Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s (Tracks) Twenty Sixty Six And Then – “Reflections On The Future”

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

Twenty Sixty Six And Then (Mannheim, Baden-Württemberg , Germany)

Krautrock/Progressive Rock Band

“Reflections On The Future” (written by Veit Marvos/Geff Harrison) B1 track included on the album “Reflections On The Future”

Released on United Artists Records (UAS 29 314 I) in 1972

Line-up/Credits :

Geff Harrison / lead vocals
Gerhard Mrozeck / acoustic & electric guitars
Steve Robinson / keyboards
Veit Marvos / keyboards
Dieter Bauer / bass
Konstatin Bommarius / drums


Wolfgang Schönbrot / flute
Curt Cress / drums

Arranged By – Twenty Sixty Six And Then

Bass Guitar – Dieter Bauer

Design [Cover-Design] – Günter Karl

Drums – Konstantin Bommarius

Electric Guitar, Acoustic Guitar, Vocals – Gagey Mrozeck

Engineer – Dieter Dierks

Lead Vocals – Geff Harrison

Lyrics By – Harrison

Organ, Electric Piano [E-piano], Piano, Mellotron, Percussion, Vocals – Veit Marvos

Organ, Electric Piano [E-piano], Vibraphone [Vibes], Synthesizer, Mellotron, Vocals  Steve Robinson

Photography By – Gerhard Vormwal

Producer [Produced By (Inside Cover)] – Madaus Sound

Producer [Produced By (On Record Labels)] – Eckhard Madaus

Track-List :

1.  At My Home (Gerhard Mrozeck, Steve Robinson, Geff Harrison) – 05:02
2.  Autumn (Steve Robinson, Geff Harrison) – 09:05
3.  Butterking (Steve Robinson, Geff Harrison) – 07:20
4.  Reflections On The Future (Veit Marvos, Geff Harrison) – 15:47
5.  How Would You Feel (Veit Marvos, Geff Harrison) – 03:22

TWENTY SIXTY SIX AND THEN are: Geff Harrison on lead vocals, Gagey Mrozeck on guitars, Dieter Bauer on bass, Konstatin Bommarius on drums and Steve Robinson with Veit Marvos both sharing duties on organ, electric piano, vibes, synthesizer, mellotron and vocals (the name ‘2066 & THEN’ comes from adding an extra thousand to the number 1066, year of the historical battle of Hastings). Their heavy progressive style has been compared to that of DEEP PURPLE, VANILLA FUDGE and IRON BUTTERFLY. After releasing their first album, individual members got involved in different projects that never really stood the test of time, so ‘Reflections on the Future’ is their only legacy, and a fine one at that.

Their dramatic organ-drenched, complex music sometimes dons symphonic elements, but the band isn’t afraid to dive into some heavy guitar/organ jamming either, featuring elements of jazz, some high-octane rhythmic parts and quick changes, mixed with weird psychedelic electronic effects – the hoarse vocals, however, perhaps better suited to conventional hard rock, may take some getting used to.

Their record company (Second Battle) re-released the album in 1991 under the name ‘Reflections on the Past’. Considered a collectors item, it also contains unreleased masters and some bonus practice sessions from an early rehearsal session in 1991. In 1994, the cd ‘Reflections!’ came out, compiling tracks from both, plus some which had been considered for a second album that never materialized. A combination of poor sales and a ruined German economy at the time sadly forced the premature death of this fine German band, only months after the release of their first album.

Twenty Sixty Six And Then – “Reflections On The Future” Album cover photo (front)


Twenty Sixty Six And Then 


 Twenty Sixty Six And Then – “Reflections On The Future” Video file link on YouTube

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Video file link on YouTube

Twenty Sixty Six And Then Band’s Page on Discogs

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Rockasteria Blog

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Muro Do Classic Rock Blog

Twenty Sixty Six And Then Band’s Page on Apple Music

Twenty Sixty Six And Then Band’s Page on Google Music Store

Twenty Sixty Six And Then Band’s Page on Deezer

Twenty Sixty Six And Then Band’s Page on Napster

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Back In Purple 70 Blog

Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s Personal Playlist on Spotify

Progressive Rock Multinational 2000s (Tracks) Porcupine Tree – “Anesthetize”

Progressive Rock Multinational 2000s (Tracks)

Porcupine Tree (Multinational, more specifically Australia, U.K.)

“Anesthetize” (written by Stephen Wilson) track number 3, track included on the album “Fear Of A Blank Planet” 

Released on Roadrunner Records (RR 8011-2) in 2007

Written in London and Tel Aviv between Jan-July 2006
Recorded between Oct-Dec 2006
Recorded at No Man’s Land, Bourne Place, New Rising, The Artillery, Nightspace, Mark Angelo, Red Room Recorders, DGM.

String arrangements recorded at Angel Studio.

Lyrics :

A good impression of myself
Not much to conceal
I’m saying nothing
But I’m saying nothing revealed
I simply am not here
No way I should appear happy
Stop whining please
Because of who we are
We react in mock surprise
The curse off, there must be more
So don’t breathe here
Don’t leave your bags
I simply am not here
No way I should appear happy
Stop whining please
The dust in my soul
Makes me feel awake in my legs
My head in the clouds
And I’m zoning out
I’m watching TV
But I find it hard to stay conscious
I’m totally bored
But I can’t switch off
Only apathy from the pills in me
Its all in me, all in you
Electricity from the pills in me
Its all in me, all in you
Only eMpTV, cod philosophy
We’re lost in the mall
Shuffling through the stores like zombies
What is the point
What can money buy
My hand’s on a gun
And I find the range, God, tempt me
What did you say
Think I’m passing out
Only apathy from the pills in me
Its all in me, all in you
Electricity from the pills in me
Its all in me, all in you
Only eMpTV, cod philosophy
All the apathy from the pills in me
Its all in me, all in you
Electricity from the pills in me
Its all in me, all in you
Water so warm that day (water so warm that day)
I counted out the waves (I counted out the waves)
As they broke into
The water so warm that day
I was counting out the waves
And I followed their short life
As they broke on the shoreline
I could see you
But I couldn’t hear you
You were holding your hat in the breeze
Turning away from me in this moment
You were stolen as black across the sun
Water so warm that day (water so warm that day)
I counted out the waves (I counted out the waves)
As they broke into shore (as they broke into shore)
Songwriters: Steven John Wilson
Track Listing :
Studio Album, released in 2007
1. Fear of a Blank Planet (7:28)
2. My Ashes (5:07)
3. Anesthetize (17:42)
4. Sentimental (5:26)
5. Way Out of Here (7:37)
6. Sleep Together (7:28)Total Time: 50:08
Line-up/Credits :
Steven Wilson / vocals, guitar, piano, keyboards, string arrangements, mixing
Richard Barbieri / keyboards, synthesizers
Colin Edwin / bass guitar
Gavin Harrison / drums, percussionWith:
Alex Lifeson / guitar solo (3)
Robert Fripp / soundscapes (5)
John Wesley / backing vocals
Dave Stewart / string arrangements & orchestration
London Session Orchestra / strings
Gavyn Wright / orchestra leader

Production :

Porcupine Tree – producers

Steven Wilson – mixing, audio mastering, string arrangements

Dave Stewart – string arrangements

Steve Price – engineer

Lasse Hoile – photography

Formed in 1987 in Hemel Hempstead, Hertfordshire – Suspended activity since 2010

The band started as a solo project of singer-songwriter-guitarist STEVEN WILSON who, back in the early nineties, released a series of increasingly spaced-out ambient excursions. PT is one of the most innovative bands in prog today combining intense musicianship, unconventional composition and superb studio production. They are unquestionably one of the UK’s most inspired and inventive rock groups.

The bands 4th studio album from ’96. “Signify” saw Porcupine Tree truly gell as a studio band producing a blend of psychedelia, heavy rock, melancholic pop, kraut rock, and wild experimentation that brought the best out of each band member. Their latest two albums (“Stupid Dream” and “Lightbulb Sun”) move the band further away from their influences and into their own catagory, by which other bands eventually will be compared. But if you are a fan of progressive, thoughtful, briliantly executed and flawlessly produced music, you will do no better than PT.

PORCUPINE TREE’s eighth studio album, “Deadwing”, was released in March 2005 by Lava Records / Warner Music. Less rock-oriented than the previous album “In Absentia”, “Deadwing” is partially based on a “surreal ghost story” screenplay written by Steven and sometime PORCUPINE TREE / NO-MAN art collaborator Mike Bennion. The 60-minute, nine-track album contains material varying from short airplay-friendly songs such as ‘Shallow’ to lengthier pieces like the 10-minute-plus ‘Arriving Somewhere But Not Here’. Most of the music was written by Steven but the album features the largest amount of full-band compositions since “Signify” in 1997. The album also features guest appearances by Adrian Belew (KING CRIMSON) and Mikael Åkerfeldt (OPETH).

In 2007 the band scored it’s biggest chart success to date with “Fear Of A Blank Planet”. Featuring contributions from Alex Lifeson and Robert Fripp it made the album charts in both the UK and USA and saw them play to larger and larger crowds on the subsequent world tour. This uplift in fortunes was due in part to the band signing to Roadrunner Records who really got behind the band. In 2009 the band released “The Incident” their most ambitious work to date and also their most successful, charting highly in the UK, USA and across Europe.

Porcupine Tree were an English rock band formed by musician Steven Wilson in 1987. The band began essentially as a solo project for Wilson, who created all of the band’s music. By late 1993, however, he wanted to work in a band environment, bringing on frequent collaborators Richard Barbieri as keyboardist, Colin Edwin as bassist, and Chris Maitland as drummer to form the first permanent lineup. With Wilson as lead vocalist and guitarist, this remained the lineup until February 2002, when Maitland left the band and Gavin Harrison was recruited to replace him.

Porcupine Tree’s early sound evoked a style of psychedelic rock comparable to that of progressive rock band Pink Floyd. Upon signing with Kscope record label in the late 1990s, the band approached a more mainstream alternative rock sound. By the early 2000s, the band had signed to a major record label and shifted their sound again, this time in a more progressive metal direction.

After the release and tour in support of their tenth studio album, The Incident, their biggest commercial success to date, the band became inactive as Wilson committed himself to his solo work, and other members began working on their own separate projects. Wilson hasn’t ruled out a reformation, but has no particular plans for it either.

During a career spanning more than 20 years, Porcupine Tree earned critical acclaim from critics and fellow musicians, developed a cult following, and became an influence for new artists. However, their work mostly stayed away from mainstream music, being described by publications such as Classic Rock and PopMatters as “the most important band you’d never heard of.”

Porcupine Tree was born in 1987 as an outlet for the home studio explorations of Steven Wilson (born in London, 3rd November 1967) into psychedelic, experimental and progressive music. In fact Wilson had already been making music for several years prior to this and was a musically precocious teenager who taught himself to play guitar and keyboards. His early tape releases with bands such as Altamont and Karma had already become known in the musical underground although Wilson later described the fact that these tapes had become collectable amongst his fans (largely because of the inclusion of early versions of later P.T. tracks like “Nine Cats”, “Small Fish” and “This Long Silence”) as “a bit like a painter having his nursery school blots exhibited”.

In 1987 Wilson started the 2 projects that would take him into the professional music world. The first of these was an art-rock trio NO-MAN formed with singer Tim Bowness and violinist Ben Coleman. But the second began life almost as a joke between two friends. SW and his friend Malcom Stocks developed an almost entirely fictional history of a legendary seventies group complete with non-existent band members and an absurd discography this was The Porcupine Tree.

To back up the story Steven recorded several hours worth of music supposedly by this imaginary band. This was all done as pure self indulgence but by early 1989 Steven rated some of the music highly enough to compile a cassette “Tarquin’s Seaweed Farm” and sent out copies to people that he felt might be interested. One of them went to the underground UK magazine Freakbeat, run by Richard Allen and Ivor Trueman. Unknown to Steven at the time they were in the process of setting up their own record company. Despite the fact that they gave the tape a rather lukewarm review in the magazine they invited Porcupine Tree to contribute a track to their first release, a compilation album of the best underground psychedelic groups.

This was ultimately to take another 18 months or so to come to fruition and in the meantime Steven began to distribute Porcupine Tree’s music in the form of “Tarquin’s Seaweed Farm” and it’s follow up “The Nostalgia Factory”, both complete with booklets containing the imaginary history and other misleading information. These tapes built up an underground interest in the name which was added to by the eventual release of the newly named Delerium record label’s first compilation album “A Psychedelic Psauna” which featured the Porcupine Tree track “Linton Samuel Dawson”. Delerium also reissued the first 2 Porcupine Tree tapes. Shortly afterwards Steven was invited by the new label to be one of the first artists to sign to the Delerium label. The original invitation was to reissue both the tapes as double albums, but Steven decided instead to compile the best material onto one double album which became “On the Sunday of Life…”, the 3rd release on the new label (most of the remainder of the music from the original eventually emerged on the “Yellow Hedgerow Dreamscape” album). “On the Sunday of Life…” was issued in early 1992 in a small run of 1000 copies in a deluxe gatefold sleeve. Such was the interest from the press and public that this small run sold out almost immediately and was repressed along with a CD version. Among other tracks the album contained a future Porcupine Tree classic and frequent concert encore in “Radioactive Toy”. By 2000 “On the Sunday of Life…” had racked up sales of 20,000 copies.

While this was happening Steven’s other group NO-MAN had signed a record deal with One Little Indian (home of Bjork and The Shamen among others) and were beginning to release records to an ecstatic press response. It was NO-MAN that allowed Steven to give up his day job in the computer industry and become a full time professional musician and therefore dedicate even more time to his “side project”. As the first Porcupine Tree album had been very much a self indulgent and in some ways nostalgic look back at Steven’s favourite music from the 60’s and 70’s he felt in order to take the project forward it was important to develop the sound into new and more contemporary areas. The first fruits of these new sessions was a 30 minute single that fused the Orb (then the biggest thing in music) and liquid rock guitar soloing, all strung together with a narrative taken from sixties LSD propaganda LPs. It was a major underground hit, reaching the UK independent Top 20 and a perfect representation of how the dissolution of boundaries between genres characterised the best music of the nineties.
In fact “Voyage 34” was a track recorded for another prospective Porcupine Tree double album “Up the Downstair”. However, when the album eventually emerged in mid 1993 the decision not to include the single had
slimmed down the album to a single record. “Up the Downstair” was greeted with rapture, Melody Maker describing it as “a psychedelic masterpiece…. one of the albums of the year”. The album continued the fusion of dance and rock and also featured guest appearances from two future full-time Porcupine Tree members Richard Barbieri (ex-Japan) and Colin Edwin.

In November of 1993 “Voyage 34” was reissued alongside an additional 12 inch remix by Astralasia. With non-existent radio play it still managed to enter the NME indie chart for six weeks and became an underground chill-out classic.

The profile of Porcupine Tree had now grown to the extent that the question of live performances could no longer be ignored. Thus in December 1993 Porcupine Tree became a live unit featuring in addition to Steven, Colin Edwin (bass) Chris Maitland (drums) and Richard Barbieri (keyboards). All three new members of the group had worked with Steven on various projects over the preceding years and all were excellent musicians sympathetic to the sound and direction of Porcupine Tree. The new line up had an immediate chemistry as illustrated by the “Spiral Circus” album (issued on vinyl only in 1996) which contained recordings from their first ever 3 performances, including a BBC Radio One session for Mark Radcliffe, who was an early champion of the group.

New music was already underway. The next album would not emerge until early 1995, but was preceded by the classic single “Stars Die / Moonloop”, the last 2 tracks to be recorded during the album sessions and the first to feature the new band. The subsequent album “The Sky Moves Sideways” was as expansive soundscape of melody and ambient rock experimentation, but would prove to be a transitional work with half recorded before the formation of the band and half recorded after. Most of the album was taken up with the 35 minute title track, which at one point Steven intended to be long enough to occupy the whole album ! It also entered the NME, Melody Maker and Music Week charts. Together with the “Moonloop” EP, this album became the first Porcupine Tree music to be issued in America in the autumn of 1995 and attracted very favourable press on both sides of the Atlantic. The band supported the album with numerous gigs throughout the year at major venues in the UK, The Netherlands, Italy and Greece.
Partly unsatisfied with the half band/half solo nature of “The Sky Moves Sideways”, Porcupine Tree promptly got down to the task of recording the first proper band record and worked sporadically over the next year on developing a tighter and more ambitious rock sound.

May 1996 saw the release of the first fruits of these sessions, the single “Waiting” which entered all UK indie charts and the UK National chart attracting airplay all over Europe. It was followed by “Signify” the first album to fully reflect the powerful live sound of the band, blending together numerous rock, and avant-garde styles whilst absorbing many diverse influences and relying on none. A large amount of major European Press followed the release, with the UK’s Q magazine describing “Signify”, as “a powerful album”. The band went on to complete a highly successful European tour.

Porcupine Tree continued to increase in popularity abroad during 1997 and in March played to an audience of over 5,000 in Rome over three nights – all of which were recorded for the 1997 live album “Coma Divine”. This album was released as a goodbye to Delerium Records who felt they could no longer offer the kind of resources the band needed in order to continue to build their profile worldwide (however Richard Allen from Delerium continues to be involved in the day to day running of the band with his company Big Brother Management). In late 1997 the band’s first three albums were remastered and reissued. “Signify” also saw a release in the USA on Miles Copeland’s ARK 21 label.

Steven, Richard, Colin and Chris spent all of 1998 recording their fifth studio album, a release that reflected the band’s move towards a more song orientated sound. At the time of recording the band had no record deal but later that year they signed to the international Snapper/K-Scope label and in March of 1999 the album “Stupid Dream” was issued, supported by a lengthy tour of the UK, Italy, Greece, Holland, Belgium, Switzerland, Germany, France, Poland and the USA. The 3 singles taken from the album – “Piano Lessons”, “Stranger By the Minute” and “Pure Narcotic” – all achieved mainstream exposure in the USA and in Europe and appeared well placed in the UK independent charts and on radio station playlists. Although initially the album was such a departure that some older fans were unsure, it brought the band many new fans and went on to become the band’s best selling and most acclaimed release to date. The band ended 1999 with a sold out show at the Scala in London.

The time spent looking for a record deal had not been wasted and only a few months after the release of “Stupid Dream” the band were ready to begin work on a follow up, recorded during the transition into the new millennium and completed in February 2000. With string arrangements provided by Dave Gregory of XTC “Lightbulb Sun” built on the mix of songwriting, soundscaping and rock dynamics of “Stupid Dream” but developed it into something altogether more intense and organic, a band confidently in control of their sound. The album was released on May 22nd 2000, preceded by the single “Four Chords That Made a Million”. Another sold out show at the Scala in London began a short run of UK shows, to be followed later in the year by European festival dates and a major tour supporting Dream Theater.

The band continued to tour through the end of 2000 and the start of 2001, taking in Israel for the first time, as well as their first major tour of Germany. A special double CD edition of the Lightbulb Sun album was issued in Israel and Germany and in May “Recordings”, a limited edition collection of EP tracks and out-takes from the previous two albums, was released as the band’s final release under their Snapper/KScope contract. In June 2001 the band played a short US tour, culminating in a sold out show at the Bottom Line in New York City. Shortly afterwards Porcupine Tree announced that they had signed a new international record deal with Lava/Atlantic Records.

In February 2002 Porcupine Tree’s first ever line-up change occurs when drummer Chris Maitland leaves after 8 years with the band. The band welcomes new drummer and long term acquaintance Gavin Harrison to the line-up.

In March, as a major retrospective box set of the band’s early work, “Stars Die – the Delerium Years 1991-97” is released. At the same time the band commence recording their first major label album, drawing from a pool of 30 new songs written by Steven in the previous 2 years. Sessions take place in New York and London, with veteran engineer Paul Northfield (Rush, Ozzy Osbourne, Hole) and string arranger Dave Gregory also playing major roles in the making of the record. Mixing of the new album is completed in LA in May with Tim Palmer. The new line up of the band is further augmented by additional touring vocalist/guitarist John Wesley for a short pre-album release US tour in July 2002. Many venues are sold out and the shows are received rapturously by both old and new fans alike.

The eagerly awaited new album “In Absentia” is released by Lava Records in September 2002 (European release Jan 2003). It is the band’s most accomplished and complete work to date, featuring a much heavier sound on some tracks, but also some of the band’s most beautiful and fragile works. The album receives great praise worldwide and, despite little or no airplay, goes on to become the band’s best selling album shifting over 100,000 copies in it’s first year of release, and charting in several European countries. To promote the album the band undertake four further tours of Europe and North America, including one with acclaimed Swedish metal band Opeth. During these tours the visual element of the band’s performance is taken to new heights with the involvement of film-maker and photographer Lasse Hoile who creates a dark and surreal visual counterpoint to the PT’s music. The long promotional campaign for In Absentia ends on November 30th as the band play a homecoming show to a packed out London Astoria.

During 2003 Porcupine Tree also set up their own label and on-line store. The first release on the Transmission label is a studio session recorded for XM Radio, Washington. The band plan to make a series of well recorded and packaged live and studio recordings available through the label.

2004 will see the band commence work on an ambitious new Porcupine Tree album, their second for Lava/Atlantic. The album will also take the form of a film script (and therefore hopefully later a film). The band’s first DVD project is also planned for later in the year, as well as further live releases through their Transmission label.

Porcupine Tree – “Fear Of A Blank Planet” Album cover photo (front)



Porcupine Tree – “Anesthetize” Video file link on YouTube

Porcupine Tree – “Fear Of A Blank Planet” Full Album Playlist on YouTube

Porcupine Tree Band’s Page on Spotify

Porcupine Tree Band’s Page on Apple Music

Porcupine Tree Band’s Page on Google Music Store

Porcupine Tree Band’s Page on Facebook

Porcupine Tree Band’s Page on Discogs

Porcupine Tree Band’s Homepage

Porcupine Tree Band’s Page on Twitter

Porcupine Tree Band’s Page on Rate Your Music

Porcupine Tree Band’s Page on Deezer

Porcupine Tree Band’s Page on Amazon

Steven Wilson Artist’s Homepage

Porcupine Tree – “Anesthetize Dvd on IMDB

Porcupine Tree – “Porcupine Tree Tilburg, Netherlands – 2008”, Recorded at Poppodium 013, Tilburg, Netherlands 15/10/2008 This was the first of two shows recorded & filmed for the “Anesthetize” DVD. 01 – Intro 02 – Fear Of A Blank Planet 03 – My Ashes 04 – (Introduction) 05 – Anesthetize 06 – Sentimental 07 – Way Out Of Here 08 – Sleep Together 09 – Normal 10 – Stars Die 11 – What Happens Now 12 – Open Car 13 – Dark Matter 14 – (Steven Talking) 15 – Wedding Nails 16 – Half Light 17 – Sever 18 – (Steven Talking) 19 – Blackest Eyes 20 – Sleep With No Dreaming 21 – Halo Source – Audience Recording Quality – A Format – MP3 256kbps VBR

Porcupine Tree Band’s Page/Discography/Full Albums Download Links on Muro Do Classic Rock Blog

Porcupine Tree Band’s Page on Kscope Records

Porcupine Tree Band’s Book “Time Flies The Story of Porcupine Tree”


Progressive Rock Norway 2010s (Tracks) Bjørn Riis – “Lullaby In A Car Crash”

Progressive Rock Norway 2010s (Tracks)

Bjørn Riis (Norway)

“Lullaby In A Car Crash” (written by Bjørn Riis) D1 track (closing track), the track is included on the album “Lullabies In A Car Crash”

Released on Karisma Records (KAR085LP)  in 2014

Lyrics :

Breathe slowly now
And don’t be afraid
Lay down and rest your head
It’s over now
So don’t look back
It’s time to let go
It’s time to face the true
With I mean saying here with you
When your heart slowing down
When you try to hear to brace and now it’s too late
See your time and it’s rushing by no trace
I need you now
So please stay with me

Line-up/Credits :

Bjørn Riis / vocals, acoustic & electric guitars, bass, keyboards, percussion, producer


Vegard Kleftås Sleipnes / keyboards (1), percussion (2,3), engineer

Asle Tostrup / loops & Fx (2,3)

Henrik Fossum / drums

Bjørn Riis – “Lullabies In A Car Crash” Album cover photo (front)


Bjørn Riis – “Lullaby In A Car Crash” Video file link on YouTube

Bjørn Riis – “Lullabies In A Car Crash” Full Album Video file link on YouTube

Bjørn Riis Artist’s Homepage

Bjørn Riis Artist’s Page on Facebook

Bjørn Riis Artist’s Page on ProgArchives

Bjørn Riis Artist’s Page on Bandcamp

Bjørn Riis Artist’s Page on Discogs

Bjørn Riis Artist’s Page on Rate Your Music

Bjørn Riis Artist’s ConcertsSetlists/Tour Dates on Setlist Fm

Bjørn Riis Artist’s Page on Karisma Records

Bjørn Riis Artist’s Page on Spotify

Bjørn Riis Artist’s Page on Instagram

Bjørn Riis Artist’s Page on Apple Music

Bjørn Riis Interview on Rockrolljournalist Blog

Bjørn Riis Artist’s Page on Google Music Store


Classic Rock/Hard Rock/Heavy Blues Rock U.K. 1970s (Tracks) Led Zeppelin – “Achilles Last Stand”

Classic Rock/Hard Rock/Heavy Blues Rock U.K. 1970s (Tracks)

Led Zeppelin (London, U.K.)

“Achilles Last Stand” (written by Page/Plant) A1 track included on the album “Presence” 

Released on Swan Song (SSK 59402) on 31st March 1976 (recorded in November 1975)

Line-up/Credits :

Led Zeppelin

  • John Bonham – drums, percussion
  • John Paul Jones – four and eight-string bass guitars, piano (Deluxe Edition only)
  • Jimmy Page – guitars, production
  • Robert Plant – lead vocals, harmonica on “Nobody’s Fault but Mine”


  • Peter Grant – executive producer
  • Jeremy Gee – tape engineering
  • George Hardie – sleeve design
  • Keith Harwood – engineering, mixing
  • Hipgnosis – sleeve design
  • George Marino – remastered CD release

Lyrics :

It was an April morning when they told us we should go
As I turn to you, you smiled at me
How could we say no?
Oh, the fun to have
To live the dreams we always had
Oh, the songs to sing
When we at last return again
Slipping off a glancing kiss
To those who claim they know
Below the streets that steam and hiss
The devil’s in his hole
Oh, to sail away
To sandy lands and other days
Oh, to touch the dream
Hides inside and never seen, yeah
Into the sun, the south, the north
At last the birds have flown
The shackles of commitment fell
In pieces on the ground
Oh, to ride the wind
To tread the air above the din
Oh, to laugh aloud
Dancing as we fought the crowds, yeah
To seek the man whose pointing hand
The giant step unfolds
With guidance from the curving path
That churns up into stone
If one bell should ring
In celebration for a king
So fast the heart should beat
As proud the head with heavy feet, yeah
Days went by when you and I
Bathed in eternal summer’s glow
As far away and distant
Our mutual child did grow
Oh the sweet refrain
Soothes the soul and calms the pain
Oh Albion remains
Sleeping now to rise again
Wandering and wandering
What place to rest the search?
The mighty arms of Atlas
Hold the heavens from the earth
For the mighty arms of Atlas
Hold the heavens from the earth
From the earth
I know the way, know the way, know the way, know the way
I know the way, know the way, know the way, know the way
Oh, oh, oh, oh, oh, oh oh
Oh, oh, oh, oh, oh, oh oh
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Oh, oh, oh, oh, oh, oh oh
Oh, oh, oh, oh, oh, oh oh
Oh, oh, oh, oh, oh, oh oh
Oh, oh, oh, oh, oh, oh oh
For the mighty arms of Atlas
Hold the heavens from the earth
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Ah, ah, ah, ah
Songwriters: James Patrick (jimmy) Page / Robert Anthony Plant

Achilles Last Stand” is a song by English rock group Led Zeppelin. Guitarist Jimmy Page and singer Robert Plant began writing it in the summer of 1975 and were influenced by Eastern music, mythology, and travels. At ten and a half minutes, it is one of the group’s longest studio recordings and one of their most complex, with different interwoven sections and multiple overdubbed guitar parts. It was released in March 1976 as the opening track for their seventh studio album, Presence.

The song received positive reviews, with comparisons to other epic-style Led Zeppelin songs, such as “Kashmir”. Between 1977 and 1980, it was a feature of the group’s concerts and a live performance from 1979 is included on the Led Zeppelin DVD (2003). In several interviews, Page named it as his favourite Led Zeppelin piece and places his guitar solo on a par with “Stairway to Heaven”.


  • According to myth, Achilles was dipped in the river Styx to make him immortal. His mother held him by the heel, however, leaving it vulnerable. Paris killed him in the Trojan War by hitting him in the heel with an arrow.
  • Robert Plant wrote the lyrics about his travels throughout Morocco, Greece, and Spain. The music was inspired by Flamenco and Moroccan traditions. The lyrics were inspired not only by the travels but also by some of the poetry Robert was reading at the time, which includes William Blake. “Albion remains/sleeping now to rise again” is a reference to Blake’s engraving The Dance Of Albion. The following is an excerpt from the poem that goes with the song:
    Albion rose from where he labour’d at the Mill with Slaves.
    Giving himself for the Nations he danc’d the dance of Eternal Death.
  • The references to the Atlas mountains, “The mighty arms of Atlas hold the heavens from the Earth,” are simply a clever double-meaning to imply the Atlas mountains in a physical sense seeming to hold up the sky, as well as the reference to the titan Atlas and his task to hold the world on his shoulders.
  • Robert Plant and his wife were in a car crash while on holiday in Greece which broke Plant’s ankle. Instead of touring the US, Plant and Jimmy Page wrote material for Presence, then recorded it at Musicland Studios in Munich, Germany with Plant in a wheelchair. Plant got so excited while recording this that he fell and re-injured his ankle, similarly to the song’s namesake, Achilles. The title was both an acknowledgment of Plant’s broken ankle as well as to the mystic location in the Atlas Mountains of Morocco which inspired the lyrics.
  • Jimmy Page overdubbed 6 guitar tracks to create a huge sound. In a 2007 interview with Rolling Stone magazine, Jimmy Page was asked about his memories of how he overdubbed the guitars in the studio: “It was done in one evening, the whole of the arrangement. To be honest with you, the other guys didn’t know: ‘Has he gone mad? Does he know what he’s doing?’ But at the end of it, the picture became clear. It was like a little vignette, every time something comes around.”
  • Page takes particular pride in this track. He told Guitar Player magazine in 1977: “Presence and my control over all the contributing factors to that LP – the fact that it was done in three weeks, and all the rest of it – is so good for me. It was just good for everything really, even though it was a very anxious point, and the anxiety shows, group-wise – you know, ‘Is Robert going to walk again from his auto accident in Greece?’ and all this sort of thing. But I guess the solo in ‘Achilles’ Last Stand’ on Presence is in the same tradition as the solo from ‘Stairway to Heaven’ on the fourth LP. It is on that level to me.”
  • Led Zeppelin played this at the remainder of their live shows.
  • This is one of the longest Led Zeppelin songs. It runs 10:26.

Led Zeppelin – “Presence” Album cover photo (front)

led zeppelin presence 2

Led Zeppelin – “Presence” Album  photo (A’ Side)

led zeppelin presence 1


Led Zeppelin – “Achilles Last Stand” Video file link on YouTube

Led Zeppelin – “Achilles Last Stand” Live Performance (L.A., 23rd June 1977) Video file link on Led Zeppelin’s Homepage

Led Zeppelin – “Achilles Last Stand” Live Performance (Knebworth, 1979) Video file link on YouTube

Led Zeppelin – “Presence” Full Album Video Playlist on YouTube

Led Zeppelin – “Presence” Full Album Audio file link on Spotify

Led Zeppelin – “Presence” Full Album Audio file link on Apple Music

Led Zeppelin – “Presence” Remastered Edition On Rhino Records

Led Zeppelin Band’s Homepage

Led Zeppelin – “Presence” Full Album Download file link on Rock Download Blog

Led Zeppelin Band’s Discography/Download Links on Muro Do Classic Rock Blog

Led Zeppelin Band’s Page on Facebook

Led Zeppelin Band’s Page on Twitter

Led Zeppelin Band’s Top 40 Of Their Greatest Albums on Rolling Stone

Led Zeppelin Band’s Page on Discogs

Led Zeppelin Band’s Concert Setlists/Tour Dates on Setlist Fm

Led Zeppelin Band’s Page on Rock And Roll Hall Of Fame

Led Zeppelin Band’s Page on Instagram

Led Zeppelin Band’s Archives on LedZep News

Led Zeppelin – “Presence” Full Album Video file link

Ambient/Electronic/Experimental/Krautrock/Minimal/New Age Music Germany 1970s (Tracks) Ash Ra Tempel/Ashra/Manuel Göttsching – “Nightdust”

Ambient/Electronic/Experimental/Krautrock/Minimal/New Age Music Germany 1970s (Tracks)

Ash Ra Tempel/Ashra/Manuel Göttsching (Berlin, Germany)

Instrumental Music

“Nightdust” (written by Manuel Göttsching) B side track (closing track) included on the album “New Age Of Earth” 

Released on  Isadora ‎- ISA 9003 (1976, France) Original release under the name “Ash Ra Tempel”, to be later exchanged for Ashra
Virgin – V2080 (1977, UK) new cover art

Virgin Records Germany (28 958 XOT) 1977

Line-up/Credits :

Manuel Göttsching – ARP OdysseyFarfisa Syntorchestra, EMS Synthi A, EKO Computerhythm, Gibson SG Guitar 

Composed By, Arranged By, Producer, Keyboards, Synthesizer, Guitar [Gibson] – Manuel Göttsching

Design [Cover], Photography By – Cooke Key, London

New Age of Earth is a solo album by Manuel Göttsching. While originally released under Göttsching’s name and Ash Ra Tempel in 1976, the releases that followed in 1977 and onward were under the name Ashra.It was the first album to be released under the name Ashra. Although a solo album by Manuel Göttschingrecorded after the dissolution of his band Ash Ra Tempel, Ashra later evolved into a full band. It was released in 1976 on Isadora RecordsNew Age of Earth has been listed as one of the Top 25 Most Influential Ambient Albums of All Time. In 2016, Pitchfork (website) ranked it #31 on their list of the 50 Best Ambient Albums of All Time.

Ash Ra Tempel/Ashra/Manuel Göttsching – “”New Age Of Earth” Album cover photo (front) on Isadora Records

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Ash Ra Tempel/Ashra/Manuel Göttsching – “Nightdust” Video file link on YouTube

Ash Ra Tempel – “Nightdust” Full album Video file link on YouTube

Manuel Göttsching Artist’s Page on Discogs

Ash Ra Tempel Band’s Page on Discogs

Ashra Bands’s Page on Discogs

Ashra Band’s Homepage

Manuel Göttsching Fan Group Artist’s Page on Facebook






Folk/Progressive Rock U.K. 1970s Rare Bird – ” Flight”

Folk/Progressive Rock U.K. 1970s

Rare Bird (London, U.K.) Progressive Rock Band

” Flight” B1-BD Epic track/Side-long track (four parts : part 1. As your mind flies by – part 2. Vacuum – part 3. New York – part 4. Central Park) included on the album “As Your Mind Flies By”

Released on Charisma Records (CAS. 1011)   in September 1970

Line-up/Credits :

Steve Gould / lead vocals, bass, guitar
Dave Kaffinetti / electric piano, keyboards
Graham Field / Hammond organ, keyboards
Mike Ashton / drums, backing vocals


Andrew Curtis / guitar
Fred Kelly / drums

Lyrics :

Part I: As Your Mind Flies By
Flowing rivers, craggy mountainside
Wondering, watching as your mind flies by
Get your feet down to the ground, better try
Now’s the time to free your mind, fly fly fly
Hold your head up to the sky, fly high
See the heaven’s open doors fly by
Angels hold you near
Now your path is clear
God has cast out fear
Mind fly by
Cast yourself and sail into the sun
You’ve had your fun
Cast yourself and sail into the sun
You’ve had your fun
Now your time has come
Now your time has come
Now your time has come
Now your time has come
Part II: Vacuum
Part III: New Yorker
Man in the street with a long black coat
Short black cat who looks like a goat
Chances are he’s one of the few
Looks no different from me and you
New Yorker, he’d better not, ooh
New Yorker, must go down easy, yeah
Part IV: Central Park
There’s an evil little man with a gun in his hand
Somebody said you know he plays for a band
What’s he doing? Central Park, you know after dark
He’s the lunar, he’s the groover
He’s the head park shark
Head park shark
Head park shark
Head park shark
Head park shark
Head park shark
Head park shark
Rare Bird – “As Your Mind Flies By” Album cover photo (front)
rare bird as your mind flies by 1 (2)

Rare Bird Band’s Page on Discogs

Rare Bird Band’s Discography/Full albums Download Links on Muro Do Classic Rock Blog

Rare Bird Band’s Page on Spotify

Rare Bird Band’s Page file link on Facebook

Rare Bird Friars Interview with MARK ASHTON Rare Bird

Rare Bird Mark Ashton Interview on It’s A Psychedelic Baby Magazine