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 :

 

 

7/12-inch Singles/E.P.s Garage/Psychedelic Rock U.K. 1960s The Attack – “Colour Of My Mind”

7/12-inch Singles/E.P.s Garage/Psychedelic Rock U.K. 1960s

The Attack (London, U.K.) 

“Colour Of My Mind” (written by Shirman) B’ Side single released on Decca Records (F 12631) on 23rd June 1967

Line-up/Credits :

Richard Shirman: Vocals

George Watt: Organ

Chris Allen: Drums

Geoff Richardson: Guitar

Kenny Harold: Bass Guitar

The Attack were a freakbeat/psychedelic rock band formed in 1966 around singer Richard Shirman (born 26 April 1949, London Died 26 July 2017). The first line-up featured drummer Alan Whitehead from Marmalade,  guitarist David O’List (later of The Nice) and John Du Cann (later of Andromeda and Atomic Rooster). Their first single “Try It” had also been recorded by The Standells and Ohio Express. They also released a version of “Hi Ho Silver Lining”, a few days earlier than Jeff Beck. Richard Shirman was invited to be singer with Andromeda but he declined. In 1979 Shirman reunited The Attack. Two years later he founded another band Hershey and the 12 Bars who released an album in 2000: Greatest Hits Volume II (A New Day Records, AND CD43).

You can say that the Attack were in fact, at least a couple different groups for the fact that vocalist Richard Sherman had to regroup Attack from almost scratch 3 times.
The Attack’s beginnings lie in a group called The Soul System. With members coming and going, once a stabilized 5 piece arouse, the band came attention to Don Arden, a top agent who signed them, found their first single (Try It, a Standells tune), and changed their name to Attack. Issued in January 1967, the single didn’t do much on the charts.
However with it’s heavy garage sound, it is considered a minor Freakbeat classic. The flip side We Don’t Know is a rather strange jazz/soul and freakbeat hybrid with some silly lyrics. This same lineup stayed for the recording of their next single Hi-Ho Silver Lining before disbanding due to the lack of success with both 45’s. Hi-Ho Silver Lining was met with fierce competition as Jeff Beck, who presumably heard The Attack’s version and rushed out his own version as his first single after only a few days of The Attack’s single.
The result was Jeff Beck getting the hit with Hi-Ho. The B side to Hi-Ho was an awesome piece of freakbeat, Any More Than I Do. This number, apart from being featured in recent compilations of the years, was used by John Peel for a radio jingle for the pirate Radio London. The guitarist responsible for the powerful riffing on Any More Than I Do, David O’List left to join the Nice in breaking new ground for a while, whilst drummer Alan Whitehead went back to the Marmalade and the others faded into obscurity.
Richard Sherman, now the only one left, regrouped The Attack with Scottish organist George Watt, drummer Chris Allen, guitarist Geoff Richardson and bassist Kenny Harold. Their follow up to Hi-Ho was another kinda cheeky and very English affair, Created By Clive. In a very ironic coincidence, two versions of Created By Clive were released the same day, by The Attack and The Syn!
The result was neither got any attention that the song was meant for which was probably better off as the liner notes of their posthumous compilation Magic In The Air notes “Clive, a fashion designer who specialized in dressing debs in see-through mini-dresses, would have probably sued anyway”.
The new guitarist Geoff Richardson penned their B side, the slow tamped raga Colour Of My Mind. With the single just barely in the shops, a new guitarist John DuCann was added and the drummer and keyboard player were replaced too. With this lineup, The Attack went about playing all the venues available, Middle Earth, Tiles, the Speakeasy etc.
However personnel changes shifted once more in the summer of 1967, and Geoff Richardson and Kenny Harold left being replaced by Jim Avery. The recorded the two sides of their next single, Magic In The Air/Lady Orange Peel but the A side was rejected by Decca for being too heavy and the band were sent in to record the harmless Neville Thumbcatch.
Two more tracks were recorded in October 1967, covers of Morning Dew and Loving You Is Sweeter Than Ever, but the single that was eventually released in January 1968 was Neville Thumbcatch backed with Lady Orange Peel.
Thumbcatch was very similar to Cream’s Pressed Rat And Warthog with it’s narrative verses and trumpet melodies. With this single, the group disbanded again. DuCann and Sherman kept Attack alive, recruiting bassist Roger Deane and drummer Keith Hodge and continued on as a four piece.
This last lineup recorded tracks for a future album and single, all left in the can. Before their split in mid 1968, the group recorded many songs, including Winding Up Clocks, Feel Like Flying, Strange House, Just Waiting, Freedom For You, etc. Unfortunately, not all of these tracks survived when the Magic In The Air album was being compiled.
But featuring all their singles (with one exception, Created By Clive) and a handful of unreleased tracks from their 1968 album sessions, the compilation gives a better look at who The Attack were really about.
Tracks like Magic In The Air, Strange House, Freedom For You & Colour Of My Mind justify their high place in British freakbeat/psych history. Perhaps with a more stable lineup, the band would have reached farther than they did.

The Attack – “Colour Of My Mind” Single cover photo (front)

the attack colour of my mind single 2

The Attack – “Colour Of My Mind” Single photo (B’ Side)(

the attack colour of my mind single 1

The Attack – “Colour Of My Mind” Video file link on YouTube

The Attack Band’s Page on Spotify

The Attack Band’s Page/Download links on Rockasteria Blog

The Attack Band’s Page on Discogs

The Attack An Interview with Richard Shirman on Ugly Things

The Atttack Band’s Page on Tripod

 

7/12-inch Singles/E.P.s Hard Rock/Heavy Rock And Roll U.K. 1970s Motörhead – “Leavin’ Here/White Line Fever”

We only knew three chords but we arranged them pretty well.”
Lemmy 

7/12-inch Singles/E.P.s Hard Rock/Heavy Rock And Roll U.K. 1970s

Motörhead (London, U.K.)

Leavin’ Here/White Line Fever” Full 7-inch Single

Leavin’ Here (Cover Version)

“Leavin’ Here (written by Brian Holland, Lamont Dozer, Eddie Holland)/White Line Fever (written by Lemmy Kilminster, Phil Taylor, Eddie Clarke)”  

7-inch Single released on Skydog Records (MH 001) in 1977

“Leavin’ Here” Lyrics :

Hey, fellas, have you heard the news,
Yeah, the women in this town have been misused,
Yeah, I seen it all in my dreams last night,
Girls leaving this town ’cause you don’t treat ’em right.
Oh, take a train (take a train), fly by plane (fly by plane),
Yeah, gettin’ tired (gettin’ tired), sick and tired (sick and tired).
All you fellas better change your ways,
Yeah, leaving this town in a matter of days,
Girls are good, you better treat ’em true,
I seen fellas running around with someone new.
Gettin’ tired (gettin’ tired), sick and tired (sick and tired),
Yeah, leavin’ here (leavin’ here), leavin’ here (leavin’ here),
I said leavin’ here, yeah yeah yeah, don’t want to leave all here,
Be a while, oh yeah, oh yeah, oh yeah, oh yeah.
The love of a women is a wonderful thing (oh yeah),
Yeah, the way you treat ’em is a crying shame (oh yeah),
I tell you, fella, yeah, it won’t be long (oh yeah),
Yeah, before these women they all have gone (oh yeah).
Yeah, gettin’ tired (gettin’ tired), sick and tired (sick and tired),
Yeah, take a train (take a train), fly by plane (fly by plane),
Yeah, gonna leavin’ here, yeah leavin’ here,
Yeah, leavin’ here, ya gonna leave all here now,
Baby baby baby, please don’t leave here.
Songwriters: Brian Hollan / Edward Holland Jr / Lamont Dozier
“White Line Fever” Lyrics :
We can move around now
You know it’s so good
But I know you wouldn’t come clean now, baby
Even if you could
white line fever
White line fever made me a believer now
White line fever, yeah
Take me away from you
Just come to me babe
We can stay right here
But you don’t remember me, honey, ’cause of all you’ve done this year
White line fever
We’re gonna make you a dreamer
White line fever, yeah
It’s a slow death
Hey
Bye, bye, bye baby
‘Cause there I come
Won’t go to sleep tonight
Because the white line turns me on
White line fever
Made me a believer
White line fever, yeah
It hasn’t killed my yet
Oh
Songwriters: Ian Kilmister / Edward Clarke / Philip Taylor
Motörhead – “Leavin’ Here/White Line Fever” Single cover photo (front)
MOTORHEAD LEAVNIN HERE 1
Motörhead – “Leavin’ Here/White Line Fever” Patch photo 
MOTORHEAD LEAVIN HERE WHITE LINE FEVER 1 (2)

7/12-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s Love – “My Little Red Book”

7/12-inch Singles/E.P.s Garage/Psychedelic Rock U.S.A. 1960s

Cover Version

Love (Los Angeles, California, U.S.A.)

‘My Little Red Book” (written by Burt Bacharach/Hal David) A Side single (B Side single “A Message To Pretty”, A1 track included on the album “Love” released in March 1966, on Elektra Records (EKL-4001)

Released in 1966  on Elektra Records (EK-45603)

My Little Red Book” is a song composed by Burt Bacharach with lyrics by Hal David. In the wake of the British Invasion, Bacharach, a former bandleader for Marlene Dietrich, began working hands-on with beat groups of the era such as Manfred Mann. Manfred Mann recorded the song for the 1965 film What’s New Pussycat?, filmed between October 1964 and June 1965; the entire catalogue of music for the film was written by Bacharach and David.

In 1966, the song became a rock standard when remade by the Los Angeles based group Love, where it reached No. 52 in the US national charts.

Line-up/Credits :

Arthur Lee – lead vocals, percussion, harmonica. Also drums

Johnny Echols – lead guitar

Bryan MacLean – rhythm guitar, vocals. Lead vocals

Ken Forssi – bass guitar

Alban “Snoopy” Pfisterer – drums

Lyrics :

I just got out my little red book
The minute that you said good-bye.
I thumbed right through my little red book
I wasn’t gonna sit and cry.
And I went from A to Z;
I took out every pretty girl in town.
They danced with me, and while I held them,
All I did was to talk about you.
Hear your name and I’d start to cry
There is just no getting over you.
No girl who is in my little red book,
Just ever could replace your love,
And each girl in my little red book
Knows you’re the one I’m thinking of.
Won’t you please come back to me?
Without your precious love I can’t go on.
Where can you be? I need you so much.
All I do is talk about you,
Hear your name and I start to cry
There is just no getting over you.
Songwriters: Burt Bacharach / Burt F Bacharach / Hal David
Love – “My Little Red Book Single photo (A Side)
LOVE MY LITTLE RED BOOK 1

Love -“My Little Red Book” Video file link on YouTube

Love – “Love” Full album Video file link on Spotify

 

 

Jazz/Jazz Rock U.S.A. 1960s (Tracks) Kenny Burrell – “Midnight Blue”

Jazz/Jazz Rock U.S.A. 1960s (Tracks)

Kenny Burrell (Kenneth Earl Burrell) (Detroit, Michigan, U.S.A.)

“Midnight Blue” (written by Kenny Burrell) A4 track included on the album “Midnight Blue” 

Released in May 1963 on Blue Note Records (BLP 4123)

Line-up/Credits :

Performance

Kenny Burrell – guitar

Stanley Turrentine – tenor saxophone (except #3, 4, 6, 9)

Major Holley – bass (except #3)

Bill English – drums (except #3)

Ray Barretto – conga (except #3, 6)

Production

Eric Bernhardi – graphic design

Bob Blumenthal – liner notes

Micaela Boland – design

Michael Cuscuna – producer, reissue producer

Leonard Feather – original liner notes

Gordon Jee – creative director

Alfred Lion – producer

Reid Miles – cover design, typography

Rudy Van Gelder – engineerremastering

Tom Vasatka – Producer

Francis Wolff – photography, cover photo

Kenny Burell – “Midnight Blue” Album cover photo (front)

KENNY BURRELL MIDNIGHT BLUE 2

Kenny Burrell – “Midnight Blue” Album photos (Side A and B)

KENNY BURRELL MIDNIGHT BLUE 1

Kenny Burrell – “Midnight Blue” Video file link on YouTube

Kenny Burrell Artist’s page on Spotify

Kenny Burrell – “Midnight Blue” Full album video file link on YouTube