01. Terminus / Oh My 9:09
02. Now 6:14
03. I Can't Help You 4:50
04. The Drinking Mans Wine 5:53
05. Shangri-La 5:33
06. Salt And Vinegar And Rhythm And Blues 6:18
07. The Prodigal Son 6:44
08. Be Tonight 4:00
09. Day 9 5:19
Roye Albrighton – Lead Guitar, Bass, Lead Vocals
Allan "Taff " Freeman – Keyboards, Backing Vocals
Ray Hardwick – Drums, Percussion
Cosmic Dreams: When Frumpy disbanded in 1972, three of the members formed the 'super group' Atlantis, named after Plato's mythical continent that sank into the water. Vocalist Inga Rumpf was arguably the German answer to Janis Joplin with her distinct, gutsy blues voice. Along with Rumpf from Frumpy came Jean-Jaques Kravetz and Karl-Heinz Schott. The two additional members of Atlantis had recently left Emergency Frank Diez and Curt Cress. The band soon secured a contract with the German branch of Vertigo. Their first album was recorded in London and had a laid-back US West Coast feel to the music. The keyboards were quite dominant, and Rumpf of course sang the some blues and soul influenced tracks in her characteristic way. Along with Diez, she composed all of the songs. Cress and Diez quit the group again at the same time as the album was released. Dieter Bornschlegel became the new guitarist and Ringo Funk from Jeronimo took up the drums. It's Getting Better (1973) was similar to the first album but had an Afro-percussion player guesting on three tracks to make a more funky sound. There were further changes in the line-up when Jean-Jaques Kravetz quit to record a solo album (and then join Randy Pie). Bornschlegel also soon left Atlantis. Their replacements in time for the third album Ooh, Baby (1974) were Adrian Askew and Alex Conti, the latter had previously played guitar in Curly Curve. These two new members wrote most of the new material, which veered still closer towards funky soul rock. Tile double live album released in 1975 contained different live recordings from 1973-1975. In the Summer of 1975 the group was again transformed. Diez was brought back along with a second guitarist, Rainer Marz (ex-Jeronimo), for Get On Board (1975). This had a rockier sound, but was a less inspired work than the previous albums. One further LP was recorded, but not released until 1978. Atlantis finally disbanded in 1976. The group had, particularly during their first two years of existence, considerable commercial success in Germany. Inga Rumpf has since recorded several solo albums.
unknown: Asterix was a direct predecessor of Lucifer's Friend; released one (eponymous) album in 1970. Technically, this was the first Lucifer's Friend album, only under a different name. Also, one single was released featuring a slightly altered line-up, without John's involvement.
Peter Hesslein began his musical career way back in 1963 with a band called the Giants. Peter Hecht and Dieter Horns were both members of a group known as the German Bonds, from 1965 onwards. Peter Hesslein joined the Bonds in 1968 which survived until 1970. At this point the various members took up the study of graphic design in an attempt to forge more sensible careers.
But the call of rock’n’roll was too strong and in late 1970, the ex-Bonds men, together with Joachim Reitenbach , decided to record a new album. They needed a lead singer and eventually found John Lawton who had been with the group Stonewall.
The new band took the name Lucifer's Friend and released their first album 'Asterix' in 1970. Their first three albums were undeniably influenced by contemporary British bands such as Uriah Heep and Deep Purple. 'Lucifer's Friend' was released on the Phillips label in January 1971 followed by 'Where The Groupies Killed The Blues' (1972). Lucifer's Friend' was given rave reviews particularly in America where the Chicago Express compared them to Led Zeppelin. This encouraged the five-piece to commence a heavy touring schedule, a policy which later backfired. Gradually their music had become a shade more sophisticated and serious jazz and symphonic influences were detected by critics and fans. This was no doubt due to the increasing importance of 'progressive rock' which seemed to appeal to college students and university audiences rather more than good old heavy metal. It was also more interesting for musicians to play and presented them with new challenges.
01 - Allora potrai cominciare 3:27 02 - Il quadro antico 4:46 03 - La pazzia 4:46 04 - Alle donne brutte 3:50 05 - La violenza 3:58 06 - Ninna nanna del piccolo borghese 5:40 07 - L'impotente 3:22 08 - E tu che ne fai di tuo fratello- 3:21 09 - Donna 4:47 10 - La nostra storia 3:17
Gibraltar: Ashra was Manuel Göttsching's continuation of Ash Ra Tempel, moving from the outerspace psychedic realms of the temple to the electronic domain of Berlin. Essentially a solo vehicle, Blackouts consists of Göttsching's guitar solos over sequenced patterns of synthesizer, ala Tangerine Dream. Some of Göttsching's solos are variations on short patterns similar to the sequencer motifs. Others are fully developed solos, played fluidly and with a steady hand which is in contrast to the wild excursions of the acid-drenched Ash Ra Tempel. Often the guitar is run through a delay to double the sound or make it spacier. The 17 minute "Lotus" comes closest to the original Ash Ra Tempel, at least in concept if not execution. Here Manuel uses his abilities to captain your brain through celestial atmospheres of cosmic proportions. Overall, Blackouts is very relaxing and a great way to unwind after a difficult day. Correlations adds Harald Großkopf on drums and percussion, and Lutz Ulbrich on piano, Mellotron, more guitar, and string synth, in addition to Göttschings guitar and sequencers. As you'd expect, the sound has more depth relative to the previous offering; however, I'd say that overall the sound is similar to Blackouts despite the added dimension and more rhythmic variety. If you like late '70s Tangerine Dream, Klaus Schulze, etc., you will want to check out Ashra. -- Mike Taylor
Apparently when Manuel Göttsching signed up with Virgin Records, he was no longer allowed to use the Ash Ra Tempel name. So he concatenated it to Ashra, and continued making albums. New Age of Earth is very synth-orientated, but uses enough guitar so that you'll know who this is. Of the post-Ohr/Cosmic Couriers releases, this is probably the best, though I haven't heard the next one Blackouts. It's supposed to be good as well. Correlation finds Ashra a band again, Göttsching is joined by Harald Großkopf (ex-Wallenstein) and Lutz Ulbrich (ex-Agitation Free). They start getting more commercial, even resorting to disco (blech!) on "Club Cannibal," but there's enough good stuff to keep you interested. The beautiful "Oasis" and the hypnotic "Pas De Trois" are two of the better tracks. Belle Alliance is half short songs, half long pieces. The lengthy "Code Blue" sounds as though it could have been recorded at the same time as the first Ash Ra Tempel album, while the lovely "Mistral" resembles something from New Age Of Earth. -- Mike Ohman
style: rock
country: uk
audio: lossless (flac, cue, log, booklet scans)
size: 382 mb
Tapestry of Delights:
Rod Argent formed this band in 1969 following the break-up of The Zombies. The remaining line-up consisted of his cousin Jim Rodford and former Roulettes Russ Ballard and Bob Henrit.
Their debut album Argent was very much in The Zombies' mould. One of its stronger tracks was Dance In The Smoke which brought the band to the attention of a much wider audience by virtue of its inclusion on the double budget compilation, Fill Your Head With Rock. Another of its songs, Liar, was covered by Three Dog Night in the US, where it became a hit, whilst Cast Your Spell Uranus was included on the Together! compilation.
Their subsequent albums were heavier in style but yielded two UK hits:- the classic Hold Your Head Up and God Gave Rock 'N' Roll To You. The All Together Now and In Deep albums sold well in this country.
In May 1974 Russ Ballard left the band to pursue a solo career, releasing a solo album Winning (Epic SEPC 69210) in 1976. He was replaced by guitarist John Grimaldi and John Verity. Following the flop of their Circus album, they switched to RCA for Counterpoint, which fared no better and in 1976 they split.
Rod Argent went on to pursue a solo career. Henrit opened a drum shop in London's West End and played in a band called Phoenix, with Rodford before they both joined The Kinks.
Garden of Delights: Albatros from Hagen, named after the great Fleetwood Mac song from 1968, played polished art rock in the vein of the early Genesis or the early Wallenstein. Actually they were so good that their one and only record, "Garden of Eden", is a real treat for the ears. It is so imaginative and varied, the performance is so skillful and the recording so accurate that the band needn't shun any comparison. Due to the small edition of 500 copies, it was only in 1999 that the LP turned up in collectors' circles. It sells for a price of about US$500 now. Formed in early 1974, the band had soon won several prizes in contests in the wider Sauerland region, thus becoming a well-known figure there. Yet they never had a full-time manager actively looking after the business side. And so, unfortunately, they were denied their due recognition. A recommended album.
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