Fusion, Jazz Rock, Krautrock, Progressive, Psychedelic Rock Germany 1970s (Tracks) Out Of Focus – “See How A White Negro Flies”

 

Out Of Focus – “See How A White Negro Flies” Video on YouTube

Out Of Focus – “Wake Up” Album Playlist on Spotify

Category/Music Genres :

Fusion/Jazz Rock/Krautrock/Progressive/Psychedelic Rock Germany 1970s (Tracks)

Band / Country of Origin :

OUT OF FOCUS 2

Out Of Focus (Munich, Germany)

Track :

“See How A White Negro Flies” (written by Out Of Focus), A1 track (opening track) included on the album “Wake Up”

Album :

OUT OF FOCUS WAKE UP 1

Released on Kuckuck Records ( 2375 006) in 1971, recorded in Union-Studio München, 27 to 31 October and 5 to 7 December 1970.

Line-up/Credits :

Remigius Drechsler / guitar
Hennes Hering / keyboards
Moran Neumüller / vocals, saxes
Klaus Spöri / drums
Stefan Wisheu / bass

Recorded At – Union Studios, Munich

Printed By – Gerhard Kaiser GmbH

Manufactured By – Deutsche Grammophon

Composed By, Arranged By – Out Of Focus

Design [Cover] – Concept Data

Engineer – Mack (2), Thomas Klemt

Illustration – Ch. Ruthenberg

Photography By – Matthias Porst

Producer – Jonas Porst

Track-List :

1. See how a white negro flies (5:48)
2. God saved the queen, cried Jesus (7:28)
3. Hey John (9:35)
4. No name (3:06)
5. World’s end (9:55)
6. Dark, darker (11:37)

Information about the album/band/track :

OUT OF FOCUS 4

Wake Up! was originally recorded and released in 1970 by a band that seemingly lacked the wherewithal to manage such a thing. A practised and experienced live outfit that had made a name for itself in and around Munich, the members of Out Of Focus hit the studio for the first time having procured label support from Eckart Rahn’s Kuckuck which had established itself the year before. However, the band was usually stoned and their live set featured prolonged jams that could see them playing for 3 hours. The discipline and rigour of the studio presented a challenge to the band who had to be made aware of the need for accuracy, tuning and brevity. “It took them a bit of adjustment,” remembers Rahn.
Nevertheless, there was a genuine desire to allow the band their artistic freedom and capture something of the socially conscious, psychedelic, and slightly surreal live experience that had made them a popular act in the first place. So they had two long weekends to track the album and, on listening to it, it has that cohesive, driven quality that often comes from the exquisite pressure of time.
Opening with See How A White Negro Flies, we get an immediate sense of the musical direction this album is going to take. A heavy, plodding, psychedelic groove supported by a spectacular ‘walking’ bass motif combines tightly with Klaus Spφri’s energetic and busy drumming while Remigius Drechsler pulls off a riff that would turn Ennio Morricone green. Drechsler’s guitar work is a highlight of the album and the band’s overall sound. He combines spastic thrashing rhythm work with electrifying, fuzzed and distorted lead work as well as dealing in clean picked box-riffs and gently strummed atmospherics. You get a real sense of this range in God Save The Queen Cried Jesus which cycles through vivid shades and phases led as much by Moran Neumόller’s wonderfully dynamic flute work as his off-the-wall, impassioned and theatrical vocal delivery. Neumόller’s declamatory squawking is something of an acquired taste however, often sounding too much like a hangover from ‘60s American protest music, although occasionally, he sounds passingly like Jim Morrison.
Hey John is an extended jam on a rising and descending chord pattern held dramatically and melodically in tow by Neumόller’s flute. Again Spφri’s athletic drumming is powerfully supported at every turn with fluid and intuitive bass runs while Hennes Hering (organs, piano) and Neumόller interject lengthy improvisational solos over the shifting weight and changing light of the band’s delicately calculated soft/loud dynamic. No Name has a similar feel in its brief, shouty moment and is perhaps remarkable in that it predates by some 7 or 8 years the raucous, New Wave aggro of early Ian Dury And The Blockheads.
Out Of Focus’ strength lies firmly in their instrumental endeavours. With the two closing tracks being longer than ten minutes each, there’s plenty of scope for the improvisatory excursions that have served them well throughout the album. There’s little development of the formula, just energetic, occasionally frenetic shaping of the dynamics. It’s raw and vivid, but I’m not getting much out of it by the end, just roach burn.
This is a fairly convincing debut that mashes several strands of the underground scene from the late ‘60s into a blend of Traffic, The Doors, early (Saucerful Of Secrets) Floyd with the hard rock of The Edgar Broughton Band and Atomic Rooster. Having said that, Out Of Focus are resolutely their own band with their own sound and their own take on the underground music scene of their day. It has an immediate appeal, made all the more attractive by Ben Wiseman’s excellent remaster.
Out of Focus was one of the many creative groups that arose from Germany in the early ’70s. Its inventive take on fusion laid the groundwork for their three LPs released a year apart from each other. The first record was excellent and each successive album got even better. Out of Focus began in Munich, Germany, in late 1968 with Drechsler, Hering, Neumuller, Spori, and Wisheu. Very much a product of those times, the group combined jazz, folk, blues, psychedelic, and progressive rock, as well as political and social awareness as often exemplified by Neumuller’s lyrics. They quickly developed their style and from 1969 onward, they toured constantly, gigging all over Germany and opening for Amon Düül II, Nektar, Ginger Baker, Kraan, Kraftwerk, and Embryo, among others. By mid-1970, the Kuckuck label signed them. After several months in their practice room to work on their chops, they recorded material between October and December and by the end of the year, their debut, Wake Up, was released. In June 1971, the group recorded a second album for Kuckuck that came out later that year. This eponymous second album contained less rock riffing as the band branched further into jazz, improvisation, and experimentation. Out of Focus went back into the studio in the summer of 1972 to record Four Letter Monday Afternoon, an even more experimental double album with much longer tracks, including the 50-minute “Huchen-55,” which took up the entire second record. The group on this record was expanded to an 11-piece with the temporary addition of Dechant, Schmid-Neuhaus, Polivka, Breuer, Thatcher, and Langhans. Kuckuck pressured the group for a hit single. Both the unruly behavior of the group and the dislike the owner of Kuckuck had toward Four Letter caused Out of Focus to be dropped by the label soon after that record came out. At the beginning of 1973, the group and their wives moved 30 miles out of Munich to the countryside. By now, Hering had left the group and Schmid-Neuhaus and new member Gohringer had joined. Without a new label, they began pre-production work on a fourth album between March and May 1974, but these recordings were not released until much later, on the album Not Too Late. By 1975, the group started to fall apart as the various musicians drifted away. By the time they performed at the 1978 Unsont & Draussen festival, Drechsler was the only remaining original member and their music was far more straight-ahead jazz. A year later, Drechsler joined Embryo and Out of Focus disbanded.

Review by Sean Trane, progarchives.com

If you ever read Asbjornssen’s Cosmic Dreams at Play, you will know how high esteem he holds this band. His article finishes this way: WHAT AN AWESOME GROUP THEY WERE! I cannot say it any better as the three albums they made in their prime were all drastically different from each other yet so unmistakably OOF (much like Floyd did all of their albums so different, yet all so FLOYD). Their music is absolutely theirs and sound like nothing else and although they are Germans, I hesitate to call it Krautrock or as some call it Krautjazz.
They develop a strange mix of psyched-out rock with a good sense of jazz rock (although not quite as much in this debut album), add a good dose of flute/sax dominated prog rock and give themselves a maximum space for instrumental interplay even if Moran’s voice holds an important role (and is an acquired taste in the same way that Peter Hammill or Roger Chapman are an acquired taste) with some non-sensical lyrics laying out their hippy ideals. With an abstract artwork this debut album (released on the legendary Kuckuck label) is aptly named Wake Up, even if the goal is to send you into dreamy trip, the music is raw, just the way the Germans liked it, reminiscent of their crosstown colleagues of Amon Duul II.

Right from the first repetitive note of Drechsler’s guitar, soon underlined by Herring’s organ and Moran Neumuller’s flute, in the opening White Negro, you just know you’re flying in a wonderful universe where time seems to be a very random dimension and the dreamy soundscapes are an invitation to tripping around the universe. The tougher-sounding God Save The Queen is more of rougher guitar-lead early 70’s UK proto-prog ala EBB or BechKendel, but the middle section (recorded a bit too low) shared between the folky flute and the organ is a great counter-point using the full dynamics contrasting with the return of the opening section. Hey John is an almost 10-min wild flute-lead jam that can sound like Deep Purple’s Mandrake Root in the middle.

The flipside jumps at your throat with the short but powerful No Name track that could easily be called You’re Wasting Time, and even if there are obvious flaws in recording levels, this track is most likely to also claim the album’s title, Wake Up! World’s end is a fairly doomy track that still trails a bit of 60’s into it, sometimes reminding of Floyd (Herring’s organ and Spori’s drumming sound like early Floyd circa Saucerful Of Secrets), while Moran’s flute is more reminiscent of Traffic’s Chris Wood and the guitar reminding us a bit of Krieger in The Doors’ epic track The End. Ending the album is the lengthy Dark Darker track, which is a bit disjointed in its psyched-out moods especially Moran’s flute racing up and down the ladder of sanity. This is one track where the group shows an excellent aptitude at light improvisation that lead to wild jamming, a thing that we would see much more of in the next three albums. Again the raw sound gives the impression that this record could’ve easily been recorded live in the Anglo-Saxon world, with only the approximate accent of Moran giving a hint otherwise. The closing section is a hard-driving Atomic Rooster-like heavy prog.

As with most German band singing in English, the vocals are not perfect but this is very minor as the texts (lyrics) are easily understood and are of a very social/political nature that they could also be classified in German only category Polit-rock (never thought you’d read about such a category, Uh? 😉 This IMHO only adds to the quality of the music and does not make it dated just for that reason. Technically absolutely brilliant (D-E A + HCH). Just by the weird song titles, one can see that this band is heavy, I mean HHHEEEAAAVVVYYY, man!!

 

Photos about the album/band/track :
Out Of Focus – “Wake Up” Album cover photo (front)
OUT OF FOCUS WAKE UP 1
Out Of Focus – “Wake Up” Album cover photo (back)
Image result for out of focus wake up
Out Of Focus – “Wake Up” Album photo  (A’ Side)
Out Of Focus Photo
Image result for out of focus wake up
OUT OF FOCUS 2
OUT OF FOCUS 3
OUT OF FOCUS 4
OUT OF FOCUS 5 (2)
Links about the album/band/track :

 

 

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 4 (2)

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

GURU GURU DANCE OF THE FLAMES 1 (2)

 

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