Ambient/Canterbury Scene, Electronic Music, Progressive Rock, Psychedelic Rock, Space Rock U.K. 1970s (Tracks) Steve Hillage – “The Glorious Om Riff”

Steve Hillage Photo

Steve Hillage – “The Glorious Om Riff” Video on YouTube

Category/Music Genres :

Ambient/Canterbury Scene/Electronic Music/Progressive/Psychedelic/Space Rock U.K. 1970s (Tracks)

Artist :

Steve Hillage (London, U.K.)

Image result for steve hillage

Artist’s full name : Stephen Simpson Hillage

Also known as :

Simeon Sasparella, Steve Hillfish, The Steve Hillage Band

Member of :

Arzachel, Gong, Khan, Mirror System, Paragong, System 7

Track :

“The Glorious Om Riff” (written by Compagnie d’ Opera Invisible de Thibet, aka Gong)  B6 (closing track) included on the album “Green” 

“The Glorious OM Riff” is a remake of the song “Master Builder” from the Gong album You (1974), which Hillage had a hand in composing with the other members of Gong. The song is “a cacophonous blast, with masses of ear-splitting solos,” and it has been noted that “the seeds of [Hillage’s] future direction were sown here.

Album :

“Green” released on Virgin Records ( V 2098) in April 1978

Steve Hillage - Green (1978) Issue 1990 and Extended Remastered reissue 2007

Green vinyl, packaged with embossed cover, printed insert sheet and poster included.

Printed in England by ROBOR LIMITED.

“A Celebration Of Time-Space Travel Through Nature”

Basic tracks recorded December 1977 at Ridge Farm, Dorking, Surrey.
Overdubs recorded January 1978 at Matrix Studio, London.
Overdubs and mixing February 1978 at Brittania Row Studio, London.

℗ 1978 Virgin Records Ltd.

Line-up/Credits :

Steve Hillage – Guitar, Synthesizer [Moog, Guitar], Vocals, Producer, Arranged By


Miquette Giraudy / ARP & EMS synthesizers, vocoder, vocals

Curtis Robertson / bass

Joe Blocker / drums, percussion

Andy Anderson / drums (2,11,13)

Nick Mason / drums (7), co-producer

Dave Stewart / guitars (11,13)

Paul Francis / bass (11,13)

Christian Boule / guitars (12)

Phil Hodge / keyboards (12)

Basil Brooks / synthesizer (12)

Colin Bass / bass (12)

Clive Bunker / drums(12)

ArtWork: John Michell

Engineer – John Wood

Engineer [Assistant] – Andy Llewelyn, Malcolm Heeley

Producer – Nick Mason

Written-By – Bynum (tracks: B2), C.O.I.T. (tracks: B6), Robertson (tracks: B1, B2), Blocker (tracks: B2), Giraudy (tracks: A1 to B5), Hillage

Recorded At – Ridge Farm Studios

Overdubbed At – Matrix Studios

Overdubbed At – Britannia Row Studios

Mixed At – Britannia Row Studios

Printed By – Robor Ltd.

Phonographic Copyright (p) – Virgin Records Ltd.

Copyright (c) – Virgin Music (Publishers) Ltd.

Track-List :

1. Sea-nature (6:43)
2. Ether Ships (5:02)
3. Musick Of The Trees (4:53)
4. Palm Trees (Love Guitar) (5:19)
5. Unidentified (Flying Being) (4:30)
6. U.F.O. Over Paris (3:11)
7. Leylines To Glassdom (4:06)
8. Crystal City (3:36)
9. Activation Meditation (1:03)
10. The Glorious Om Riff (7:46)

Total Time: 46:13

Bonus Tracks on 2007 Virgin Remaster:
11. Unidentified (Flying Being) (Live) (4:52)
12. Not Fade Away (Glid Forever) (Live)  (7:25)
13. Octave Doctors (Live *) (3:38)
14. Meditation Of The Snake (Alternative Mix) (3:16)

* Recorded at Glastonbury 1979
$ Recorded at The Rainbow Theatre 1977

Information about the album/artist/track :

Green is the fourth studio album by British progressive rock musician Steve Hillage. Written in spring 1977 at the same time as his previous album, the funk-inflicted Motivation Radio (1977), Green was originally going to be released as The Green Album as a companion to The Red Album (the originally intended name for Motivation Radio). However, this plan was dropped and after a US tour in late 1977, Green was recorded alone, primarily in Dorking, Surrey, and in London.

Produced and engineered by Pink Floyd drummer Nick Mason, Green features science fiction themes and explores electronic music, especially of a dance music bent, continuing the dance themes of Motivation Radio. Most of the guitar and some of the keyboard parts on Green were played by Hillage with a Roland GR 500–an early guitar synthesizer. Hillage enjoyed “the hybrid sounds” he achieved on the album with the instrument, but would retire the instrument as it was too problematic to use.

The album was released in 1978 by Virgin Records, originally as a limited edition translucent green vinyl before the standard version replaced it shortly afterwards. The album cover features a distinctive “pyramid fish” design by English writer John Michell. Green peaked at number 30 on the UK Albums Chart and was a critical success. Hillage pursued a more electronic direction after its release. Green was remastered for CD release in both 1990 and 2007.

On Steve Hillage’s 1978 release Green, the underground prog rock fan favorite issues more of his trademark thinking-man’s music. Fans of mid- to late-’70s Pink Floyd will want to check this album out, since it possesses many of the same musical qualities, due to the fact that it was produced by Floyd drummer Nick Mason, along with Hillage. Although not as consistent as some of his other albums, it certainly has its moments. Hillage’s recurring sci-fi influence is still felt in his music, especially on such tracks as “Sea Nature,” “UFO Over Paris,” and “Unidentified (Flying Being).” Hillage uses the same band that appeared on his Motivation Radio album, which helps make Hillage’s twisted songs even better (like his other albums, the musicianship is top-notch). Besides comparisons to Floyd, the album’s music is also similar to David Bowie‘s late-’70s experimental electronic phase (check out the track “Crystal City,” with vocals almost identical to Bowie). Hillage fans will definitely not be disappointed with Green.

Photos related to the album/artist/track :

Steve Hillage – “Green” Album photo 


Steve Hillage – “Green” Album cover photo (front)

Steve Hillage – “Green” Album cover photo (back)


Steve Hillage – “Green” Album photo (A’ Side)

Steve Hillage – “Green” Album photo (B’ Side)


Steve Hillage – “Green” Album photo (A’ Side)

Steve Hillage – “Green” Album photo (B’ Side)

Steve Hillage -“Green” Album Artwork

Steve Hillage - Green (1978) Issue 1990 and Extended Remastered reissue 2007

Steve Hillage -“Green” Album Artwork

Steve Hillage - Green (1978) Issue 1990 and Extended Remastered reissue 2007

Steve Hillage Photo


Links related to the album/artist/track :

Steve Hillage – “The Glorious Om Riff” Video file link on YouTube

Steve Hillage – “The Glorious Om Riff” Full Album Video Playlist on YouTube

Steve Hillage Artist’s Page on Spotify

Steve Hillage Artist’s Page on Google Play

Steve Hillage Artist’s Page/Full Albums/Download Links on Muro Do Classic Rock Blog

Steve Hillage – “Green” Full Album Download Link on Opium Hum Blog

Steve Hillage Artist’s Page on Discogs

Steve Hillage Artist’s Page on Rate Your Music

Steve Hillage Artist’s Homepage

Steve Hillage Artist’s Page on Progarchives

Steve Hillage Band/Gong Band’s Homepage

Steve Hillage Artist’s Page on Twitter

Steve Hillage Artist’s Interview on Rocktologist Website

Steve Hillage Artist’s Interview on Inner Views Website

Steve Hillage Band Band’s Page on Bandcamp

Steve Hillage Artist’s Page on IMDb

Steve Hillage Artist’s Page on Apple Music

Steve Hillage Artist’s related shows on Mixcloud

Steve Hillage Artist’s Page on Setlist Fm

\Steve Hillage Artist’s Page on Instagram

Steve Hillage Artist’s Page on eBay







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


Art/Instrumental/Progressive Rock U.K. 1970s (Tracks) Rick Wakeman – “Catherine Howard”

Art/Instrumental/Progressive Rock U.K. 1970s (Tracks)

Rick Wakeman  (Perivale, London, U.K.)

Instrumental Rock

“Catherine Howard” (written by Rick Wakeman) A3 track included on the album “The Six Wives Of Henry VIII”

Released on A&M Records ( AMLH 64361) on 23rd January 1973

The Six Wives of Henry VIII is the first studio album by the English keyboardist Rick Wakeman, released in January 1973 on A&M Records. It is an instrumental progressive rock album with its concept based on his interpretations of the musical characteristics of the six wives of Henry VIII. After signing with A&M as a solo artist, Wakeman decided on the album’s concept during a tour of the United States as a member of the rock band Yes. As he read a book about the subject on his travels, melodies he had written the previous year came to him and were noted down. Musicians from Yes and from Strawbs, the group Wakeman was in prior to Yes, also play on the album.

The Six Wives of Henry VIII received mostly positive reviews from critics. It reached number 7 on the UK Albums Chart and number 30 on the Billboard 200 in the United States. It was certified gold by the Recording Industry Association of America in 1975 for over 500,000 copies sold in the United States. In 2009, Wakeman performed the album in its entirety for the first time live at Hampton Court Palace as part of the 500th anniversary celebration of Henry’s accession to the throne. The tracks were rearranged with sections, including a track dedicated to Henry himself, that were left off the original album due to the limited time available on a single record. The album was reissued in 2015 with a quadraphonic sound mix and bonus tracks.

In August 1971, Rick Wakeman joined the progressive rock band Yes as a replacement to their original keyboardist Tony Kaye. Towards the end of the year, he signed a five-album deal as a solo artist with A&M Records. While touring the United States with Yes on their Fragile Tour promote Fragile (1971), Wakeman was informed by his manager Brian Lane that A&M co-founder and executive Jerry Moss wished to meet him at A&M Studios in Los Angeles. Moss wished for Wakeman to record a solo album and offered an advance of $12,500, around £4,000, to produce it which Wakeman accepted. As part of his signing on fee, Wakeman received a 1957 Cadillac limousine from A&M which he claimed was once owned by Clark Gable and had it shipped to England. Wakeman chose it after the label asked him what he would want as a present and remembered he had seen the car in the building’s parking lot.

During the Fragile Tour, Wakeman bought four books at an airport bookstall in Richmond, Virginia, including one about Henry VIII and his six wives titled The Private Life of Henry VIII (1964) by Scottish writer Nancy Brysson Morrison. As he read about Anne Boleyn on the subsequent flight to Chicago, a theme he recorded in November 1971 ran through his mind which he wrote on some hand drawn ledger lines and played during the sound check and the subsequent concert. Said Wakeman, “I had been searching for a style to write in and suddenly I found it in writing music about these six ladies…I would concentrate on one of the wives and then music just came into my head and I would write it down. Sometimes I was flying, other times I was on stage, or just in front of the piano at home … The six wives theme gave me the thread, the link, I needed to give me a reason for putting these pieces of music together.” He explains the album’s concept further in its liner notes: “The album is based around my interpretations of the musical characteristics of the wives of Henry VIII. Although the style may not always be in keeping with their individual history, it is my personal conception of their characters in relation to keyboard instruments.” Wakeman elaborated and wrote the music as if he was doing a surreal painting, “sketches of how I felt about them at the time”.

Not only did this album help pave the way for progressive rock, but it also introduced the unbridled energy and overall effectiveness of the synthesizer as a bona fide instrument. Six Wives gave Wakeman his chance to break away from the other instrumental complexities that made up Yes and allowed him to prove what a driving force the keyboard could truly be, especially in full album form. More than just synthesized wandering, Wakeman astoundingly conjures up a separate musical persona by way of an instrumental ode to each of Henry VIII’s wives through his dazzling use of the Mellotron, Moog, and Hammond C-3 organ. For example, Wakeman’s fiery runs and fortissimo thwarting of the synthesizer throughout “Anne Boleyn” is a tribute to her feisty temper and valiant courage that she maintained while standing up to her husband. With “Jane Seymour,” on the other hand, Wakeman’s playing is somewhat subdued and gentle, which coincides with her legendary meekness and frailty, as well as her willingness to cater to Henry VIII. Wakeman’s masterful use of his synthesizers is instrumentally stunning, as is his talent of magically shaping the notes to represent behavioral idiosyncrasies of his characters. Yes bassist Chris Squire lends a hand on “Catherine of Aragon,” while guitarist Steve Howe and drummer Bill Bruford appear on a few tracks as well, as does former Strawbs member Dave Cousins, playing the electric banjo. The Six Wives of Henry VIII unleashes the unyielding power of the keyboard as a dominant instrument, but also displays Wakeman at the beginning of an extremely resplendent career as a solo musician.

It says in the fine print of Rick Wakeman’s first solo album that the music is “based around [my] interpretations of the musical characteristics of the wives of Henry VIII.” The idea for the album came from the book of the same name, which Yes’ Wakeman purchased at a London airport. He writes that the music for each of Henry’s wives came flowing inside his head as he read about them. A bit apocryphal perhaps, but apparently Wakeman found what he was looking for — a theme through which he could expose his keyboard virtuosity. He overdubbed eight of them: Mini-Moog synthesizer, mellotron with brass and string effects, a Steinway Grand piano, another mellotron with voice effects, C-3 Hammond organ, RMI electric piano, Arp synthesizer and a Thomas Goff harpsichord.

Placing himself in the middle of these various keyboards, Wakeman created a synthesized orchestra. Along with a rhythm section often composed of Yes’ Chris Squire on bass, Steve Howe on guitar and the group’s recently acquired drummer Alan White, he used the electric piano to take the place of strings, the electric harpsichord to replace the sound of reeds, and the Arp to replace a contra bassoon.

With this album, Wakeman has made his bid for Keith Emerson’s place as the master of keyboard electronics. Though falling a little short in technique, he has a brilliant feel for tasteful impressionistic composition. For example, “Catherine Of Aragon,” at first sounds like ELP’s “Tarkus,” but evolves into a more melodic cut featuring some human choral work by Liza Strike, Barry St. John and Judy Powell.

The brightest spot on the album is “Catherine Howard,” which contains at least four time changes and some amazing interplay between mellotron, harpsichord, Moog and acoustic piano.

Henry VIII is an exceptionally interesting instrumental album. The production is superb, the mixing tasteful with hardly an uncomfortable studio effect. In fact, most of what we would normally think of as effects are the product of Wakeman’s own playing which is just fine.

Track Listing:

1. Catherine of Aragon (3:45)
2. Anne of Cleves (7:50)
3. Catherine Howard (6:36)
4. Jane Seymour (4:44)
5. Anne Boleyn (Incl. ‘The Day Thou Gavest Lord Hath Ended’) (6:31)
6. Catherine Parr (7:00)

Total Time: 36:36


– Rick Wakeman / Steinway grand piano, RMI electric piano, Hammond C3 organ, acoustic & electric harpsichord, Mini-Moog, ARP synthesizer, Mellotron 400D, Cripplegate St. Giles church organ (4), arrangements & production

– Mike Egan / guitar (1,2,5,6)
– Steve Howe / guitar (1)
– Dave Lambert / guitar (3)
– David Cousins / electric banjo (3)
– Chris Squire / bass (1)
– Dave Winter / bass (2,6)
– Chas Cronk / bass (3)
– Les Hurdle / bass (1,5)
– Bill Bruford / drums (1,5)
– Alan White / drums (2,4,6)
– Barry de Souza / drums (3)
– Ray Cooper / percussion (1,5)
– Frank Ricotti / percussion (2,3,6)
– Judy Powell / chorus (1)
– Barry St.John / chorus (1)
– Liza Strike / chorus (1,5)
– Laura Lee / chorus (5)
– Sylvia McNeill / chorus (5)

Line-up/Credits :

Engineer [Assistant] – Pete Flanagan* (tracks: A2 to B1, B3)

Engineer, Mixed By – Paul Tregurtha (tracks: A2 to B1, B3)

Producer, Written-By, Arranged By – Rick Wakeman

Technician [Keyboards & Amplification Set Up By] – Claude Johnson Taylor, John Cleary, Michael Tait (2), Philip Hepple



Custom built Hammond C-3 Organ, RMI Electric Piano & Harpsichord, 2 x Mini-Moog Synthesizer, Mellotron 400-D (Brass/Strings/Flutes), Mellotron 400-D (Vocals/Sound Effects/Vibes), Steinway 9’ Grand Piano, Frequency Counter, Custom Mixer.

In addition to the above instruments a Thomas Goff Harpsichord and ARP Synthesizer were used. All sounds put through two Steoreo Leslies, Fender Duel Showman Amp & two JBL Cabinets. Also used a custom built Oscillator, Fuzz & Wahwah Pedal and Binson Echo Unit. The organ on ‘Jane Seymour’ was recorded at St. Giles, Cripplegate.

‘Katherine Of Aragon’ was engineered and mixed at Trident Studios, London. ‘Anne Boleyn’ was engineered at Morgan Studios, London, and mixed at Trident Studios. All the remaining tracks were engineered and mixed at Morgan Studios.

Hymn at the end of ‘Anne Boylen’ which is ‘The Day Thou Gavest Lord Hath Ended’.

Recorded between February and October, 1972. All songs published by Rondor Music.

This album is based around my interpretations of the musical characteristics of the wives of Henry VIII. Although the style may not always be in keeping with their individual history, it is my personal conception of their characters in relations to keyboard instruments. – Rick.

Rick Wakeman – “The Six Wives Of Henry VIII” Album cover photo (front)

rick wakeman the six wives of henry viii

Rick Wakeman – “Catherine Howard” Video file link on YouTube

Rick Wakeman – “The Six Wives Of Henry VIII” Full Album Video file link on YouTube

Rick Wakeman Artist’s Page on Spotify

Rick Wakeman Artist’s Page/Discography/Full Albums/Download Links on Muro Do Classic Rock Blog

Rick Wakeman Artist’s Page on Facebook

Rick Wakeman Artist’s Page on Discogs

Rick Wakeman Artist’s Page on RWCC

Rick Wakeman Artist’s Channel on YouTube

Rick Wakeman Artist’s Concert Setlists/Tour Dates on Setlist Fm

Rick Wakeman Artist’s Page



Stoner Rock U.S.A. 1990s (Albums) Brant Bjork – “Jalamanta”

Stoner Rock U.S.A. 1990s (Albums)

Brant Bjork (Palm Springs, California, U.S.A.)

“Jalamanta”  Debut solo album by the artist 

Released on Man’s Ruin Records ( MR 183cd) on 11th October 1999

Jalamanta is Brant Bjork‘s debut solo effort after leaving Kyuss and joining Fu Manchu. Originally released in 1999 on now defunct Man’s Ruin Records label, Jalamanta was re-released on Bjork’s own label, Duna Records, in 2003, 2006 and 2009.

Promotional Information: From the mind of Brant Bjork (KYUSS, FU MANCHU) comes a trip through the Soulful side of things. 12 tracks of ghetto vibe wonder. World-renowned for his “Rock” drumming, Brant welcomes you to his side of the tracks… psychedelic, soulful, organic, sexy… The result of years of writing and composing, this record will also offer a highly personal side, as the cover art is also painted by Brant. MAN’S RUIN considers this one of their most interesting releases to date. File with: WAR, WATTS RIOTS, FLYING BURRITO BROTHERS.

Line-up/Credits :

Drums, Guitars, Bass, Percussion, & Vocals: Brant Bjork

Recorded the first week of Feb ’99 at Rancho de la Luna, Joshua Tree, CA

Produced by Rosa. Engineered by Tony Mason. Mixed by Tony Mason & Rosa

Mastered by Schneebie. Additional guitars by Mario Lalli & Gary Arce

All songs written by Brant Bjork

Words & Vocals on Toot by Mario Lalli

Paintings & Photos by Brant Bjork. Layout by Bjork/Kozik

Tracks :

All tracks written by Brant Bjork, except tracks 7 & 12.

No. Title Length
1. “Lazy Bones” 1:29
2. “Automatic Fantastic” 6:59
3. “Cobra Jab” 3:18
4. “Too Many Chiefs…Not Enough Indians” 3:44
5. “Sun Brother” 4:45
6. “Let’s Get Chinese Eyes” 4:45
7. “Toot” (Lyrics by Mario Lalli, music by Brant Bjork) 5:58
8. “Defender of the Oleander” 7:53
9. “Low Desert Punk” 4:09
10. “Waiting for the Coconut to Drop” 3:57
11. “Her Brown Blood” 4:15
12. “Indio” 4:08
13. Take Me Away” (Vinyl only bonus track, Blue Öyster Cult cover) 5:35

The original Man’s Ruin album lists track #5 as “Oasis Layback”, but was changed on the Duna release to “Sun Brother”.

Brant Bjork – “Jalamanta” Album cover photo (front)


Brant Bjork – “Jalamanta”

Brant Bjork – Artist’s Homepage

Brant Bjork Artist’s Page on Facebook

Brant Bjork Artist’s Page on Bandcamp

Brant Bjork Artist’s Page on My Space