Lacking the lasting fame and the cult status of their contemporaries Trдd, Grдs & Stenar, the mainly instrumental group Kebnekaise was just as important in creating Swedish folk-rock. In the Swedish progressive movement they stood somewhere in the middle, between the politically and the musically progressive branches, where the first mainly played message-based music and the second had more in common with international progressive rock scene. The band did not take a clear political stand, but being less experimental than Trдd, Grдs & Stenar and staying further away from fusion than Samla Mammas Manna, they reached a wide audience. At the end of the '70s, Kebnekaise started to play symphonic rock, and quickly lost much of their popularity. The driving force in Kebnekaise was guitarist Kenny Hеkansson. In the '60s, he and drummer Pelle Ekman played together in T-Bones and in a band that later changed its name to Baby Grand Mother. In 1969, Hеkansson, Ekman, and bassist Bengt Linnarsson were recruited as the new backing for Hammond player Mecki Mark, becoming his Mecki Mark Men. In 1971, after a chaotic U.S. tour together with Sly and the Family Stone, Mark left and guitarist Rolf Scherrer was recruited. The new band took the name Kebnekaise after the highest mountain in Sweden, and started out as a mainly instrumental rock band in the tradition of Hendrix and Cream, releasing the debut album Resa Mot Okдnt Mеl in 1971. For the second album they recruited six new musicians: guitarists Glenngеrd and Bцckler, percussionist Hassan, harmonica player Lindstrцm, and drummer Netzler. Soon bassist Gцran Lagerberg, who had played with Tages in the '60s, also joined the group. If the first album had been influenced by blues-rock, the harmonies had indeed lacked some blues. On the second, self-titled album, Kebnekaise followed this less-bluesy path into folk-rock, but very Scandinavian folk-rock: melodic and sentimental, mostly played in minor keys. And though Kebnekaise tried out a number of different styles, this was the style that would make them famous.
In between long tours, the group released their third album, Kebnekaise III, showing more jazz influences than earlier albums but also more African influences, introduced by percussionist Bah, an immigrant from Guinea-Bissau. The entire fourth album was dedicated to African music, but at its release, half of the group had left, leaving Kebnekaise as a five-man band. The following years this disintegration continued, both crew-wise and musically. Elefanten was released in 1977, but despite the title pointing toward Africa, the album was mainly a jazz-rock affair, with clear fusion tendencies. And the folk music, both African and Swedish, was almost gone. After this, Hеkansson left the band to start a solo career, and with him most of the creativity seemed to have left as well. Together with drummer Pelle Holm and keyboard player Per Lejring, the remaining three members released Vi Drar Vidare in 1978, a symphonic rock album that failed to make much impact. The members started to look for other jobs and some time around that year, Kebnekaise ceased to exist. Glenngеrd released a few solo albums and worked as a session musician, with ABBA, for example. Bah formed the band the Happy Boys, also including Netzler, but soon moved to Finland. — Lars Lovйn / AMG
unknown:
Originally founded in 1971, artists like Santana, Van Morrison, Traffic, Yes, Stevie Wonder, Ray Charles and of course the Beatles inspired Karthago. The outcome was a unique mixture of Rock, Funk-Rock, Blues and Latin music. The huge success the band enjoyed back then had to do with the very energetic live performances in combination with the professionalism delivered on stage as well as in the studio by all participants.
Joey Albrecht's masterful guitar playing abilities, and his charismatic, bluesy voice combined with Ingo Bischof's creative and innovative keyboard play, the power Tommy Goldschmidt delivered on his percussion instruments and the great input by all other band members made crowds cheer. The press and fellow musicians were fascinated as well. A quote by Kraan member Helmut Hattler: "Every single Karthago member created a brilliance level of his own".
Within a short time period, Karthago developed into one of the most famous Rock acts in Germany, filling concert halls all over the country as well as in neighbouring countries. Even in France, the "Extra" magazine voted the first Karthago record "album of the month". The French label in charge released two singles of hits featured on that album. Karthago also gigged in Austria, Switzerland, Holland, Belgium, Sweden, Denmark and Finland.
In 1972, Karthago was part of the Germersheimer Festival, where they shared the stage with bands such as Pink Floyd, Led Zeppelin, Family and Santana. AFN aired that festival live. A year later, the group stunned an audience of far more than 100,000 at the "German Rock Super Concert" in Frankfurt.
The readers of music magazines like "Pop", "Musikexpress" and "Sounds" placed Karthago on their favourites lists in polls all the time. This also applied to the band members Joey Albrecht, Ingo Bischof and Tommy Goldschmidt. British magazines such as "Sounds London" and "New Musical Express" accurately called Karthago "the best German Rock band of the 1970s". In 1975, Karthago split up. In 1976, they met one more time for a last tour.
Tapestry of Delights:
Based in West London, this interesting psychedelic group started life in 1964 as The Side Kicks and later changed their name to The Key. Apparently, their drummer made an acetate of recordings from this era. By 1967, they had changed their name again to Kaleidoscope and signed to Fontana.
Their first 45, Flight From Ashiya, was an amalgam of pop and psychedelia, it told the story of the pilot of a crashing aeroplane. It picked up quite a lot of airplay but failed to chart. Some collectors seek out the Dutch release, which came with a different picture sleeve. After a further, equally good 45 (A Dream For Julie), sadly also flopped, the group were afforded the opportunity to record an album. The result, Tangerine Dream was a varied collection of psychedelic pop with whimsical lyrics often delivered in that breathless style that characterised the UK genre. It featured both sides of their debut 45 and the flip of their second (Please Excuse My Face). The opening track was fittingly called Kaleidoscope. Other highlights were Dive Into Yesterday, a typical slice of whimsical pop psychedelia; (Further Reflections) In The Room Of Percussion, which had some great vocals and out of tune strings; A Lesson Perhaps, with its spoken lyrics; and The Sky Children, a fairytale dream, which was very much a preview of some of the material on their second album. Tangerine Dream came in a superb psychedelic sleeve.
Cosmic Dreams:
If you love deranged acid folk-rock, look no further! Kalacakra certainly made one of the weirdest excursions into disjointed Eastern psychedelia on Crawling To Lhasa. This is what Incredible String Band would have sounded alike if Mike Heron and Robin Williamson suddenly became ten times more insane! Kalacakra were also a duo. Their album is recommended if you got a strong sense of humour and wish to know more about such topics as Die Schwarze Pest and all the persons named Jaceline! Naturally, this album was a private pressing...
style: heavy
country: australia
audio: lossless (ape, cue, log, scans)
size: 461 mb
Dreams, Fantasies & Nightmares:
A progressive hard rock combo based in Sydney and active between 1970-74. Their album is renown for the stunning guitar playing of Wilson (ex-Mecca) and Gaze (ex-Taman Shud) and the strength of the songwriting. The stand-out and longest track is Parade Of Fools. It opens with some pulsating wah wah guitar from Wilson and the band then branch out into a lengthy but wholly effective jam which underscores Wilson and Gaze as one of the great pairings of Aussie rock in this era. Their 45 was taken from the album. Gaze returned to Taman Shud soon after the album was recorded. The band went on to become one of the finest acts of the era, but they never recorded again. It also made the Top 30.
Maxey replaced Daisley in 1971. Free can also be heard on Group Therapy, which was a sampler for albums released by Festival on their new Infinity label in 1971.
After their demise Wilson joined Chariot, Davidson went on to session work and Daisley moved to England and became bassist with outfits like Ritchie Blackmore's Rainbow, the Gary Moore Band, Widowmaker and Ozzy Osbourne's Blizzard Of Ozz.
unknown author: 6th album, from 1975 ("The Song of Soloman"). The first of two for United Artists, which were always very difficult to find later on. This takes the sound and line-up of
the previous album, adds sitar and tabla and creates even more of a cosmic-power universe of transcending sound. "The music is also more earthy, ethnic and
really full of emotion: the use of electronic effects (drones, echoey
atmospherics), the addition of sitar and tabla on a couple of tracks really swell the sound out to new proportions." -- Audion. [deleted, last
copies]
unknoun source: 4th album, from 1973 ("Songs of Praise"). Following a period when Fricke and Veit became involved with a reformed Gila (recording Bury My Heart At Wounded Knee), they returned as Popol Vuh for this album, adding the additional psychedelicized guitar of Daniel Fichelscher (who would become a key central figure throughout the history of the group) and oboe, konga, tamboura accompaniment. Florian takes over on vocals for once, and within the context of softly flowing/lightly trancing rock this is masterful work. [deleted, last copies]
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