Shawn Phillips is one of most fascinating and enigmatic musicians to come out of the early '70s singer-songwriter boom. The mere fact that he was a musician as much as a singer and songwriter made him stand out, and helped him attract a dedicated following. His refusal to shape his music -- which crosses between folk-rock, jazz, progressive, pop, and classical -- to anyone else's expectations has allowed him to hold onto a large and dedicated cult following, without ever achieving the stardom that his talent seems to merit.......
With 15 albums behind him since the mid-1960s, Phillips has a following, in America, Europe, and Japan, and he has performed at different world music festivals. A cult figure whose peers include Van Dyke Parks and, perhaps, Leonard Cohen (though Cohen's public profile is enhanced by his following, as an established poet and author, in the literary community), he remains an enigmatic figure on the music landscape.
Faces is a very challenging and rewarding album, with some of the most driving songs Phillips ever wrote, juxtaposed with material even more ethereal than anything on Second Contribution. Faces shows Phillips working through music so soft and reflective that at times it almost seems as though it may break, balanced with solid electric rock, some of it with a topical message yet -- check out "I Took a Walk."
by Bruce Eder
Tracks
1. Landscape - 4:20
2. L Ballade - 7:22
3. Hey Miss Lonely - 3:36
4. Chorale - 7:34
5. Parisian Plight II - 13:19
6. We - 3:43
7. Anello (Where Are You) - 2:24
8. I Took A Walk - 4:52
9. A Christmas Song - 3:27
Words and Music by Shawn Phillips
"Unlike most guitarists, Mick Abrahams' playing, blending sophisticated chord work with dazzling single-string breaks, goes beyond the distinction between lead and rhythm playing. You can hear echoes of many forms - Mick has a wide-ranging style drawing from jazz, country and western, rock'n'roll (ancient and modern) and he is also one of the most imaginative and sensitive exponents of bottlenecking.
Mick made his decision to go professional at the fitting age of 21, when his mother asked him whether he wanted a big party or a guitar to launch him into manhood; he chose the guitar, a Gibson SG that he still uses six years later, and shortly after formed his own band, the Original Hustlers, who played mostly Chuck Berry and Little Richard songs and what Mick laughingly refers to as "our own arrangements of Beatles' numbers".
Beat Instrumental, February 1971
In 1970 Abraham's left the Blodwyn Pig, to be replaced by ex-Yes guitarist Peter Banks and guitarist/singer Larry Wallis. The group continued on under the leadership of Lancaster, although it was eventually renamed Lancaster's Bomber. Initially Abraham's formed a new group called Wommet; it was very short-lived, however, so he reorganized his career around the Mick Abraham's Band, with Walt Monaghan on bass, Bob Sargeant on guitar, keyboards and vocals, and Ritchie Dharma on drums. He released two albums on Chrysalis, Mick Abraham's and At Last, with his former Blodwyn Pig bandmate Lancaster expanding the lineup to a quintet. Neither sold very well, although Abraham's was never at a loss for paying gigs.
by Bruce Eder
Tracks
1. When I Get Back (Mick Abrahams, Bob Sargeant) - 5:04
2. Absent Friends (Bob Sargeant) - 4:48
3. Time Now To Decide - 2:28
4. Whole Wide World - 3:53
5. Up And Down (Part 1) - 2:00
6. Up And Down (Part 2) - 2:15
7. Maybe Because - 8:01
8. The Good Old Days (Bob Sargeant) - 4:14
9. You'll Never Get It From Me (Bob Sargeant) - 3:36
All songs by Mick Abrahams except where stated
Continuing from their first album, Wet Willie II finds this Southern band charging ahead in the boogie stakes while attempting to establish themselves as a harder-edged companion to the Allman Brothers. Half the tunes are covers and the other half are self-written.
While the highlight is Wet Willie's version of Otis Redding's "Shout Bamalama," the group is putting forth more of their own identity than on their first disc. Good, raucous fun, Wet Willie II is another fine product from those good ol' Southern boys who like their grits and their rock & roll.
by James Chrispell
Tracks
1. Shout Bamalama (Otis Redding) - 3:36
2. Love Made Me (Ricky Hirsch) - 4:53
3. Red Hot Chicken (Jack Hall, Jimmy Hall, John Anthony, Lewis Ross, Ricky Hirsch, Wick Larsen) - 4:46
4. It Hurts Me Too (Elmore James) - 4:59
5. Keep On Knockin' (Richard Penniman) - 2:27
6. Airport (John Anthony) - 3:34
7. Grits Ain't Groceries (Titus Turner) - 3:03
8. Shoutgun Man (Ricky Hirsch) - 4:12
9. Shaggi's Song (Wick Larsen) - 4:33
Wet Willie
*Jimmy Hall - Harmonica, Percussion, Tenor Saxophone, Vocals
*Rick Hirsch - Lead, Rhythm Guitars, Mandolin, Vocals
*John Anthony - Organ, Electic, Acoustic Piano, Percussion, Vocals
*Lewis Ross - Drums, Congas
*Jack Hall - Bass, Vocals
*Wick Larsen - Lead, Rhythm, Acoustic Guitars, Moog Synthsizer Additional Personnel
*Scott Boyer - Steel Guitar on tracks 2 and 9
*Jai Johanny Johanson - Timbales on track 6
*Ella Avery - - Backing Vocals on track 1
*Susie Storm - Backing Vocals on track 9
Getting To This, Blodwyn Pig's second opus, features Mick Abrahams (formerly of Jethro Tull) meeting acid and fusing it with his unique blues style. This album also shows the band as having a reflective side, thus creating the epic "San Francisco Sketches", and single handedly creating prog rock (no, it wasn't King Crimson folks!)
The album starts with the down-to-earth blues/rock-fest of "Drive Me", boasting a brilliant sax solo which starts off sounding like mighty guitar feedback, laid down by the sadly unheard of Jack Lancaster. (In fact, Blodwyn Pig as a whole is largely unheard of...).
The second track, "Variations on Nainos", whatever the hell that means, is a flute driven psychedelic slice of strangeness, the last verse sung sounding as if the band were drowning in a bath. The next song, "See My Way" is in the same vein as MC5, but slightly more sedate and with crushing sax and drum work. "Long Bomb Blues" is a hilarious 1 minute ditty all about Mick Abrahams getting drunk and hauled over by the cops. His wife beats him upon his return.
The aforementioned "San Francisco Sketches"...THE 4-part prog track. Opening with the beautifully reflective 'Beach Scape', it really makes your mind float out to cosmic realms. The second part, 'Fisherman's Wharf' is a jazzy swagger, featuring saxophonist Jack Lancaster pulling out all the stops. We return to tranquillity in part three, 'Telegraph Hill', mellow and cool. This is ripped apart and laid waste to by the final chunk, the slow and sludgy saxophonic cacophony 'Close The Door, I'm Falling Out Of The Room'...this is one of the darkest, most gruelling pieces I've ever heard.
The heavy overtones are retained in the next track, "Worry", a mighty guitar fuelled anger stomp with haunting vocal work. This is followed by the slightly stupid and twee "Toys", a song about a small boy's toys telling him to love them right...
We find ourselves back in hilarity land with "To Rassman", a bluesy-reggae song that almost mocks the early reggae movement of the late 60's in the UK. And what a brilliant comical Rasta accent by Mick!
The last (original Vinyl) track truly is a crushing blow to the politicians running the insanely pointless Vietnamese war..."Send Your Son To Die"...even the title sums up the song's message. This is perhaps the angriest Anti-Nam song ever, with the exception of Black Sabbath's classic "War Pigs". Ron Berg is sure as hell not taking any prisoners with his thunderous drumming on this storming riff-fest.
Finally the 2 bonus tracks here on this release, these two tracks were apparently featured on the US edition Pig's debut "Ahead Rings Out". The first of these two tracks is "Summer Day" a truly masterfully-crafted blues song, with one of the most complicated riffs I've tried to play! The time changes on this are incredible!! The last is the laid back "Walk On Water", which opens with a single acoustic guitar and then ends up in a massive jazz-rock-psychedelic breakdown.
by Matt Ainsworth
Tracks
1. Drive Me - 3:21
2. Variations On Nainos - 3:49
3. See My Way - 5:06
4. Long Bomb Blues - 1:09
5. The Squirreling Must Go On (Abrahams, Pyle) - 4:24
6. San Francisco Sketches (Lancaster) - 8:13
.a.Beach Scape
.b.Fisherman's Wharf
.c.Telegraph Hill
.d.Close The Door, I'm Falling Out Of The Room
7. Worry (Pyle) - 3:45
8. Toys - 3:05
9. To Rassman (Berg) - 1:31
10.Send Your Son To Die - 4:27
11.Summer Day (Abrahams, Pyle) - 3:50
12. Walk On The Water - 3:42
All songs by Mick Abrahams except where indicated
The Blodwyn Pig
*Mick Abrahams - Guitar, Vocals, Seven String Guitar, Tenor Guitar
*Jack Lancaster - Flute, Electric Violin, Tenor, Baritone, Sax, Phoon Horn, Cornet
*Andy Pyle - Electric Bass, Six String Bass
*Ron Berg - Drums, Tympani
*Graham Waller - Piano
Wet Willie were one of founding fathers of the almighty southern rock genre to appear in the early 1970’s. Signed by Capricorn Records, they never hit the big time like Lynyrd Skynyrd, the Allman Bros or even The Marshall Tucker Band. Still, they were able to sell a few albums and crisscrossed the country on tour for many years.
Part of the reason the band never hit it as big as their friends is because they had a true mishmash of sounds going that made them more of an acquired taste. While there is no doubt they were a southern rock band, Wet Willie liked to incorporate country, rock along with some sublime jazzy licks and rhythms and even a dab of blue-eyed soul into their music. While this made them more unique it also limited their appeal.
While most known for the song “Keep on Smilin’” the band created and released a boatload of good music including the album The Wetter the Better. Besides having one of the best album covers of all time, the album contained some great bluesy, southern fried tunes. “Teaser,” “Baby Fat” and “Walkin’ By Myself” are rather addictive songs that once they get into your head have a hard time being silenced. The final song, “Everybody’s Stoned” is a fan favorite that sums up the era well.
By Jeb Wright
Tracks
1. No, No, No (Michael Duke) - 3:11
2. Teaser (Michael Duke) - 4:03
3. Baby Fat (Ricky Hirsch, Jimmy Hall, Michael Duke, Jack Hall) - 3:54
4. Ring You Up (Michael Duke) - 5:18
5. Comic Book Hero (John Anthony) - 4:42
6. Walkin' By Myself (Ricky Hirsch, Jimmy Hall, Jack Hall) - 4:52
7. Everything That 'Cha Do (Will Come Back To You) (Ricky Hirsch) - 5:14
8. Everybody's Stoned (Ricky Hirsch) - 5:10
The Wet Willie
*Jack Hall - Bass, Vocals
*Jimmy Hall - Harmonica, Saxophone, Percussion, Lead Vocals
*Earl Ford - Trombone
*Michael Duke - Melodica, Piano, Moog, Lead Vocals
*Ricky Hirsch - Lead, Slide, Acoustic Guitars, Vocals
*Lewis Ross - Drums Guest Musicians
*Jerome Joseph - Congas
*Dezso Lakatos - Baritone Saxophone
*Skip Lane - Baritone Saxophone
*Leo LaBranche - Trumpet
*Danna Hall, Leslie Hawkins - Vocals
Missing Link is generally said to be a Munich band. This is right in that the six people forming the band met there in 1971. Bassist Dave Schratzenstaller comes from Munich. Most of the others, however, moved there from other parts of Germany: On drums Holger Brandt (from Bad Salzdetfurth near Hiidesheim), Gunther Latuschik playing the saxophone, Markus Sing on guitar, the singer Gabriel Dominik Mueller, and Dieter Miekautsch on keyboards. At that time, Munich was something like a stronghold of psychedelic and progressive music in Germany, with groups like Amon Diiul, Embryo, Popol Vuh, Out of Focus, Sub, Siloah, Between, Niagara, Subject Esq., Sameti, Sunbirds, Yggdrasil, Pentagon, and Anima. Missing Link should follow the same direction.
They proved especially convincing on stage, where they were discovered by Gerhard Augustin. He was looking for talented young people for United Artists and at that time also managed the group Amon Duiil II. Gerhard Augustin provided them with a contract for three LPs, and in the autumn of 1972 they started work in the studio of Dieter Dierks in Stommein (Rhineland), well known for the many recordings for the Pilz and Ohr labels. The band was pleased to find there was a Mellotron in the studio which they could use for their recordings. Seven of the songs recorded there - all written by themselves - were released on the LP "Nevergreen!" (United Artists UAS 29439 I) at the end of the year. The title was meant to constitute an opposition to the commercial evergreen, to the level of which they wouldn't descend. The picture on the fold-out cover was designed by Holger Brandt. It should, in a mocking kind of way, represent the missing link in the evolution from ape to man. Inside, the cover shows (from left to right) Markus Sing, Holger Brandt, Gunther Latuschik, Gabriel Dominik Mueller, Dieter Miekautsch, and Dave Schratzenstaller, shot in the environs of Munich.
According to Gerhard Augustin, 2000 copies of this LP have been pressed. A short while later, at the beginning of 1973, the 7" single "Friday on my mind'V'Kids hunting" (United Artists 35568) was released. The song on its flip side was already on the LP, the one on the front side a very unconventional new version of the wonderful Easybeats hit from 1966. The picture on the sleeve is based on a photograph taken at the same session as that one on the inner sides of the LP's fold-out cover. Here, however, Dieter Miekautsch is missing. He probably stood too far off. The wrong spelling of "Kids" (Kid's) on the sleeve and on the label - apostrophised - is due to an unsuspecting graphic designer who did not know the text. This time, only 1000 copies were pressed, if at all. None of the songs were bad, although they perhaps slightly lacked the fire of the band's live performances.
A second and third LP could not be recorded, because at that time the label went into a financial inbalance. Every low-rank manager flew first class around the world and squandered money the artists could not bring in to this extent. Thus, finally the times of United Artists Germany were over. Also Missing Link were going downhill. They hardly presented pieces of their own any longer, but started to perform mainly in U.S. clubs, where they played cover versions. Most of them played in several groups at the same time. Dieter Miekautsch was replaced by Konstantin Wecker who later should become prominent as a singer/songwriter and cocaine addict, and in 1973 Missing Link finally split.
In 1975, Holger Brandt - as a member of Gert Westphal and Between – released the LP "Hesse between music", and in 1976 - as a member of Sahara - the LP "For all the clowns". Today, he is a music publisher in Freising near Munich and, at the same time, plays in various bands. Dieter Miekautsch became quite well-known. He was involved in three Embryo LPs, namely "We keep on", "Bad heads & bad cats" and "Live", and in the self-titled second LP of Missus Beastly from 1974 and the Real Ax Band's one and only LP (1977). Markus Sing continued to play together with Konstantin Wecker in Wecker's backing band until he committed suicide in the early 1980s. Dave Schratzenstaller went to New York, Gabriel Dominik Mueller followed his ambition and lived as an actor in Switzerland. What has become of Gunther Latuschik is not known to any of the people involved.
This release contains as a bonus song the single track "Friday on my mind", so that includes the complete work of Missing Link ever released. Many thanks to Holger Brandt, Gerhard Augustin, Holger Heimers, Jurgen Kaun, and Fuzzy for their friendly support.
by Birte Haffner
Tracks
1. Spoiled Love - 5:21
2. Song For Ann (Dieter Miekautsch) - 2:52
3. Time Will Change - 5:35
4. Only Me - 5:12
5. Sorcery (Charles Lloyd) - 5:26
6. Filled Up - 6:29
7. Kids Hunting - 6:15
8. Friday On My Mind (Vanda, Young) - 3:07
All compositions by Missing Link except where stated
The Hamburg event was held over the Easter weekend in March 1970, it was attended by a reputed 17,000 rock fans. With 22 acts in all, and such talent as Blodwyn Pig, Colosseum, The Nice, Steamhammer, Warm Dust, and others, the then new and mostly unknown German acts also showed their worth, as being every bit as good, if not better. The album documenting the German acts at the March 1970 festival has extraordinary recordings from Tomorrow's Gift, some heavy Frumpy and very Blodwyn Pig inspired Thrice Mice! There are also the two virtually unknown bands: Beatique In Corporation and Sphinx Tush.
Thrice Mice:
A sextet from Hamburg, playing the patented, distinctive German type of progressive jazz-rock typified by underground legends like Xhol or Out Of Focus (2nd & 3rd album). The leading soloist in Thrice Mice was Wolfgang Buhre. He often tried to copy the wah-wah sax style of Ian Underwood of Mothers Of Invention. Their album was recorded during November and December 1970 in Hamburg and released on Phillips in 1971. After a couple of years, the group resurfaced as Altona and made two further albums for RCA in 1974 and 1975.
Frumpy:
The Krautrock scene may be best known for creating some of the weirdest abd revolutionary rock music, yet there was another side to the scebe, of progressive that rivalled the best in Britain, of which Frumpy were at the forefront, followed by the like of Jane, Eloy, Novalis, Message, et al. This band played their own brand of progressive rock that was mainly influenced by blues, soul and hard rcok with some minor classical elements. Their female vocalist Inga Rumpf had a quite weird voice, sounding more like a man than a woman. However, the main musician in the band was their French organ-player Jean-Jacques Kravetz who delivered some solos that nearly were on par with the best progressive rock keyboardist.
Frumpy later transmuted into the more commercial Atlantis.
Sphinx Tush:
1969 the famous trio "Sphinx Tush" was founded with Zabba Lindner on drums and Andreas Smietana on bass. Their music was something like early punkmusic, long before punk was getting popular. They used to play in the biggest hall of the town (Ernst-Merck-Halle), where groups like the "Rolling Stones" used to play. They have played at the last evening of the well known Star-Club in St. Pauli (thats where the Beatles started) and they've done many live-perfomances at the radiostation NDR.
Tomorrow's Gift:
Like Frumpy and Joy Unlimited, they were a blues and soul-rock band who turned on, tuned in and dropped out to the progressive music at the end of the sixties. Both mentioned bands had female vocalists, as had Tomorrow's Gift: Ellen Meyer. Arguably she didn't have a voice as strong as Inga Rumpf, but hers was good enough to serve the music. Tomorrow's Gift was really a band of future talents, three of the members being still teenagers. Original guitarist Carlo Karges later worked with groups as different as Novalis, Extrabreit and Nena. He also guested on the Release Music Orchestra album 'Get The Ball' (1976). Manfred Rurup later recorded with Carsten Bohn's Bandstand, Elephant and Inga Rumpf.
CD Liner-Notes
Artists - Tracks
1. Frumpy - Duty - 7:35
2. Thrice Mice - Vivaldi's Revival - 7:12
3. Beatique Corporation - Going Straight - 3:41
4. Tomorrow's Gift - Sound Of Which - 19:58
5. Frumpy - Floating - 12:14
6. Beatique Corporation - Things We Said - 5:21
7. Sphinx Tush - Crashville - 4:40
8. Beatique Corporation - Sunwave - 15:15
This 1977 double-album opus represents Golden Earring's entry into the series of live albums that were so popular in the late '70s. At this point in its career, the band's live sound had a newfound sense of power, thanks to the addition of second guitarist Eelco Gelling. Indeed, classics like "Radar Love" and "She Flies on Strange Wings" benefit from a newfound complexity and energy that stems from the energetic guitar interplay between Gelling and George Kooymans. Golden Earring's new double-guitar sound also allows the group to overhaul some of its material in new and interesting ways.
Live remains a solid portrait of the group's live act at this juncture of its career and further benefits from a sharp, full-blooded sound (the engineer was future U2 producer Steve Lillywhite). All in all, Live isn't an album for the casual fan, but is likely to keep the group's following entertained.
by Donald A. Guarisco
Live is a double live album by Golden Earring and ranked by the experts of the highlights of their careers. Known for their live reputation distinguishes this live album with a very long drawn-out songs are also concert recordings of all the work.
Together with Contraband (1976) and Grab It For a Second (1978) is one of the three live albums which Eelco Gelling and Earring member participated. With his maniacal solos on Mad Love's Comin', Con Man Radar Love Gelling gives an added value to the Earring sound. That sound is the emphasis on solid and swinging rhythm section, which fully reflected in, inter alia, Mad Love's Comin 'and Radar Love.
Barry Hay gets on Candy's Going Bad and Vanilla Queen. "Live" marks a turning point in the period after the success of Radar Love. Until this at the Rainbow Theatre in London recorded the live album tries to maintain its international position Earring. After "Live" threatens everything the band in years Hague has made up her hands to slip. Sales plummet and the survival of the band is disputed.
Brainwashed
Tracks
Disc 1
1. Candy's Going Bad - 5:06
2. She Flies On Strange Wings - 8:10
3. Mad Love's Comin' - 9:53
4. Eight Miles High (Gene Clark, David Crosby, Roger McGuinn) - 10:01
5. The Vanilla Queen - 11:45
All songs written by Barry Hay,George Kooymans, except where noted
Disc 2
1. To The Hilt - 6:55
2. Fightin' Windmills - 8:26
3. Con Man - 9:09
4. Radar Love - 11:17
5. Just Like Vince Taylor - 6:25
All songs written by Barry Hay, George Kooymans The Golden Earring
*Eelco Gelling - Guitar
*Rinus Gerritsen - Bass
*Barry Hay - Vocals
*George Kooymans - Guitar
*Cesar Zuiderwijk - Drums
In February and April of 1971, they recorded their self-titled album, which was released by the Bacillus label later that year. In June of 1971 My Solid Ground entered the studios of SWF in Baden-Baden for a live radio broadcast. Because of legal issues they could not play any of the pieces from the LP, so they debuted entirely new material. Though the group now had nationwide success, they were frequently losing members. By 1972 the band consisted of Rendel with a totally new lineup. That year they moved to Frankfurt where they lasted until 1974, when Rendel dropped My Solid Ground to pursue academics. He has since become a lecturer on music at Muinz University, as well as producer and composer.
The first track, the 13-minute "Dirty Yellow Mist," certainly lives up to its reputation, as the group goes into dark space rock that sounds like something between Pink Floyd and Thirsty Moon, with lots of long keyboard drones, a crunchy guitar riff, some acid guitar licks, and some distorted spoken vocals, as well as some higher-pitched wordless chanting. Unfortunately, much of the rest of the record does not live up to the promise of that first track, coming off like a typical early-'70s hard rock band, with belted vocals and maybe some occasionally interesting guitar work. "That's You" has enough energy to be proto-punk, and certainly its chorus of "do you wanna die" doesn't weaken that impression.
Far more notable is the track "The Executioner," a sinister piece that alternates between echoed-spoken vocals and intense guitar solos. The rest of the original album is too mainstream, but thankfully the CD adds another album's worth of bonus tracks, and some of these are really good, especially the original full-length version of "Flash," a 24-minute tour de force of guitar solo blitzkrieg between a variety of segued pieces, some of which are far better than the two-minute cut that ended up on the LP. Other bonus tracks include some instrumental versions of songs and a stripped-down version of "Dirty Yellow Mist."
by Rolf Semprebon
Tracks
1. Dirty Yellow Mist - 13:07
2. Flash Part IV - 2:19
3. That's You - 2:23
4. The Executioner - 3:32
5. Melancholie - 4:19
6. Handful Of Grass - 2:45
7. Devonshire Street W1 - 3:29
8. "X" - 3:43
9. "Y" - 1:34
10.Z" - 1:31
11.Flash (Original Full Lenght Version) - 24:42
12.The Executioner (Different Mix) - 3:35
13.Handful Of Grass (Different Mix) - 2:42
14.That's You (Different Mix) - 2:21
15.Dirty Yellow Mix (Different Vocals) - 7:30
All songs written by Bernhard Rendel, Karl-Heinrich Dorfler, Andreas Wursching
My Solid Ground
*Bernhard Rendel - Guitar, Vocal
*Karl-Heinrich Dorfler - Bass, Vocal
*Andreas Wursching - Drums Guest
*Ingo Werner - Organ, Piano
This group has long been one of the more obscure Krautrock bands, even though their single eponymous album from 1971 has become legendary, even though much of the record is fairly conventional hard-rock.
Bernhard Rendel, only 14 years old at the time, started My Solid Ground in 1968 in Russelsheim, near Frankfurt, Germany. Prior to this, his mother encouraged his interest in music and guitar, and she continued to support him even as his music became louder and harder. The group began to practice at the home of Rendel?s parents, and his family also helped arranged live performances. With their musical talent and an elaborate lightshow, the band soon became a popular in the region around Frankfurt. By 1970 after a few lineup changes, the group gelled with Kalrheinz Dorfler on bass, Andreas Wurching on drums, and Ingo Werner on organ. In late October of that year they recorded the track ?Flash? the Morfelden Studio in Frankfurt, and used it to win second place in an amateur competition hosted by Sudwestfunk (SWF) Radio.
by Rolf Semprebon
This CD contains 4 unreleased tracks from 1971 (19mins) recorded at a broadcast session for SWF radio. Those songs are in the vein of the original album -- even better -- heavy guitars cosmic organ! Bonus: A complete album recorded in 2001 by bandleader and guitar player Bernhard Rendel with a scope reaching from space rock and lyrical elements to floating psychedelic sounds. Resourceful and innovative: My Solid Ground 2001. Informative 12 page booklet cool photos.
Tracks
1. Hysterical - 2:48
2. BBB - 6:41
3. Superconstellation - 2:38
4. Short Waves - 6:55
5. Drive - 5:25
6. Grand Nightmare - 6:35
7. 1-40 - 9:51
8. The Cruzifixion - 4:11
9. Frogster - 4:16
10.Moonclouds (On Earth) - 4:10
11.Mystery Metal Thing - 11:12
All compositions by Bernhard Rendel
