Fusion/Jazz Rock/Progressive Rock Denmark 1970s (Tracks) Secret Oyster – “Mind Movie”

Fusion/Jazz Rock/Progressive Rock Denmark 1970s (Tracks)

Secret Oyster (Copenhagen, Denmark)

Instrumental Music

“Mind Movie” (written by Karsten Vogel)  A2 track included on the album “Sea Son” 

Released on CBS Records ( CBS 80489), in 1974

Line-up/Credits :

Claus Bøhling / guitars
Kenneth Knudsen / piano, Moog
Karsten Vogel / alto & soprano saxes, organ
Jess Staehr / basses
Ole Streenberg / drums, percussion

Finn Ziegler / violin (1,5)
Hans Nielsen / violin (1,5)
Bjarne Boie Rasmussen / viola (1,5)
Erling Christensen / cello (1,5)
Palle Mikkelborg / strings score & arrangements (1,5), trumpet (3,6)
Kasper Winding / congas & percussion (3)

Artwork: Peder Bundgaard

  • Phonographic Copyright (p) – CBS Inc.
  • Recorded At – Rosenberg Studio
  • Mixed At – Rosenberg Studio
  • Mastered At – Artisan Sound Recorders
  • Engineer – Freddy Hansson
  • Illustration, Art Direction – Peder Bundgaard
  • Photography By – Erik Bredahl
  • Producer – Poul Bruun

Recorded July 4-7 1974 and mixed September 16-19 1974 at Rosenberg Studios, Copenhagen.
℗ 1974 CBS, Inc.
Made in Holland.

The title is sometimes stated as “Sea Sun” though this mis-spelling only occurs on the spine.
Both front cover artwork and center label says “Sea Son”.

Track-List :

1. Oysterjungle (2:57)
2. Mind movie (9:14)
3. Pijamamafia (6:07)
4. Black mist (3:40)
5. Painforest (5:40)
6. Paella (8:23)

Total Time: 36:01

Bonus tracks on 2006 CD release:
7. Sea Son (5:25)
8. Alfresco – pt1 (5:39)
9. Alfresco – pt2 (2:07)

Founded in 1972 – Disbanded in 1977 – Regrouped in 2007

SECRET OYSTER became somewhat of a super group when members of BURNIN’RED IVANHOE, CORONARIAS DANS and HURDY GURDY formed this unit. By the end of BURNIN’ RED IVANHOE’s career (that spawned seven years), Karsten Vogel started forming a new band taking along with him BRI’s drummer Thrige and often jazz-partner bassist Vinding with him. Knowing from the Danish circuit guitarist Claus Bohling, he enticed him into the band that took its name from a track from BRI’s second album Secret Oysters Service. The last to join was keyboardist Knudsen, who had never played an electric instrument prior to entering this outfit, but was playing in a piano avant-garde trio. Knudsen would prove particularly helpful as the second songwriter of the group and allowing Vogel to leave the keyboards at will to play wind instruments.

Their sound recalled MAHAVISHNU ORCHESTRA, NUCLEUS, Herbie Hancock’s Mwandishi and Sextant albums as well as Miles DAVIS’s Bitches Brew. Quite a success and this prompted their record company to release that album internationally but under the title “Furtive Pearl”. After a line-up changze that saw the rhythm section get a complete overhaul (Staer for Vinding and Streenberg for Thrige) their second album, Sea Son, is even better but failed to get international public recognition, even if all connoisseur will mostly agree on this album being the band’s apex. At one point the line-up of this group was also exactly the same as BURNIN’ RED IVANHOE (after it got revived because they also developed rockier material) as well as a third outfit, “Day Of The Phoenix”. This did not stop them from writing the music to a ballet “Vidunderlinge Kaelling” released as an album under the name of “Astarte”, with very mixed results just a few months before their final album, the much better “Straight From The Krankenhaus” also known as “Orlander”.

Aside from their confusion of their album names and general discography, SECRET OYSTER is a great jazz-rock/fusion outfit that deserved a lot more attention for they were almost as good as the groups named above.

All four original albums have received a thorough and outstanding remastering with added bonus tracks on the great label Laser’s Edge. Secret Oyster got back together (Bohling, Vogel and Knudsen plus a new bassist and drummer) during the re-issues of their albums, touring the states and Denmark. Also maybe in the works, an un-released studio album (roots in the Astarte ballet deal) and a live album from these years could see the light of day in the following years.

Discography :

Secret Oyster (1974)
Sea Son (1975/2006)
Vidunderlige K?lling (1976)
Straight To The Krankenhaus (1977)
Secret Oyster – “Sea Son” Album cover photo (front)


Secret Oyster – “Sea Son” Album photo (A’ Side)


Secret Oyster – “Sea Son” Album cover photo (back)

Secret Oyster, 1973

Secret Oyster 1973

Secret Oyster

Secret Oyster4

Secret Oyster

Secret Oyster6

Secret Oyster, 1974

Secret Oyster 1974

Secret Oyster

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Secret Oyster

Secret Oyster – “Mind Movie” Video file link on YouTube

Secret Oyster – “Sea Son” Full Album Video file link on YouTube

Secret Oyster Band’s Page on Discogs

Secret Oyster Band’s Page on Facebook

Secret Oyster Band’s Page on Rate Your Music

Karsten Vogel Artist’s Homepage

Secret Oyster -“Sea Son” Full Album Download Link on Trippy Jam Blog

Secret Oyster Band’s Page on Spotify

Secret Oyster Band’s Page on Apple Music

Secret Oyster – “Sea Son” Full Album Download Link on Rock Archeologia 60-70 Blog









Folk/Progressive Rock Norway 1970s (Tracks) Folque – “Harpa”

Folk/Progressive Rock Norway 1970s (Tracks)

Folque (Oslo, Norway)

Traditional song, the Folque’s version of the song is based on the Scottish song “The Cruel Sister (Child Nr. 10) “, the Norwegian song “Horpa” and the Scottish ballad “ballade Riddles Wisely Expounded (Child Nr. 1)”.

“Harpa” A6 (traditional, arranged by Folque) track included on the album “Folque”

Released on Philips Records (6317 025) in 1974

Line-up/Credits :

Lisa Helljesen: vocals
Jørn Jensen: vocals, guitar, dulcimer
Trond Villa: fele
Morten Bing: guitar, mandolin
Eilif Amundsen: banjo, bass, guitar
Trond Øverland: bass, piano

Producer – Øystein Sunde

Photography By [Foto], Layout – Macro Foto

Photography By [Foto], Layout [Macro Foto] – Bjørn Morisse, Terje Berntsen

Lacquer Cut By – Ivar Finsen

Management [Road Manager] – Espen Løvstad

Engineer [Teknikere] – H. P. Danielsen, Inge Holst-Jacobsen

Recorded At – Rosenborg Studio

Phonographic Copyright (p) – Phonogram A/S

Copyright (c) – Phonogram A/S

Lacquer Cut At – Rosenborg Studio

Pressed By – Musikkindustri A/S

Track List :

1. Skjøn jomfru (4:26)
2. Ravnene (2:31)
3. Springar (1:17)
4. Sjugur og trollbrura (2:37)
5. Nissedans (2:25)
6. Harpa (4:49)
7. Sinclairvise (3:24)
8. Reinlender (1:57)
9. Alison Gross (3:49)
10. Steffa går til Selfjord (3:50)
11. Reven og bjørnen (3:22)
12. Heimatlåta (1:42)

Lyrics :

Det bodde en bonde ved en strand
Harpa toner var og fin
To fagre døtre hadde han
Fa la la la la la la la la la
Den eldste til den yngre sa
Harpa toner var og fin
La oss ned til elva dra
Fa la la la la la la la la la
Den yngste gikk føre som en sol
Harpa toner var og fin
Den eldste etter som orm i jord
Fa la la la la la la la la la
Den yngste satte seg på en stein
Harpa toner var og fin
Den eldste dyttet, hun var ikke sein.
Fa la la la la la la la la la
Hun strakte ut sin hvite hand
Harpa toner var og fin.
Og ropte søster hjelp meg iland
Fa la la la la la la la la la
Da hvis jeg ikke hjelper deg
Harpa toner var og fin
Så vil din kjæreste ekte meg
Fa la la la la la la la la la
Det var to gjetere på den strand
Harpa toner var og fin
Og de så liket som fløt i land
Fa la la la la la la la la la
De tok fra hennes kropp et ben
Harpa toner var og fin
Og lagde av det en harpe ven
Fa la la la la la la la la la
De tok to lokker av hennes hår
Harpa toner var og fin
Og harpa gyldne strenger får
Fa la la la la la la la la la
Til søsterens bryllup ble harpa bragt
Harpa toner var og fin
Og på en strubbe der ble den lagt
Fa la la la la la la la la la
Og det var senere på denne kveld
Harpa toner var og fin
At harpa spilte av seg selv
Fa la la la la la la la la la
Da den første strengen lød
Harpa toner var og fin
Den fortalte om brudens onde dåd
Fa la la la la la la la la la
Da den andre strengen slo
Harpa toner var og fin
Bruden som forstenet sto
Fa la la la la la la la la la
Songwriters: traditional scottish

Folque is a Norwegian folk rock band founded in 1973 by Morten Bing, Jørn Jensen (musician), Eilif Amundsen, Lisa Helljesen, Espen Løvstad, Trond Øverland, and Trond Villa. In 1972 a subset of the band was initially named «Brød & Vin» (Bread & wine), they changed the name to Folque in the spring of 1973 after adding members and traditional instruments to the ensemble.

The band was dissolved in 1984, but reunited in 1994 and in 2004 for playing live. Folque is re-established in 2014 with Lisa Helljesen as lead singer.

Their musical style is linked to Malicorne in France and to Steeleye Span in the UK.

Most of the discography is difficult to find, as only the first three albums were re-released on CD.

This Norwegian folk outfit started out in the early 70s mixing acoustic instruments (fiddle, mandolin, banjo and piano) with the electric guitar, bass and keyboards. They created an earthy music made up of playful, catchy melodies with male/female vocal interplay. Despite important personnel changes over the years (their first-rate lead female singer was replaced, among others), they have managed to remain true to their sound and have churned out over ten fine albums between 1974 and 1998. In 2004 they reunited to play a gig at the Norsk Folkemuseum and don’t seem to show any signs of slowing down.

Their highest rated album is their third, entitled “Vardøger”, closely followed by their first two, “Folque” and “Kjempene på Dovrefjell” released in the mid-70s, and by “Fredløs” and “Sort messe” released in the early 80s. Their material is pure, often foot-stomping folk with Norwegian vocals. Despite the mostly minor keys, it is fresh and exhilirating and dons some wonderful arrangements.

Highly recommended to fans of MALICORNE, THE POGUES, KEBNEKAISE and GRYPHON as well as those heavily into Nordic and Irish folk. A good introduction is the recent live sampler “Stormkast”.

Folque formed in Oslo in 1972 with the aim of making a Norwegian form of folk-rock, using guitars and banjos instead of the traditional treatment with Hardanger fiddle or solo vocals. Their first album, ‘Folque’ (1974), also included adaptations of two Scottish folk songs (among them “Allison Gross” in a similar arrangement to the 1973 Steeleye Span version, although with Norwegian lyrics), but for the future they stuck to Scandinavian material. For this reason, ‘Kjempene På Dovrefjell’ (1975) and ‘Vardøger’ (1977) are usually considered their best albums, offering great insight into Norwegian folklore, i.e. medieval ballads, old Norse poems set to music, fiddle instrumentals and traditional dance music. Their musical ability is impeccable, highlighting fiddle, mandolin, dulcimer and electric guitars. The arrangements always function well, meaning that the bass and drums do not disturb the original rhythm and rhymes. On top of this, Lisa Helljesen had a clear and strong voice (a bit similar to Maddy Prior in Steeleye Span and Mandy Morton in The Spriguns), perfectly suitable to the music. There is no better starting place than ‘Vardøger’, where their own blend of folk-rock was fully developed.

After some personnel changes, Folque signed to the political left-wing label Mai after their Philips contract expired. Jørn Jensen and Trond Villa were later involved in Kong Lavring and the group Folk & Rackare (along with Swedish musicians). ‘Dans, Dans Olav Liljekrans’ (1978) revealed the new line-up to be as musically competent as the previous one, but the new female vocalist Jenn E. Mortensen had a rougher voice (and a strong North-Norwegian regional accent) that might be disturbing to those who dislike her more aggressive attitude (less suitable to Folque’s music, in my opinion). ‘Fredløs’ was a transitional record with a wider musical span than their previous records. Their last two original albums contained increasing numbers of self-penned compositions, ‘Sort Messe’ (1982) being dominated by the competent songwriting of Morten Bing.

Folque were undoubtedly the most influential Norwegian folk-rock band and arguably among the best in Europe, on a par with Malicorne in France or Ougenweide in Germany.

Folque : the history of a Norwegian folk rock group

Back in 1972 I was one of many young people playing strange songs on minor-tuned guitars at the Folk Clubs of Oslo. Usually with a friend called Eilif Amundsen. In the spring I was asked to participate on an anti-EEC-record. I got together with a bunch of pals, and played my own song “Si ja til selvstendighet (Yes, to independence!). Afterwards I toured along the southern coast and became acquainted with another singer/guitarist, JørnJensen. After the tour I joined Eilif and his brother and went with them to London, where I met a couple of other Norwegians, Lars Helljesen and Espen Løvstad.

That was the beginning of Folque.

I the fall Jørn, Eilif and I started a group. We needed a singer and asked Lars’ sister, Lisa. The result was the folk group “Brødog Vin” (Bread and Wine). We were a strange musical mixture: Eilif and I played American Old Time (in the New Lost City Ramblers tradition), Jørn played Jansch-style guitar, and Lisa was a committed fan of the American singer Melanie. But we rehearsed some songs and got our first gigs

In the spring 1973 we had begun to develop our own style: Translated English folk songs, traditional Norwegian songs, guitar, banjo, mandolin, and dulcimer. We changed our name to FOLQUE and were joined by Espen (who later on was to become our road manager) on percussion, Trond Øverland on bass-guitar and Trond Villa on fiddle. Jørn bought a Telecaster, and suddenly we were no longer an acoustic folk group, but an electric folkrockband.

Early in 1974 we made our first TV-appearance in “Flimra“. Later the same spring we recorded a demo in the basement-studio of Øystein Sunde, who brought the tape to the record-company Phonogram. A contract! The first album Folque was recorded and released the same fall. Øystein produced, and a drummer joined us in the studio. The album was well received, and we even had a radio-hit with a traditional dance tune, “Reinlender“.

But as soon as the record was finished, the band was beginning to fall to pieces. Personal and musical disagreements led to Jørn’s departure, and Lars Helljesen joined us as new guitarist.

With Lars and his Stratocaster, a permanent drummer became necessary, and before we recorded the second album, Morten Jakobsen had joined us on drums. We now were a full-fledged folkrock band! In the summer 1975 we played the Forum Festival in Arendal and the Festigavla Festival in Ålesund.

Kjempene på Dovrefjell (The Giants in the Dovre Mountains) was recorded in the fall and was perhaps our best album ever. The same fall we appeared in

Soon after Trond Ø. left us, going to India, and Eilif changed from banjo to bass a special television-program, “Stev og synthesiser”.

 The spring 1976 we toured in Trøndelag and in Western Norway, and in the summer we appeared at the Västervik Festival in Sweden. In the fall we recorded our third album, Vardøger, but soon after, Lisa and Trond V. also left the group. The remaining members wanted to continue the group, but this was not easy without our “stars”, Lisa and Trond, but Lars was able to find replacements for both.

First a new vocalist, JennMortensen, and then a new fiddler, Øyvind Rauset, joined in the spring 1977. That summer we played at Kalvøya, the biggest festival in Norway at the time, and at the Horten Festival.

In 1978 we left Phonogram to join up with the left-wing record company Mai. They released Dansdans, Olav Liljekrans (Dance, dance, Olav Liljekrans) the same year. The title track was maybe our most popular song, but the album was the worst we ever made. The critics blamed it on the new members of the band, but it was the producer who stunk.

Eilif had left the band in the spring 1978 and new bassist was Per Vestaby. With this line-up we played the Television-show “Musikalskgjestebud” in the fall, and the Troilltampen Festival next summer. We made a second album on Mai, Fredløs  (Outlaw), in 1980. On this album Jenn and Øyvind got a chance to show that they were excellent musicians. Arvid Esperø produced the album and was an inspiration to work with.

1980 saw new changes in the band, a new drummer, Pål Søvik, and then a new bassist, Roald Thommesen. We left Mai and signed up with a new record company, Talent Records. On the next album, Landetditt (Your Homeland), Øyvind’scompositions and synthesisers held a central position.

he last chapter in the history of Folque started when Øyvind left in 1981. Without a fiddler, Lars’ guitar and my mandolin took the lead, and did quite well. Sort Messe (Witches’ Mass) was recorded next year. This album was mostly Lars’ and mine compositions and my lyrics, less traditional folk. Arvid was back as producer, and the result was in our opinion an excellent, but rock-oriented record.
In the summer 1984 we were asked to play at a festival in Denmark. At that moment we had almost disbanded, but we said yes. Øyvindjoined us, Trond Ø. was back on bass, and the concert on the Midt-Fyn Festival was one of our best ever. Luckily, it was recorded, and later on (in 1991) released as a live-album, Dansdans …  (Dance, dance  …).

The appearance at the Midt-Fyn Festival was to be Folque’s last, although Jenn, Lars and I continued to play together for some years as an acoustic trio, “Jomfru Mortensens trio”.

Folque was reunited for one gig in 1994, when we held a 20 years anniversary concert in Chateau Neufin Oslo. In 1993 our first album Folque had been reissued on CD, Kjempene … and Vardøger following in 1999.

In 1998 the CD Stormkast was released, containing the best tracks from Landet ditt and Sort Messe, together with live material from the Midt-Fyn Festival. I 2004 Folque was reunited again (but without a drummer) for two gigs, the last at Norsk Folkemuseum in Oslo at Midsummer Eve.

And that’s all folks – so far! Folque didn’t really ever do many gigs, although we did play from Kristiansand in the South to Tromsø in the North, and at all the important Festivals in Norway and a couple in Sweden and Denmark. We never did get much money, and hardly any fame, but we made eight albums over the ten years we played together, and hopefully a few people still remember our music.

Discography :

Folque (1974)

Kjempene på Dovrefjell (1975)

Vardøger (1977)

Dans, dans Olav Liljekrans (1978)

Folques beste (1979)

Fredløs (1980)

Landet ditt (1981)

Sort messe (1983)

Dans dans (1991)

Stormkast (1998)

Folque – “Folque” Album cover photo (front)



Folque – “Folque” Album photo (A’ Side)


Folque Photos

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Folque – “Harpa” Video file link on YouTube

Folque – “Folque” Full Album Video Playlist on YouTube

Folque Band’s Page on Spotify

Folque Band’s Page on Apple Music

Folque Band’s Page on Rate Your Music

Folque Band’s Page on Discogs

Folque Band’s Homepage

Folque – “Folque” Full Album Download Link on FolkYourself Blog




Experimental/Jam Band/Jazz Rock/Krautrock/Progressive/Psychedelic Rock Germany 1970s (Tracks) Guru Guru – “The Girl From Hirschhorn”

Experimental/Jam Band/Jazz Rock/Krautrock/Progressive/Psychedelic Rock Germany 1970s (Tracks)

Guru Guru (Heidelberg , Baden-Württemberg, Germany)

Instrumental Music

“The Girl From Hirschhorn” (written by M. Neumaier, H. Hartmann, H. Nejadepour) A2 track included on the album “Dance Of The Flames”

Released on Atlantic Records (ATL 50 044)  in 1974

Related Artists :
Hausmusik, Ja Ja Ja, Pension Winnetou, Roland und die »Dadadogs«, Take Five
Also  known as :
The Guru Guru Groove [1968-70], Guru Guru Sunband

Line-up/Credits :

Houschäng Nejadepour / electric & acoustic guitars, vocals (5)
Hans Hartmann / bass, acoustic bass
Mani Neumeier / drums, percussion, vocals

Engineer – David Siddle

Engineer [Assistant Engineer] – Günter Theis, Uwe Schier

Photography By – Tai Lüdicke

Produced by : Guru Guru

Recorded at Studio 70, Munich, April 12 to 20, 1974.

Green/White WEA Musik GmbH company inner sleeve.
Made in Germany

Track-List :

1. Dagobert Duck’s 100Th Birthday (7:39)
2. The Girl From Hirschhorn (8:33)
3. The Day Of Timestop (5:22)
4. Dance Of The Flames (3:28)
5. Samba das Rosas (4:05)
6. Rallulli (4:35)
7. At The Juncture Of Light And Dark (3:12)
8. God’s Endless Love For Men (7:24)

Formed in 1970, Guru Guru was a German prog rock outfit whose largely instrumental work set the group squarely within the boundaries of what is commonly referred to decades later as Krautrock. While guitarist Ax Genrich, Uli Trepte, and keyboardist/drummer (and Cluster collaborator) Mani Neumeier remained the core of the band throughout its ten-year existence, a number of other musicians passed through the band’s ranks, including Cluster co-founder Hans-Joachim Roedelius, who played keyboards on 1976’s Mani und Seine Freunde, and keyboardist Ingo Bischof, who assumed increasing control of the group until its 1979 dissolution following the release of Hey Du, recorded under the name the Guru Guru Sun Band

Formed in 1968 by Swiss percussionist Marcus “Mani” Neumeier (who had played with jazz musicians Irene Schweizer and the Globe Unity Orchestra), bassist Uli Trepte and former Agitation Free guitarist Ax Genrich, the Guru Guru Groove Band (later shortened to Guru Guru) offered a surreal mixture of psychedelia, humour, improvisation and collage technique. It was different from what the most famous German bands of the period were offering, and perhaps less revolutionary. They were taking inspiration from Jimi Hendrix and Frank Zappa rather than inventing a whole new kind of electronic music. Their albums were played, recorded and organized in a sloppy manner. Ufo (Ohr, 1970) contains five lengthy free-form pieces, including their anthem, the 20-minute juggernaut Der LSD Marsch. The other tracks pale compared with this masterpiece: Stone In (5:43), Girl Call (6:21), Next Time See You At The Dalai Lhama (5:59), Ufo(10:25). Ax Genrich was not an academic guitarist, and he could make Hendrix turn in his grave, but he was a living hurricane, staging manic assaults to the brain.

The four jams on Hinten (Ohr, 1971) are less chaotic and less primitive, but, if possible, they are even more extreme, misunderstanding Jimi Hendrix and the Cream as a wall of noise that will be surpassed only by the Japanese bands of a few years later:Electric Junk (10:58), The Meaning Of Meaning(12:09), Bo Diddley (9:56), Space Ship (11:05).

Kanguru (Brain, 1972) may not be the most creative of Guru Guru’s albums, but it is played in a more structured manner and produced in an almost professional manner. THe 15-minute Immer Lustig is a classic of space-rock. Oxymoron (10:33), Baby Cake Walk (10:57) and Ooga Booga (11:11) all have their share of brilliant brainscapes.

Der Elektrolurch (Brain, 1974) is an anthology.Space Ship is an anthology of their best years (1971-74).

As the line-up began changing, Neumeier remained the only constant member. Guru Guru (Brain, 1973), Don’t Call Us (Atlantic, 1974), Dance of the Flames (Atlantic, 1974), Mani und Seine Freunde(Atlantic, 1975), Tango Fango (Brain, 1976),Gobetrotter (Brain, 1977), Sunband Hey Du(Brain, 1979) were variations on the same theme.

After a long hiatus, Guru Guru returned as a clone of Hawkwind with Mani in Germani (1982), Neue Streiche (1983), Jungle (Casino, 1987), Shake Well(1993), Wah Wah (Think Progressive, 1995), Moshi Moshi (Think Progressive, 1998), 2000 Gurus(Funfundvierzig, 2000).

Privat (Admission, 1993) is credited only to Neumeier and is an experimental drum album.

Founded in Heidelberg, Germany in 1968 – Still active as of 2017

“We`re not cosmic rock, we`re comic rock.”
Mani Neumeier, 1973

A free form jazz mentality, avoiding musical clichés and commercialism, has always characterized the music and philosophies of German freak `n roll band GURU GURU who have categorically occupied their own special stage within the realms of modern music. From it`s LSD induced origins in the late `60s to it`s present day configuration which still rocks and grooves with intensity, countless personnel changes have occurred making it more of a succession of musical ventures and concepts under the moniker GURU GURU, which came about as a tongue-in-cheek reference to the BEATLES and their guru worshipping of the late `60s. GURU GURU were one of the first bands to become associated with the German Krautrock movement from that era along with bands such as XHOL CARAVAN, AMON DUUL and CAN. However, the band was not partial to the absurd stereo-typing and preferred the terms “acid space” or simply, “acid rock” which better described their loud, trippy, improvisational music.

The constant driving force behind GURU GURU since it`s inception as THE GURU GURU GROOVE BAND in 1968 has been the unusual intellect and masterful musicianship of drummer MANI NEUMEIER. During the first half of the 1960s he embraced the jazz interpretations of JOHN COLTRANE, THELONIOUS MONK, MAX ROACH and other jazz mentors from which he would develop his own style of impulsive drumming. During this period he played with various traditional jazz groups in Zurich, Switzerland culminating with work with Swiss jazz pianist IRENE SCHWEIZER. It was during this time that he hooked up with bassist ULI TREPTE with whom he shared the desire to create louder more adventurous music which would follow the paradigms of JIMI HENDRIX and FRANK ZAPPA. Joined by guitarist EDY NAGELI, they played their first gig in Heidelberg, Germany in August 1968 and shocked audiences who had been familiar with Neumeier`s work in the more mainstream European jazz scene.

After a few more lineup changes, during which they briefly became a quartet, they were joined by ex- AGITATION FREE guitarist AX GENRICH whose pyrotechnical aspirations were just what Neumeier and Trepte were looking for. On the insistence of their fans who followed them from gig to gig, their debut album, “UFO”, was released in early 1970 on the Ohr record label which by that time was already known for promoting avant garde music. Their guitar driven music was wild and imaginative and also incorporated many primitive atmospheric effects using echo boxes, fuzz pedals, wah wah pedals, processed signals and microphone distortion which predated the electronic instrumental music of the seventies. Drug experimentation with LSD also acted as a catalyst and their live performances were often better than material recorded in the studio because of the high decibel levels of their playing. This extravagant free nature of their music was also meant as a left wing political statement as the band was also part of the Socialist German Student Union who would read out political statements during their performances. These free-thinking attitudes were also reflected through their communal lifestyle, living on the road and later in a house with their groupies and roadies

Tripped out philosophies as well as a nod towards one of their rock`n roll heroes, BO DIDDELEY appeared on their next acid soaked LP, Hinten in 1971 while the following album, Kanguru, took musical experimentation to soaring heights. With the aid of German production wizard CONNY PLANK it was one of the first albums released on the new German Brain record label which was created by former employees of Ohr Records. It contained long discordant compositions with psychedelic textures which incorporated more recognizable elements of jazz, hard rock and pop music laced with all kinds of bizarre humour and drugged out vocals, not surprisingly becoming an underground favourite of long haired freaky people everywhere.

The first personnel changes occurred on a self-titled album which was released in December 1972 with ex-NIGHT SUN bassist BRUNO SCHAAB replacing ULI TREPTE who disappeared under similar circumstances to those which resulted in the decommissioning of SYD BARRETT from PINK FLOYD. Attempts were made at a couple of psychedelic `60s sounding singles as well as another far out tribute to a rock`n roll hero, this time a medley of EDDIE COCHRAN classics from the `50s. But long trippy abstract compositions remained their forté and the album also spawned a whacked out piece of music which would become their trademark entitled “Der Elektrolurch”. It was about an imaginary electric amphibian creature that Neumeier and Genrich cooked up while travelling on their tour bus which Nuemeier would act out on stage during live performances wearing a costume he designed much like PETER GABRIEL of GENESIS was doing around the same time.

In 1973 GURU GURU were signed to the heavy hitting Atlantic Records ( UK ) label for their fourth album ” Don`t Call Us We Call You ” which brought on further changes in personnel and significant musical departures. Bassist HANS HARTMAN, a veteran of the European jazz scene replaced BRUNO SCHAAB and with his more precise and dominating bass playing giving the band a tighter sound. AX GENRICH also watered down his guitar experiments to include more streamlined blues explorations as well as some country ingredients. A group of Schoshonen native Indians spent some time with with the band in their communal ways of life during this period and Neumeier`s tribal curiosities resulted in an ethno track entitled “Round Dance”. There was also more emphasis on Neumeier`s quirky vocals but nonetheless the album didn`t sell as well as Atlantic had anticipated. This signaled the end of an era of the band which many consider to be GURU GURUs definitive years.

Persian / German guitarist Houschang Nejadepour who had played with the recently dissolved German progressive jazz-rock band Eiliff joined the band in early `74. This generated the most technically spectacular GURU GURU album, Dance Of The Flames which sounded at times like THE MAHAVISHNU ORCHESTRA minus the keyboards and violin as a result of Nejadepour`s fluid speed-of-light guitar lines and eastern influences ( he also played the sitar while with Eiliff ). Like their previous album, “Dance Of The Flames” also had world beat elements with African and Latino rhythms along with the inevitable psychedelic blowouts and silly vocalizations. The album was greeted with mixed sentiments by fans and the press alike and The New Musical Express even called it : “absolutely terrible music”. Nejadepour`s tenure was brief and he left in July `74 and was replaced temporarily with Connie Veit who had previously played with the psyched out “GILA” and the highly experimental avant garde band POPOL VUH. An unofficial CD which surfaced in the late `90s documented some live performances from this period with Veit on guitar.

In 1975 Neumeier would rethink the GURU GURU concept by inviting a potpourri of musical friends to perform with himself and new members Sepp Jandrists and Jurgen Karpentiel on guitar and bass respectively on an album appropriately titled “Mani Und Seine Freunde” ( Mani And His Friends ). Members from KARTHAGO, HARMONIA and KRAAN gave the album a wonderful jazz-rock feel to most of the tracks while members of CLUSTER added surreal touches on a couple of ambient adventures which also included ethereal environmental sounds. It had a joyous feel to it and Neumeier considered it to be the most satisfying GURU GURU project to date.

The more upbeat approaches on ” Mani Und Seine Freunde” set the stage for the next GURU GURU record, “Tango Fango” which would become the template for the funked up jazz-rock flavoured attitudes which would colour GURU GURUs music for the remainder of the seventies. Back on the Brain label, it introduced a full time keyboard player, INGO BISCHOF as well as sax / guitarist, ROLAND SHAFFER who would become a GURU GURU fixture to the present day. In March 1976 the band became the first act to be featured on the acclaimed German rock music TV program Rock Palast ( Rock Palace ) playing music from “Tango Fango” as well as the spaced out signature numbers “Der Elektrolurch” and “Ooga Booga”. They also starred in a movie called “Notwehr” in which they played a freaky hippie band called Rattenfanger (The Ratcatchers )which takes over a small German Hamlet much to the chagrin of the townspeople. On the music side of things two further albums were released ” Globetrotter” ( 1978 ) and “Hey Du” ( 1979 ) interspersed with a long awaited double live album in 1978. . These albums didn`t completely forget the band`s earlier more spaced out socio-political deviations and included weird compositions which spoke out against nuclear power, called for the re-unification of the two Germanies as well as another extended freakout, ” Atomlch” which was reminiscent of the dark sonic images of “Der Elektrolurch”. By the end of the decade GURU GURU had played hundreds of concerts all over continental Europe, parts of the United States as well as acquiring a vibrant following in Japan which still exists to this day.

In the early 1980s the GURU GURU entity went into stasis while Neumeier focused on jazzy solo work as well as other side projects. He also furthered his musical education by taking instruction with an Indian drum master and released an esoteric drum album entitled “Privat” in 1991.

The GURU GURU creature creeped back to form with ” Guru Guru Jungle ” which included a female vocalist, Lisa ( Lysa ) Kraus and contained freakish new wave electronica experiments with the idiosycratic GURU GURU touch. They also became regular performers at the Finkelbach free music festival which they co-founded and continued to record periodically. Throughout the 1990`s and into the 21st century GURU GURUs music fluctuated between pilgrimages to their psychedelic past, straight rock, more freak techno excursions as well as jazz-rock.

Neumeier`s ongoing native tribal drumming convictions from all corners of the planet which have constantly instilled primeval visions into GURU GURUs diverse sound are more conspicuous than ever as the Gurus transcend the new millenium. Continuing to elude any notions of mainstream identity GURU GURUs eternal quest for freedom and contentment through their wonderfully strange music forges on to this day. Their live performances still breath fire and shine with exuberance with no sign of letting up any time soon with concert dates planned well into the year 2010.

Guru Guru – “Dance Of The Flames” Album cover photo (front)


Guru Guru – “Dance Of The Flames” Album photo (A’ Side)



Guru Guru – “The Girl From Hirschhorn” Video file link on YouTube

Guru Guru – “Dance Of The Flames” Full Album Video file link on YouTube

Guru Guru Band’s Page on Spotify

Guru Guru Band’s Page on Apple Music

Guru Guru Band’s Homepage

Guru Guru Band’s Page on Facebook

Guru Guru Band’s Page on Discogs

Guru Guru Band’s Page on Rate Your Music

Guru Guru Band’s Page on Prognosis

Guru Guru Interview on Aural Innovations

Guru Guru Interview on It’s A Psychedelic Baby Magazine Blog

Guru Guru Band’s Page/Discography/Full Albums/Download Links on Lágrima Psicodélica Blog


Krautrock/Progressive/Space Rock Germany 1970s (Tracks) Eloy – “Castle In The Air”

Krautrock/Progressive/Space Rock Germany 1970s (Tracks)

Eloy ( Hannover, Germany)

“Castle In The Air” (written by Eloy) B1 track included on the album “Floating” 

Released on EMI Electrola (1C 062-29 521)  in 1974, Recorded January-May 1974, EMI Studios, Cologne, Germany

Line-up/Credits :

Frank Bornemann — guitar, vocals

Manfred Wieczorke — organ, guitar

Luitjen Janssen — bass

Fritz Randow — drums

Produced by Eloy

Engineered by Wolfgang Thierbach

Crew [Roadie] – Detlev Prescher, Hans-Jürgen Diller, Reinhard Wittke (Asterix)

Design [Cover] – Atelier Patelli

Engineer [2nd] – Helmut Rüßmann

Lyrics By – Eloy (tracks: A1 to B2), Gordon Bennit (tracks: B3)

Lyrics By [With Help From] – Erich Schriever (tracks: A2 to B2)

Management – Markus Figgen

Music By – Eloy

Painting – Jacques Wyrs

Lyrics :

I saw an old man sitting with his head in hands
His eyes reflected the wisdom of his life
His words painted a new world
And my thoughts just followed him
But when he stopped
Something inside tore me apart
And I can’t get it back my castle in the air

Track Listing :

Eloy – “Floating

All songs written by Eloy except where indicated.

Side One
  1. “Floating” – 4:02
  2. “The Light from Deep Darkness” – 14:40
Side Two
  1. “Castle in the Air” – 7:16
  2. “Plastic Girl” – 9:11
  3. “Madhouse” (lyrics by Gordon Bennit) – 5:16

2001 Remastered Edition Bonus Tracks

  1. “Future City” (live) – 4:59
  2. “Castle in the Air” (live) – 8:08
  3. “Flying High” (live) – 3:30

” Album cover photo (front)

eloy floating 2 (2)

Eloy – “Castle In The Air” Video file link on YouTube

Eloy – “Floating” Full Album Playlist on YouTube

Eloy Band’s Page on Spotify

Eloy Band’s Page/Discography/Full Albums Download Links on Muro Do Classic Rock

BlogEloy Band’s Homepage

Eloy Band’s Page on Facebook

Eloy Band’s Page on ProgArchives

Eloy Band’s Channel on YouTube

Eloy Band’s Page on Discogs

Eloy Band’s Page on Rate Your Music

Eloy Band’s Interview on It’s A Psychedelic Baby Magazine Blog

Eloy Band’s Interview on DPRP Net

Eloy Band’s Page on Google’s Music Store


Fusion/Jazz Rock/Progressive Rock Sweden 1970s (Tracks) Lotus – “Marschvals”

Fusion/Jazz Rock/Progressive Rock Sweden 1970s (Tracks)

Lotus (Malmö, Skåne County, Sweden)

Instrumental Music

“Marschvals” (written by Lotus) A4 track included on the album “Lotus”

Released on SMA Records (SMA 3001) in 1974

Line-up/Credits :

Anders Lindvall / guitar, vocals
Robert Larsson / guitar
Claes Ericsson / keyboards
Stefan Berggrensson / bass
Henning Öfverbeck / drums

Lotus – “Lotus” Album cover photo (front)

lotus 1 (2)


lotus 3

Lotus – “Marschvals” Video file link on YouTube

Lotus – “Lotus” Full Album Video file link on Dailymotion

Lotus – “Lotus” Full Album Audio file link on Spotify

Lotus Band’s Page on Discogs

Lotus Band’s Page on Prog Archives

Swedish Progressive Rock Page on Facebook

Lotus – “Lotus” Full Album Playlist on Spotify

Lotus – “Lotus’ Full Album Download Link on Rock Archeologia 60-70 Blog

Hard Rock/Heavy Progressive Rock/Heavy Psychedelic Rock/Space Rock U.K. 1970s (Tracks) Pinnacle – “Astral Traveller”

Hard Rock/Heavy Progressive Rock/Heavy Psychedelic Rock/Space Rock U.K. 1970s (Tracks)

Pinnacle (Liverpool. Merseyside, U.K.)

“Astral Traveller” A4 (A side closing track),  (written by Mylett/Thomas) included on the album  “Assasin” on cover “Assassin” on label

Released on Stag Music ( HP 12S) in 1974

Line-up/Credits :

Alan Lawrence – Bass
Neil McKenna – Drums
Dave Mylett – Organ
Owen McCann – Vocals
Paul Thomas – Guitar

Dave Roylance – producer

Mick John – Engineer

Ken Travers – Photography 

Pinnacle – “Assasin” on cover“, Assassin” on label Album cover photo (front)

pinnacle cyborg assassin 1

Pinnacle – “Astral Traveller” Video file link on YouTube

Pinnacle – “Assassin” Full Album Video file link on YouTube

Pinnacle Band’s Page on Discogs

Pinnacle Band’s Interview on It’s A Psychedelic Baby Magazine Blog

Pinnacle Band’s Page/Full Album Download Link on Muro Do Classic Rock Blog

Pinnacle – “Assassin” Full Album Download Link on Rock Archeologia 60-70 Blog


7/12-inch Singles/E.P.s Acoustic/Classical Guitar/Flamenco/Jazz/World Music Spain 1970s Paco De Lucia – “Entre Dos Aguas (Rumba)”

7/12-inch Singles/E.P.s Acoustic/Classical Guitar/Flamenco/Jazz/World Music Spain 1970s

Paco De Lucia (Algeciras, Cádiz, Spain)

Instrumental Music

“Entre Dos Aguas (Rumba)” A’ Side single released on Philips (60 29 261) in 1974

Entre dos aguas is an instrumental flamenco rumba created by the Spanish guitarist Paco de Lucía, included as the first single on the album Fuente y caudal 1973. It was recorded with two guitars (the second played by his brother Ramón de Algeciras), with a bass and a bongo, instead of the traditional palmas played on the rumbas.

At first the album did not have much commercial success, being practically discontinued in a few months. But Jesus Quintero, his representative at that time, and several other journalists were determined that this piece of music be heard on the radio. They convinced the record company to edit it as a single, going on sale in 1974.

As a single, Entre dos aguas sold more than 300,000 copies, being a gold single in 1976, and was 22 weeks at the top of the sales charts, catapulting the guitarist’s career.

After the success of the song as a single, the label reedited the album Fuente y caudal in 1975, it was released in cassette format in 1981 and in CD format in 1987. Likewise, the song was included in several compilations.

Since its inception, Entre dos aguas is considered a masterpiece of flamenco, being the most popular and well-known song of the artist, both nationally and internationally. However, it was not a song worked with time, but an improvisation that Paco had to perform at the time of recording the disc by order of José Torregrosa, the producer, considering that it was incomplete.

Apparently, Paco used other references to improvise the song, such as the song Te estoy amando locamente, by Las Grecas, and the song he co-written Caramba, carambita, by Los Marismeños, where in the latter can be seen more clearly the similarity.

Paco De Lucia – “Entre Dos Aguas” A’ Side single cover photo (front)

paco de lucia entre dos aguas 1 (2)

Paco De Lucia – “Entre Dos Aguas” A’ Side single photo

paco de lucia entre dos aguas 3 (2)

Paco De Lucia – “Entre Dos Aguas” A’ Side single photo

paco de lucia entre dos aguas 2

Paco De Lucia – “Entre Dos Aguas” Video file link on YouTube

Paco De Lucia – “Entre Dos Aguas (Rumba)” Live Performance Video file link on YouTube

Paco De Lucia – “Fuente Y Caudal Full Album Video file link on YouTube

Pace De Lucia Artist’s Page on Spotify

Paco De Lucia Artist’s Page on Facebook

Paco De Lucia Artist’s Page on Discogs