genre: heavy blues country: argentina quality : mp3 128k, scans) time: 27'06" size: 25 mb
01 - Stratocaster Boogie 1:36 02 - Pаjaro metаlico 2:19 03 - Sucio y desprolijo 4:31 04 - El sur de la ciudad 2:26 05 - Sandwiches de miga 3:00 06 - El brujo y el tiempo 2:15 07 - Trabajando en el ferrocarril 1:06 08 - Caras en el parque 3:48 09 - Siempre lo mismo nena 6:04
genre: heavy blues country: argentina quality : mp3 128k time: 40'13" size: 38 mb
01 - Fiesta cervezal 2:30 02 - Gato de la calle negra 5:09 03 - Abelardo el pollo 3:19 04 - Semilla de sВsamo 8:49 05 - Con Elvira es otra cosa 3:05 06 - Sol de armвnica. 14:46 07 - El palacio de la montaдa en invierno 2:35
progressive.homestead.com: Parthenon was founded in 1979 by drummer Juan Carlos Ballesta and keyboard player Robert Santamaría. After a few line-up changes and a few concerts, member Víctor Fiol joined Témpano. Shortly after, the band disbanded after some unsuccessful reunions. Robert Santamaría formed Amarok later and moved to Spain. After success with Amarok, Robert decided to re-establish Parthenon to make these recordings. After slowly getting into the music with keyboard driven melodious symphonic rock, the music enfolds quickly the strength in its core. There are jazzrock-like improvisations and inner power, giving strength of playing beyond composition driven music. The female vocals on the third track gives it additionally an emotional improvisational strength. On the three tracks which are called "Puentes Destrudíos” I recognize beautiful piano, and some group improvisations (as well as hobo and some flamenco rhythms) from a developed Amarok (-I guess its members participated in this-). Last studio track, "Conversaciones entre diversas Criaturas del Inferno” has such attractive, rhythm driven passages with a rock-feeling that are a great example of how strong symphonic rock should be developed. For me, symphonic rock needs a certain level on its performance that gives a feeling of being inspired on the spot by the whole group into one brooding energy. This feeling can also be recognized in the bonus live track. The bonus tracks I guess are slightly destroyed by repetitive hiss by preserving them on cdr, but are still interesting and essentially included. Especially the live recording, as I wrote before, is splendid, because of its hypnotic keyboards, rhythms and band performance. A very fine release.
Along with Ougenweide, Parzival were one of the few German bands to follow in the steps of British groups like Gryphon and use medieval folklore as the basis for their refined progressive music. The nucleus of the group was the trio Lothar Siems, Walter Quintus and Thomas Oliver. Siems and Oliver had played together since 1965 in the Bremen group The Chamberlains, before joining the Quintus Ouartet. Their repertoire comprised increasingly folky styles. In 1971 they took the name Parzival and obtained a recording contract with Telefunken. Legend (1971) was a fine album of lyrical, electric folk-rock with much use of flute, violin and acoustic guitars. Featured guests were: Matthias Muller-Menckens (flute, piano), Joachim Reichhold (cello) and Hans Jaspers (viola). Some of the tracks had the slight melancholia I associate with Novalis at their best. Unlike Ougenweide and Novalis, Parzival sang in English and lacked the German distinction of the folk-rock bands on the Pilz label. Like Pell Mell, Parzival also incorporated classical music, but not in a pompous large scale manner. Technically they enjoyed the steady support of producer Konrad Plank. An obscure single ("One Day" coupled with "Souls Married To The Wind") followed in 1972. Luckily it was later included on the Rock In Deutschland sampler in 1981.
Their second and sadly last album Ba-rock emerged at the beginning of 1973. The group had expanded with the addition of cellist Walter v. Seydlitz and helped by Muller-Menckens and Harald Konietzko (bass, vocals). This was similar to their first album, although in parts closer to rock than Legend. Parzival's legacy is to have recorded two of the best German folk-rock albums which avoided the trappings of over-ambition. Most of their songs were short, melodic, charming and beautiful. For this reason, their original albums are fast increasing in value, currently a bit short of 100 DEM each.
oe: Italian Bee Gees, but fall in disco fever more nicely.
ItalianProg site:
Like I Nomadi, even Pooh are a marginal inclusion here, name them to an italian prog fan and you'll probably cause strange visual expressions. Anyway, they're highly regarded by some foreign collectors, especially from Japan and Korea, and smart dealers often describe their albums as "prog classics".
Another beat band, I Pooh started in 1964 in Bologna with an early repertoire, as common to many beat groups of that time, mainly based on italian-sung covers of english and american hits.
Their first LP, Per quelli come noi, is an enjoyable beat classic, with covers of songs by the Who, the Kinks, Spencer Davis Group, along with original material.
Two later albums went in a more melodic pop direction, and at the turn of the 70's, with a line-up and record company change the band took their typical pomp pop style. In 1973 one of the founder members, Riccardo Fogli, left for a successful career and was replaced by former Capsicum Red guitarist Red Canzian, now on bass. The stable line-up lasts today, and Pooh are still in the 2000's one of the main live attractions in Italy with a long series of gold albums.
In the 70's production, prog fans can find something interesting in Parsifal and Un po' del nostro tempo migliore, but the multivocal falsetto parts and orchestral arrangements will sound disturbing to many.
1. Il Cane D'Oro (2:39)
2. Resto Con Lei (Baby Let's Wait) (3:07)
3. Piccola Katy (2:59)
4. Il Tempio Dell'Amore (2:43)
5. Il Buio Mi Fa Paura (Quando Vien La Sera) (2:11)
6. La Leggenda Della Luna (2:35)
7. C'è L'Amore Negli Occhi Tuoi
... Read more »
Lato A Zero un minuto e... (Facchinetti-Negrini) - 4:38
Piccolo re (Facchinetti-Negrini) - 2:21
Addio in febbraio (Facchinetti-Negrini) - 2:26
Ai confini del mondo (Facchinetti-Negrini) - 2:10
Amo lei (Facchinetti-Negrini) - 1:57
Mary Ann (Facchinetti-Negrini) - 2:39
Lato B La fata della Luna (Facchinetti-Negrini) - 3:12
Johnny & Lisa (Facchinetti-Negrini) - 2:59
Waterloo '70 (Facchinetti-Negrini) - 2:54
Solo nel mondo (Facchinetti-Negrini) - 2:56
La ballata del miliardo (Facchinetti-Negrini) - 3:00
Memorie (Facchinetti-Negrini) - 3:10
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Oldish Psych & Prog offers progressive psychedelic rock music mp3 lossless downloads
