD reissue) is by that band. I would take it off to preserve the original tracklisting, but it's too good of a song. I think I got this originally from Crotchbat. I always remember being surprised this one wasn't more well-known.
Jesús Figueroa - Mágica Fuente
LP, Sondor, 1974
A1 Curtiendo Bajo el Sol A2 Gitana A3 Nena Diablo A4 Amándote B1 Las Sombras B2 Eva B3 Boa Verde B4 Fuego de Dragón
In the mid-70s, Sensations' Fix relocated from Florence to California, eventually landing in Virginia in 1979. From their earlier experimental style, they moved towards a thick, otherworldly AOR sound on the later recordings. After recording Boxes Paradise, Vision's Fugitives, and Flying Tapes (I'm not sure if all three were recorded in the US, but the second was released there, as was this record), the group decided to change their name to Sheriff, and recorded this solid rock album at a studio in Fall's Church, VA in 1979. A second guitarist Frank Filfoyt is credited here, but I'm not sure if this is a pesudonym for Falsini (anyone know?). Otherwise the lineup is the same as Sensations' Fix. Falsini's guitar and vocals are unmistakeable here, continuing in the solid, spacey, bluesy rock mode of Boxes Paradise. This record is certainly the least 'prog' of the S.F. albums, but it's never boring, never predictable, ranging from cosmic blues to proto-metal. Uncredited synths bubble in the background, guitars echo and phase, Falsini shreds. If you approve of the later S.F. approach of Boxes Paradise, you'll be feeling Sheriff. I think I originally got this from Lamaraba back in the day.
Sheriff - s/t LP, Observatory, 1979 A1 Girl with Optional Eyes A2 Don't Let Go A3 Troublemaker Blues A4 Infall Defrauders and Audiphiles B1 Stranger B2 Sustain City B3 There from the Phantom Base (instrumental) B4 Transfixion Wait-In Link
This one originally came from mysteryposter a few years back. Rare psychedelic country-rock from Norway. A thorough write-up on the group is at Willems County:
The first real country-rock band from Norway was formed January 1974 in Bergen. They ended their carrier in the early 80s as a new wave band singing in Norwegian, but had a reunion in the 90s where they where back to the country-rock roots. Guitarist Rune Walle and drummer Gunnar Bergstrøm had both been playing in the folk(-rock) band Hole in the Wall, and had just been playing with the band Saft when they grouped with Cato Sanden (vocals, guitar), Johannes Torkelson (bass) and Jarle Zimmerman (vocal, keyboards) to make a Norwegian country-rock act inspired by what had been going on in the US (eg. Flying Burrito Brothers, Eagles, Poco etc). The quintet moved to Denmark, where they where living in the countryside making songs for their first LP, recorded in Oslo. ”New Day” was released in ’74 and ”Wounded Bird” in 1976. A&M Records long considered a release of the second album in the states, but it never happened.
Along with the aforementioned influences, I would cite the Byrds, CSNY, the Dead, other Scandinavian guitar-rock like Day of Phoenix, Anonymous, Oasis (the 70s Californian group), even Thin Lizzy (at times), or the Trevor Swadling I posted here last week. The most interesting songs are the ones that lace the well-built country-rock songs with proggy riffs, jangly guitar and cosmic synth lines.
Flying Norwegians - Wounded Bird LP, Sonet, 1976
A1 Crazy Eyes Go Blind A2 Turn The Page A3 Taste Of The Money A4 Let's Walk To The River A5 Evening Prayer B1 Wounded Bird B2 Tangles B3 It's Over B4 Old Lady B5 Absolutely Sweet Marie Link
This is somewhat to continue in the vein of the liminal musical space between 70s prog and 80s AOR audible in the Eskaton and Trevor Swadling posts. Here we have a solid and strange adult-rock album recorded by two legends of Italian prog: Paolo Tofani, the guitarist from Area, and Claudio Rocchi the bassist from Stormy Six. Tofani and Rocchi each pursued increasingly experimental solo projects towards the end of the seventies: the psychedelic cut-ups of Rocchi's Rocchi and the electroacoustic compositions of both Rocchi's Suoni di Frontiera and Tofani's Indicazioni. The strangeness of this collaborative effort lies partly in its normalcy: that after such far-out experiments, these two friends would turn towards traditional song-forms, harmonies, and instrumentation.
Because of the complications of the communal creative process, bands are never able to completely wipe the slate clean and start anew. Anyone who has composed music as part of a band knows how decisions are made that no individual member would/could ever make—and which are often the "right" decisions. When a musician breaks away from a band to do a solo album, that album is likely to be something original, innovative, or adventurous compared to the band's creative progression. This does not imply that solo albums are better, just that they should be seen as the expression of repressed creative urges that don't find their way into a band's musical development. Tofani's Indicazioni is the perfect example of this. Area were one of the most adventurous Italian prog bands, but there was no way they would be able to make the communal decision to make such an experimental record. Towards the end of the 70s, I've found that prog bands tend to continue in more or less comfortable musical territory, making less drastic alterations to their sound and style. The solo efforts from members of prog bands around this same time are often where you'll find the more avant-garde and experimental developments happening.
With this record Tofani and Rocchi—working collaboratively, but not as a band, with an established musical style to consider—make another drastic shift, towards conventional rock songwriting. As with most cases of prog-to-AOR conversions, there is a heavy presence of progressive ghosts amid the 4/4 rhythms. Laced with flashy synths and compelling harmonies, the songs refuse to slip into banal formulas. It is easy to dismiss this album as a "commercial" effort, but this notion is disproved by the heavy Krishna vibes permeating the album—culminating in the final song, a long and repetitive Krishna chant with sitar and guitar—which certainly weren't included to sell albums. Rocchi and Tofani both joined the Hare Krishnas during the late-seventies, I think, and Rocchi was apparently living in a Krishna commune when this record was released. The influence of Krishna doctrine on the lyrics and artwork of this record adds to its interest, further complicating the simple surface of these humble songs.
Unfortunately the sound quality of this rip (originally posted on Mutant Sounds back in 2007) is pretty bad. The sound resemble that of the Eskaton post—like recorded off a VHS. This one's real fuzzy, but if you're favorably disposed to lo-fi sounds you'll still appreciate it. (A nicer rip would be appreciated if anyone wants to link one in the comments...)
Paolo Tofani & Claudio Rocchi - Un Gusto Superiore LP, ISKCON Records, 1980 1 Jaya Srila Gurudeva Bhagavan 2 O Sei Parte Del Problema O Sei Parte Della Soluzione 3 Dio 4 La Macellazione 5 Un Gusto Superiore 6 Introduzione 7 Muoiono 8 Jiv Jago Link
This is a re-post from the late, great (perhaps the best) Mystery Poster blog (now defunct). This was par for the course of what one could find on that goldmine: a completely unknown, unavailable, mysterious gem, usually of top quality, or at the very least interesting. I remember downloading this one in late-winter, listening to it in front of the fireplace while house-sitting in the country. It took a few listens, but it finally won me over.
Here's a recent blurb about Trevor, who still performs around Sydney:
Trevor
is a Australian singer/songwriter and has been writing and performing
songs for many years at various venues around Sydney. Recently he
produced an album titled The Reason. Trevor’s songs tell a story and
convey a message. The lyrics cut deep into the realm of human condition
and social issues crossing the age boundaries. The combination of
acoustic guitars, bass and piano, with three part harmonies blend
together to create a compelling and unique sound that many have
described as “fresh folk”.
The music on this LP is less in a "fresh folk"-vein, and more in a lo-fi ramblin' rock & roll mode, melancholic, melodic, a bit psychedelic, with a heavy loner vibe, reminiscent of Anonymous, Relatively Clean Rivers, early Fleetwood Mac and Bob Welch—somewhere between the Dead and Felt (the organ tracks especially remind me of "Me and a Monkey on the Moon"). I always assumed this was a one-man, multi-track recording, but this popsike posting claims the band features "MULTI INSTRUMENTALIST JEFF MERCER WHO LATER WENT ON TO THE HAPPENING THANG." The pleasantly fuzzy sound may be down to the mystery poster's ripping technique. Regardless, the keyboards layer nicely over the smoggy rhythm section, paired by a solid lead guitar and Swadling's tremulous vocals. Good songs, great sound, 100% earnest: I love listening to this record.
Trevor Swadling - Endless Surprise LP, Midway Records, 1982 1 Waiting For The Night 2 Lady Blue 3 One Day 4 Give It All You Got 5 Look Out Jack 6 Time Wasters 7 Wheel Of Fortune 8 What's Going On 9 Merylyn 10 Endless Surprise Link
