SBB - 1980 - Memento z balalnym tryptykiem

SBB

1980 

Memento z balalnym tryptykiem

01. Moja ziemio wysniona (My Land Of Dreams) (8:39)
02. Trójkat radosci (The Triangle Of Joy) (7:48)
03. Strategia pulsu (Strategy Of Pulse) (3:29)
04. Memento z banalnym tryptykiem (Memento With A Banal Tryptych) (20:56)

Bonus track (CD):
05. Z których krwi krew moja (10:40)

Jozef Skrzek / bass, piano, moog, vocals
Apostolis Antymos / guitar
Jerzy Piotrowski / percussion

GUESTS:
Slawomir Piwowar / guitar, bass, clavinet, Fender piano, Handclapping
Jan Skrzek / Mouth-organ, Handclapping
Alicja Piwowar & Renata Szybka / Handclapping

I have had something of a sheltered life regarding Jazz/Fusion, I am not an expert but know a bloody good album when I hear it - they say if you look hard enough you never know what may bite you - an obscure (to me) Polish Jazz Rock/Fusion band with an abbreviated name, an unpronounceable album title but with some very enthusiastic reviews, I had heard and been impressed by some other notable Polish bands and classical composers, so I looked for this particular album and lo and behold found a vinyl copy in Poland so duly thought despite the tacky "home made" appearance of the black and white photo on the cover and obscure record label I'd give it a whirl, and wow! what a fabulous album it has revealed itself to be - it has hardly been off my turntable since I received it, and here's why....

The first side is like a mini symphony, awash with synthesised orchestra, Dave Gilmour style guitar solos and electrifying keyboard passages, every second is a joy to listen to packed with so many ideas, hooks, twists and flourishes, the musicianship is excellent, the sound quality is rich and clear. The first sound before "My Land of Dreams" tricks you into thinking you may have bought a classical music LP by mistake - indeed a trick! The song kicks into a fast Jazz/Rock instrumental as sophisticated as any top class Jazz Rock you are ever likely to hear - it has a gloriously catchy theme, the song slows into the vocal section sung in Polish with another catchy hook line in the backing, then leads into a Genesis style build up, then another twist - a Funk style groove leading into another devilishly catchy hook line arrangement using lead guitar and piano, rousing to and a very fast guitar solo with orchestrated backing. The next song is the haunting "The Triangle of Joy", a slow magical instrumental which begins with a watery sounding effect on polymoog I would guess, backing a beautiful acoustic Spanish - style solo, then continues with a wash of synthesised keyboard overlaid with a complicated slightly distorted electric guitar solo, leading to the bluesy ending to the track. The third track "The Strategy of Pulse", is another tricky, catchy slab of Jazz/Funk overlaid with heavy distorted lead guitar - this style of this track is very reminiscent of early seventies Rock/Fusion bands such as Herbie Hancock and would stand up in comparison of quality very well indeed, it is that good!

Side 2 is taken up with the sprawling "Memento with a banal tryptych" - which is how it comes out in translation, but there is nothing banal about this music at all. This amazing piece begins with a grand introduction to a catchy melody, some very memorable hook lines. It includes some Polish language vocals which many may not understand but the language of this beautiful music will be understood by all. The music follows many interesting twists, moods and changes but follows through very smoothly to my ears - some American style folk and Slavonic influences here mixed in with some great Art rock themes, grand Floydian crescendos and melodies makes for a very engaging listen indeed....ooops....another trick ending...naughty boys!

I would recommend this brilliant album to all fans of Jazz/Rock as an excellent addition, which draws from some big name influences but the quality of the music stands up well alongside them.

The last album before SBB's dissolution in 1980 (they would reform some decades later) sees the band going out in fine form. With less space rock content than usual, the symphonic prog influences on the band - particularly those from Genesis - are on view more than ever, and guitarist Apostolis Antymos includes a wonderful extended classical guitar performance on Trójkąt Radości worthy of Anthony Phillips himself. Bookended by brief orchestral passages, the album seems to be intended as a farewell statement from the band - the "Banal Triptych" of the title quite possibly being the three band members themselves. If it was, it was a respectable enough way to bow out, though at the same time it doesn't quite hit the standards of the band's magnificent works from their great 1977-1978 burst of creativity.

SBB - 1979 - Welcome

SBB 

1979

Welcome

01. Walkin' Around The Stormy Bay (6:30)
02. Loneliness (5:25)
03. Why No Peace (6:04)
04. Welcome Warm Nights And Days (3:02)
05. Rainbow Man (3:38)
06. How I Can Begin (7:00)
07. Last Man At The Station (9'29)

Bonus tracks (CD):
08. Rainbow Man (long version) (5:05)
09. Last Man At The Station (short version) (6:26)
10. Deszcz kroplisty, deszcz ulewny (4:02)
11. Tuz nad kanalem Ulgi (4:41)
12. 30 stopni w cieniu (5:26)
13. Przy okazji (6:39)
14. Mechaniczna skakanka (5:04)

- Jozef Skrzek / bass, piano, Moog, vocals
- Antymos Apostolis / guitar
- Jerzy Piotrowski / percussion

Poland's biggest prog band SBB had released few albums in Polish, and which mostly include long compositions, when around 1978 they took advantage of some contacts in Germany. Welcome is perhaps their best produced and most accessible album at least up to that point. As I hardly know a word in Polish, I warmly welcome the English language. Also, this album was my first introduction to SBB (or to prog from Eastern Europe in general, if I remember correctly) in 1991 or so. It was interesting to revisit it now that I have heard their other albums too.

For all those reasons mentioned, it's quite natural that I enjoy this more than the other ones. However, a quick look at the SBB ratings revealed that this is not among the best rated ones. I can understand that for a connoisseur some more epic albums give bigger kicks (and maybe I too should listen to them more often...), while this one may have some weaknesses in songwriting, depending on one's taste. For me there's only one song I don't like ('Rainbow Man'). Some songs are quite introspective and sort of wandering, but not in a bad way, I think. Some others may find them boring, going-nowhere -type of thing. Here and there this album gest quite poppish and a bit sentimental, such as in 'Loneliness' and 'Welcome Warm Days And Nights', but still a certain distinctive Eastern-European flavour remains. As always, Jozef Skrzek's keyboards - Moog especially - take the leading role.

Perhaps for a proghead this album is at its strongest in the instrumental opener, 'Walking Around The Stormy Bay' which includes some excellent drumming by all three members. This is definitely not their most progressive work, but as an English language album this serves as a nice starting point from where one can continue to their more demanding works.

CD comes with plenty of bonus material (nearly doubling the running time), two of them being album tracks with differing length, and the rest are mostly instrumentals and jazzier than SBB in general (recorded in sessions preceeding the album-making). They are not any valid reason to get the CD if you otherwise have Welcome in some form.

One of the best blends of Greek bouzouki and progressive rock that I've heard takes place on "How Can I Begin". And there are not many. Great job by Apostolis.

SBB - 1978 - SBB (The Amiga Album)

SBB

1978

SBB (The Amiga Album)

01. Tanzbar (3:09)
02. Magische Blaue Stunde (3:07)
03. Hektik (3:08)
04. 2:10 (2:08)
05. Ouzo (4:58)
06. Unterbrochene Erotik (2:54)
07. Kala (3:33)
08. Tumba (3:49)
09. Mutraczka (4:26)
10. Nr. 7 (5:05)
11. I Wonder Why (4:40)

Bonus tracks (CD):
12. Nervoser Nikolaus (5:15)
13. Tom Cat (3:07)
14. Gonitwa (2:33)
15. Beci (3:33)
16. Profesor Moog (3:18)
17. Balon guma (5:38)
18. Maskarada (4:11)
19. Podróz (6:40)
20. Trema (3:19)

- Józef Skrzek / keys, harmonica, vocals
- Antymos Apostolis / guitar
- Jerzy Piotrowski / drums

The first song, Tanzbar (Dance bar) is a nice and calm funk tune, not very special, but very groovy. this is the whole image of the album, short groovy songs, great for example for getting high or to be listened to while drunk. Not that I would support such a behaviour. The song has some singing, but less lyrics, the voice acts as an instrument here. The song is nice.

Magische Blaue Stunde (the magical blue hours) is probably meant to tell a story. This one is a bit less funky, and more moody, slower and even psychedelic. This song is a straight instrumental as are most of the songs on this album. It's pretty much guitar driven with a nice melody. One of my favourites.

Hektik (hectic) is pretty much what the name of the song indicates. It's really powerful and fast, probably pretty hard to play. There's a bit less of the funk as the keyboards seem to dominate much more than the guitar. The drumming sounds like in frenzy which has always been one of SBBs best sides. There's a catchy melody which is easy for everyone to jam to.

The latter applies to the next song as well. The song is a bit more funky, though somewhat carneval like, happy and groovy. It's basically a jam song, and more guitar driven again. 2:10 is named after how long it lasts, I suppose, though my tags show it's only 2:07...

Ouzo is very similar to the earlier one in the sense, that it's pretty fast and catchy. The main riff is however again with the guitar, and this is a lot more jazz-rock than funk. The drums keep the funk-jazz feeling throughout the album and the songs are built up around it with guitar and the keyboard taking turns in dominating. This one has a funky part too, kind of a battle between the two main instruments.

Unterbrochene Erotik (interrupted erotics)... The songs on this album are really not that different from each other. This one however is refreshing in a way. The song starts like the others before it, but there's also singing. A question arises: why so little singing? The singer's not the best there is, and the song is again funk jamming where the vocals go along the guitar in the same melody. This is not an album where they'd put so much attention to singing. The singing here is just for the vocalist to feel the mood too. Basically the rest is just jamming.

But jamming is what they do well. Of course most of the album is composed, and there's little room for improvisation within the 3-4 minutes each song lasts, which is a shame. The guys play so well it'd be nice to hear if they improvise as well too. Kala, the next track, starts off soft and sounds like there's going to be a calm, ballad kind of a song, but it soon gets started. The bass-organ-guitar patterns make it sound like Wigwam at times on this song and the others too, which is a good thing in my book. There's some really good jazz-rock hooks for the listener. After all, this is not as 'hektik' as most of the songs, the verses are really laid back.

The album is a collection of groovy funk tunes, great for people who find that kind of music good. Composition-wise it's not mind breaking, but a solid jamming session where the guys really show what they do best. Tumba is a very repetitive song with one riff and basically something between scat and singing on the background. The song sounds a lot shorter than what it is, which is a good thing. It might get a bit boring after a while just listening to the same pattern over and over again. This is obviously something that brings the fun back to the serious jam session. The song is very cheerful and I can imagine them having a lot of fun playing the song for the first 5 times. Still, if one has to look for a weakest link on an album, this would be it here, though only composition-wise.

A couple of words to describe this album: easy-going, laid-back, creative, skillful. It's definately not as serious as some of their albums seem to be. Perhaps they just needed to take a break and go easy one it. Mutraczka is a guitar driven funk-rock song. The guitar that plays the lead is pretty tight and rock. The song is a lot slower and less intense than the rest, it's more a like a song made for the guitarist. Just like the one before, it fades out, there's no ending.

When the one before was for the guitarist and the one before that was for the singer, the next song, Nr. 7 is obviously for the keyboardist. There's hardly any guitar, and the drums just beat in the background. It's a bit dreamy and less rock than the ones before. There's a foggy and dreamy feeling to this one. Apparently each player wants to try out their skills, and so far, none have failed.

the last song, I Wonder Why is of the disco generation. It sounds a bit like Bee Gees on the style aspect. Lot of wah in the guitars and though not as high, still sung through. I could imagine people dancing to this very song at discos in 70s. It's really not that prog, just an easy disco nation tune, perhaps not for radioplay but for retro-nights at the local club.

One of the three albums SBB released in 1978, this one was exclusively recorded for the audience of the German Democratic Republic, thus manufactured by Amiga (while the reissues of this work were also titled ''Amiga'').Nothing enganging or close to what SBB were offering at the time, this is the true sense of a commercial album, recorded for a specific market, offering rather pedestrial Jazz Funk and Jazz Fusion with electric piano and synths prevailing and Anthimos twisting around the same style.The more Fusion-esque parts have a definite WEATHER TO REPORT feel and the faster, jazzy lines recall of RETURN TO FOREVER at their wildest, which both are a good thing, and actually this would be an ok work for any other band, but overall the sound is quite slick and less emphatic than you'd expect.

SBB - 1978 - Follow My Dream

SBB

1978

Follow My Dream

Going Away: (24:09)
01. Freedom With Us (8:12)
02. 3rd Reanimation (6:13)
03. Going Away (6:36)
04. (Zywiec) Mountain Melody (3:08)
Follow My Dream: (22:16)
05. Wake Up (5:02)
06. In The Cradle of Your Hands (2:46)
07. Growin' (6:18)
08. Follow My Dream (8:10)

Bonus tracks (CD):
9. Królewskie marzenie (6:41)
10. Wiosenne chimery (15:54)
11. Dla przyjaciól (7:09)

- Józef Skrzek / keyboards, harmonica, vocals
- Antymos Apostolis / guitar
- Jerzy Piotrowski / drums

On the Follow my Dream album of Polish symphonic/space/fusion act SBB the band acquired a new sound. With modern, professional equipment (perhaps influenced by '75 Pink Floyd) the band re-invents itself after a career that already gave rise to three major progressive releases. The production of the album is very good, which I can't always say about their earlier releases.

Follow my Dream was aimed at the western part of Europe, which of course had the biggest market for progressive music. Applying the Manticore-tactic, SBB started singing in English and Józef Skrzek does an acceptable job. The accent is however always disturbing and I myself had no problems at all with the Polish lyrics.

Though equipped with a new sound a fresh new market to be explored I must admit I think the band didn't have too much inspiration for this record. The opening section 'Freedom With Us' (they shouldn't have re-used the title of the powerful epic of New Horyzont) is utterly boring. Luckily '3rd Reanimation' is an exciting fusion jam with great slightly distorted synthesizer sounds and a remarkable bombastic ending section. 'Going Away' has again a boring intro and couplet theme but a compensating instrumental refrain that is highly rewarding. Somehow I always get the feeling of relieve listening to this song. The song evolves into the electronic sound-scape Mountain Melody, which is also very rewarding and well recorded. On side two Wake Up is an atmospheric opener. The English version of the Pamieç masterpiece 'In the Cradle of your Hands' is a strong effort, but I prefer the more mysterious sound of the Pamieç version. Still this is track that shows the best of compositional genius that SBB has to offer, and perhaps even the progressive genre itself. The adventerious section after the opening section is one of my favorite moments of progressive rock. The title track 'Follow my Dream' is a boring fusion track like the opening of side one. Luckily the instrumental ending section is highly rewarding. A good ending for the album.

Conclusion. This album showcases an important phase of SBB that would eventually lead to their later major progressive rock releases. The Follow My Dream album falls short to be mentioned in the list of SBB greatest records, but it does have some really amazing moments like '3rd Reanimation', the instrumental sections of 'Going Away' and the ending section of the title track.

SBB - 1977 - Jerzyk

SBB 

1977

Jerzyk

01. Jerzyk (3:23)
02. Kijek (3:33)
03. Oddech (5:56)
04. Taniec Bulibara (4:29)
05. Garbusek (2:41)
06. Palamakia (6:57)
07. Wolanie o podklad (4:08)
08. Janek (3:52)
09. Wladkowa kolysanka (4:53)

Bonus tracks (CD):
10. Debiut Kety (4:01)
11. 11 traktów (4:06)
12. Renia (3:11)
13. Mutraczka (1st version) (4:55)
14. Jak bylo tak bylo ale bylo (6:31)
15. Cierpiarz (3:49)
16. Ouzo (1st version) (4:38)
17. Uscisk w dolku (1st version) (6:51)

- Józef Skrzek / vocals, keyboards
- Apostolis Antymos / guitar

- Jerzy Piotrowski / drums

In 1977 and early 1978 SBB experimented with material with a leaning towards pop and funk-jazz. 'Jerzyk' and 'Amiga album' aren't considered to be classics of the band. But, 1978 showed yet another new course for SBB with the recording of 'Follow My Dream', a record with the goal to hit the Western European market. On this album SBB reinvented itself with a new, modern symphonic/progressive sound (reminding me a bit of the mid-seventies PINK FLOYD sound). Also, some of the lyrics were sung in English. The new arsenal of top-notch synthesizers and other equipment gave the band the sound it needed to make recordings that would stand the test of time. This move gave the band the opportunity to tour in many new countries and they were even allowed to tour behind the Iron Curtain, which was a big thing at the time.

One of the weaker SBB releases, relatively speaking. Here the sound is more traditional jazz fusion, with some funk elements thrown in. Still, the band plays well enough to make it interesting, and the short tracks work to the album's advantage - just when one is starting to sound stale, another one comes in to take its place. As usual, the bonus tracks on the Metal Mind reissue are just as good as the album proper.

SBB - 1977 - Wolanie O Brzek Szkla (Slovenian Girls)

SBB

1977

Wolanie O Brzek Szkla (Slovenian Girls)

01. Wolanie o brzek szkla (19:10)
02. Odejscie (19:47)

Bonus tracks (CD):
03. Bitwy na obrazach (3:48)
04. Uscisk w dolku (3:38)
05. Muzykowanie latem (16:50)
06. Fikolek (14:53)

"Slovenian Girls" version track list:

A1 Julia 18:50
B1 Anna 19:30

- Józef Skrzek / vocals, keyboards, harmonica
- Apostolis Antymos / guitars
- Jerzy Piotrowski / drums, percussion

Recorded 12-22.04.1977 at Mozarteum Studio, Prague.

Originally a Czechoslovak-exclusive release. Later released in West Germany by Omnibus as "Slovenian Girls" with changed song titles.

There were 4 CD rereleases of this album:

- Koch International's from 1997 (based on West German "Slovenian Girls" release with changed song titles)

- Supraphon's from 2003 (based on original Czechoslovak release with Supraphon 1 43 2097 single included as bonus)

- Metal Mind's from 2005 (the same as Supraphon rerelease, but also including "Muzykowanie Latem" and "Fikołek")

- Belle Antique's from 2014 (again based on Supraphon rerelease, but also with "Wołanie O Brzęk Szkła ~ Odejście [Finale] [Different Version]")

They really could do a movie about this band because their lives and careers were so interesting. They were constantly dealing with the communist government on one hand and the young people who were so thirsty for freedom and Rock music on the other hand. This album was recorded in Czechoslovakia where they were very popular, playing at times to a few hundred thousand young people. It just amazes me that they had the freedom to play in these European countries both communist and non-communist although they were also hassled and humiliated at border crossings because of this envied freedom they had. We get two side long tracks both over 19 minutes in length. I was surprised at all the synths and how spacey this is at times. I much prefer when they play with aggression because they play at a level that blows my mind.

Everyone interested in roots of Eastern European progressive rock must to listen this band! It wasn't easy to play (and record) such kind of music in dark times, when half of Europe was under the rule of Soviet Russia controlled regimes.

S.B.B. in 70-s was quite a unique band. Mixing bluesy roots, psychedelic atmosphere and excellent rock musicianship with some dreamy, melodic and atmospheric Slavic traditions, they played music which was just as fresh air in dusty desert of culture of Socialistic realism.

I believe they were biggest name in the field of progressive rock all around Eastern Europe (there were just few more all around). Only Yugoslavia with their very democratic form of the same epidemic was a fruitful place for domestic rock culture.

This album was recorded in Czechoslovakia in April 1977 and released in the same country. It's interesting, that many S.B.B. albums were released outside of Poland ( in Czechoslovakia or Germany mostly). Sound quality is only average, sound is a bit flat, more on the standard from 60-s.

There are just two long compositions on this album (19+ minutes long each). And it is a great compositions! Trio consisting of keyboardist, guitarist and drummer, plays rich, full- bodied music. All musicians are very competent, and musicianship is very inspired. You can feel that magic in air!

The music itself is complex, but very melodic and atmospheric mix of symphonic roc, jazz rock and psychedelic sound. Listening to both these compositions, you will enjoy every second of music played.

One of the best band's works, the original LP was re-released on CD with 4 bonus tracks (two of them were recorded during the same session in Prague and released as single before, and other two were recorded in 1976 and never released before).

Another amazing SBB album, and a particular triumph for group keyboardist and vocalist Józef Skrzek, whose synthesiser mastery is on exceptional form this time around. Having mastered a space rock-symphonic melange with a spicy dose of jazz fusion, the group seemed to take this album to introduce more minimalistic elements into their work - rather than being busily playing complex material all the time, the group know just when to step back and get simple for a delicate acoustic guitar interlude or for a tension building percussion segment. It takes a listen or two to sink in, but once it does the effect is electrifying, building up the extended compositions marvellously to their grand conclusions. One of their best.

SBB - 1977 - Ze Slowem Biegne Do Ciebie

SBB 

1977

Ze Slowem Biegne Do Ciebie

01. Ze slowem biegne do ciebie (19:14)
02. Przed premiera (19:29)

Bonus track (CD):
03. Odejscie:
Tesknota / Wyzwolenie / Odejscie / Rozlam / Pojednanie (29:07)

- Józef Skrzek / bass, piano, moog, vocals
- Jerzy Piotrowski / percussion
- Antymos Apostolis / guitar

These two side long compositions were written in view of there being a whole orchestra. Both tracks were quite complex and it would be a difficult assignment to say the least for a rock band to try to play them. Well a funny thing happened as they went into the studio to record this album. The man who was financing the endeavour pulled out at the last minute leaving the band to either give up on these two tracks or try to play them on their own the best they could.They obviously chose the latter. In the liner notes the band talks about this time period in their history. "... we were developing our instrumentation and sound, after buying new equipment in Vienna and signing a deal with American distributer Norlin". It should be noted that they were the only Eastern European band to buy their equipment from the "For Music" company in Vienna. Other notables who bought their instruments from there were Rick Wakeman and Tony Banks.

Ze Slowem Biegne Do Ciebie" opens with some experimental sounds before we get this beat that starts to build. Those unusual sounds continue though. Great sound here.The guitar starts to make some noise as it gets pretty intense. It kicks in before 3 minutes as the guitar solos over top. A wall of sound before it calms right down after 4 1/2 minutes. Resrved vocals arrive 6 minutes in and we get this uplifting full sound before 7 minutes.This sounds so good. Pounding drums after 11 minutes as vocals continue. Prominant bass and drums before 15 minutes as synths make some noise. A pastoral calm after 17 minutes and reserved vocals return before 18 minutes. Simply a fantastic composition.

"Przed Premiera" opens with different sounds building as the piano tinkles away. Drums come pounding in.This drummer is just amazing ! He puts on a show here but it's not a solo. I like the rhythm 3 1/2 minutes in. It settles right down before 7 minutes with some good guitar to follow.The bass is excellent as well. It becomes kind of spacey or dreamy after 11 minutes.The drums start to muscle in until they're quite powerful 12 1/2 minutes in.The drummer is blowing me away again after 14 1/2 minutes. Just an incredible soundscape here to the end.

I still can't get over how talented these three guys are. No doubt one of the best trios to ever play music. This album and the debut are must haves in my opinion.

SBB - 1975 - Pamiec

SBB 

1975

Pamiec

01. W kolysce dloni twych (In The Cradle Of Your Hands (To My Father)) (Ojcu) (9:09)
02. Z których krwi krew moja (From Whose Blood, My Blood) (10:14)
03. Pamiec w kamien wrasta (Memory Grows Into Stone) (19:50)

Bonus tracks (CD):
04. Poranek nadziei (4:30)
05. Barwy drzewa (2:01)
06. Osiem rak (4:40)
07. Waldie (9:13)
08. Niedokonczona progresja (6:24)
09. Reko-reko (4:31)
10. Serenada Gia Sena (4:54)


- Jozef Skrzek / bass guitar, Fender piano, Hammond organ, synthesisers, vocals
- Antymos Apostolis / guitar
- Jerzy Piotrowski / percussion

SBB are architects of an irresistable cosmic prog sound, as long as you pick up the key albums from the '70s. 'Pamiec' is one of their best.

Even though SBB's music isn't extremely complicated or difficult doesn't make them any less aptivating to even the most demanding ears. The dramatic qualities and the patience they exercise in building their songs are wonderful elements of their style. 'Pamiec' consists of three lengthy songs, each a fine representation of the band's style: jazzy, cosmic, synth-dominant, dramatic, it's all here, with occasional flurries of kinetic storms from drummer Jerzy Piotrowski and generally unpredictable dynamics. Mainman and bassist/keyboardist/vocalist Jozef Skrzek is cleary the guiding light, though he gives the other members plenty of room to move around. His vocals are full of conviction, sometimes fragile, sometimes triumphant, usually carrying a kind of lamenting/melancholy tone.

Some moments are crushingly beautiful ("From Whose Blood My Blood") and some are frightening in their dynamic range (the side-long "Memory Grows Into Stone"). The sounds are all an analog-loving synth-enthusiast could ask for, but it's so much more than just a showcase for Skrzek, as his compositions shine brightly throughout this eventful album, and the band chemistry reaches peak points all over the place. The instrumental balance is another highlight, guitar given plenty of presence amidst the other sounds, nothing ever battling for the spotlight, all of it working toward the strength of the song.

Pamiec is the result of SBB finally getting access to the quality studio recording environments their material deserved, and on top of that showcases an amazing growth in the band's capabilities. The album showcases a sound which seamlessly fuses symphonic prog with a cosmic variety of space rock. Imagine a combination of Saucerful of Secrets-era Pink Floyd's command of blissful atmospheres with Peter Gabriel-led Genesis' sense of drama and technical mastery, topped off with the mystical, majestic air of the finest Yes tracks, and now imagine those qualities being expressed in a wholly original sound that can only be SBB's own: there, you have the glory of Pamiec.

SBB - 1975 - Nowy Horyzont

SBB

1975

Nowy Horyzont

01. Na Pierwszy Ogien (Curtain Raiser) 3:15
02. Blysk (A Flash) 2:45
03. Nowy Horyzont (The New Horizon) 7:47
04. Ballada O Pieciu Glodnych (A Ball 3:55
05. Wolnosc Z Nami (Freedom With Us) 20:00

Bonus tracks (CD):
06. Xeni (6:39)
07. Penia (15:59)
08. Dyskoteka (6:55)
09. Na Pierwszy Ogieñ (6:49)

- Jozef Skrzek / bass, piano, moog, vocals
- Antymos Apostolis / guitar
- Jerzy Piotrowski / percussion

At this early point of its career SBB started touring in West Germany with great success, followed by live shows in their homecountry as well as in Czechoslovakia, Hungary and even Sweden.The next step was to release their first studio album, which was finally recorded between September 74 and January 75' in Polish Radio and at the studios of Polskie Nagrania, both located in Warsaw.The album was entitled ''Nowy horyzont''.

You can forget about the total and endless improvisations of the debut, as SBB come up with a well-structured and quite personal sound in ''Nowy horyzont'', although a loose feeling is still evident in the arrangements.The first side contains four short- to mid-length tracks, where the group shows an ability to blend the groovy Heavy Rock with a keyboard-based Psychedelic Prog and the instrumental compositions are characterized by an intense power.The pounding bass lines of Skrzek meet his spacey keyboard solos and he is accompanied by the mature guitar playing of Anthimos and the solid drumming of Piotrowski.The strong doses of dynamic grooves and organ solos guarantee a very energetic style overall.The sole black hole seems to be ''Ballada O Pieciu Glodnych'', actually a narration of Skrzek with psych-sounding percussions and harmonica in the background.

The second side sums up the presented style of SBB in one composition, the 20-min. ''Wolnosc z nami''.Opening with Skrzek's emphatic piano, it continues with the vocal exercises of the same person before turning into the familiar style of SBB.The careful guitar of Anthimos is mixed with Skrzek's nice piano/bass/keyboard work in some minutes of more melodic delivery.The second part of the track shows why SBB were also an Avant-Garde act.Piano, synth- and vocal effects deliver an outlandish soundscape, before the trio returns with its heavy force of bass, guitars and drums in full display.The closer is a beautiful melancholic performance by Skrzek on piano.

With ''Nowy horyzont'' SBB open a new chapter in Polish Rock.Very flexible and dramatic style with both atmospheric and dynamic passages, not always succesful or flawless but definitely very attractive.Recommended.

Surprisingly dynamic album, despite the lack of good sound quality. The bass is pretty far down in the mix and the guitar is a bit silent in parts where it should wail, but this kind of rawness works quite well with the nature of the music here I'd say. Powerful heavy grooves going through spacey or vaguely even jazzy territory, giving glimpses of the explosive nature of Mahavishnu Orchestra(especially guitar) or Modry Efekt. My favorites are the more darker and jazzy three opening tracks, which remind me of the dark sound of Van Der Graaf Generator on their second album, the murky production is also similar, pun intended. Some of these classical and symphonic influences reminiscent of cookie-cutter British prog don't exite me nearly as much though. I think the last twenty minute track and the spoken word ballad are a bit too ambitious and less engaging than the rest of the material. But the title track is a real killer, great chords and wonderful buildup, very reminicsent of Modry Efekt's stronger tracks, I love it.

SBB - 1974 - SBB

SBB 

1974

SBB

01. I Need You Baby (4:39) (not specified on LP cover!)
02. Odlot (incl. Odlecieæ z wami) (14:39)
03. Wizje (incl. Erotyk) (18:50)

Bonus tracks (CD):
04. Zosta³o we mnie (5:44)
05. Wicher w polu dmie [Obraz po bitwie (13:54)
06. Figo-Fago (13:09)
07. Toczy siê ko³o historii (8:35)

- Apostolis Antymos / electric guitar
- Jerzy Piotrowski / drums
- Józef Skrzek / bass, piano, Moog, vocals

SBB is one of the most important Polish bands of the seventies. This band, rightfully listed in the eclectic progressive genre, mainly plays a hybrid of symphonic prog, space/atmospheric prog and fusion.

The band originated from the early seventies, with their initial name being SILESIAN BLUES BAND. The band was formed by composer, keyboardist, bass-player and extravert vocalist Józef SKRZEK. Young, but skill-full guitar-player Antymos APOSTOLIS added his great solo's and drummer extraordinaire Jerzy PIOTROWSKi freely experimented with his recognizable fast fills and break-up rhythms.

In the end of '71, after a year full of gigs, the band started a fruitful cooperation with one of Polish most important musicians and song-writers: Czes³aw NIEMEN. For a year and a half the band NIEMEN toured in Poland, as well as in Europe. During this period SBB & NIEMEN recorded three critically acclaimed progressive records; "Marionetki" (1972), "Strange is This World" (1972) and "Ode to Venus" (1973). Czes³aw NIEMEN has his own page on the progarchives.

After this period SBB regrouped itself and changed its name in SZUKAJ - BURZ - BUDUJ (Search - Break - Build up). In 1974 their first album 'SBB' was recorded live. Though the album lacked cohesiveness (both piano ballads and very dirty experimental rock improvisation), it was a big hit in Poland and soon it ran out of stock. The record was sold on the black market for twice the price.

In 1975 SBB recorded its first studio album in the radio studios of Polish Radio 3. 'Nowy Horyzont' was a full-blown innovative and progressive recording that would set the course for the rest of their career. The political involvement in the lyrics of their studio-debut makes it a historical achievement, though it's recording doesn't stand the test of time very well. The band had some clear fusion influences HAVISHNU ORCHESTRA is said to been a big influence), some spacey influences from bands like PINK FLOYD and some symphonic influences. The atmosphere of SBB's albums would however be a bit more abstract then those of their English colleagues. The drums of SBB stand out as very energetic and important for the band's intelligent atmospheres.

Late in 1975 SBB returned to the studio, resulting in their first swan-song ' Pamieç'. Three long songs, with full-blown and mature symphonic arrangements, vocal theatrics and long spacey/atmospheric passages. In 1977 SBB continued their eclectic prog style with 'Ze S³owem Biegnê Do Ciebie', with only two long epics on it. Both albums are considered to be great eclectic prog albums.

In 1977 and early 1978 SBB experimented with material with a leaning towards pop and funk-jazz. 'Jerzyk' and 'Amiga album' aren't considered to be classics of the band. But, 1978 showed yet another new course for SBB with the recording of 'Follow My Dream', a record with the goal to hit the Western European market. On this album SBB reinvented itself with a new, modern symphonic/progressive sound (reminding me a bit of the mid-seventies PINK FLOYD sound). Also, some of the lyrics were sung in English. The new arsenal of top-notch synthesizers and other equipment gave the band the sound it needed to make recordings that would stand the test of time. This move gave the band the opportunity to tour in many new countries and they were even allowed to tour behind the Iron Curtain, which was a big thing at the time.

The band would fully benefit from their new sound during the recording of 'Wo³anie O Brzêk Szk³a aka Slovenian Girls' in late 1978. Again, an album with only two long compositions, but this time with an emphasis on electronic equipment. To this day this album is mentioned as an SBB favorite by fans because of its well-balanced, great sounding progression. In 1979 SBB went to the studio to record 'Welcome', an album that was plagued by some mediocre compositions. Nevertheless, the opening-track 'Walking On A Stormy Bay' became a stage-favourite.

In 1979 a new band-member Slawomir PIWOWAR was added to release some pressure from the band that had some of most intensive touring schemes possible. He would play bass, second guitar and some key-instruments as well. A final come-back to the studio resulted in their last album 'Memento Z Banalnym Tryptykiem' in 1980. This album is their most symphonic record and perhaps their most conventional progressive record. Therefore it is accessible for fans of the English brand of symphonic prog. This album is also often mentioned as a fans favourite. After the following tour the band called it a day.

After some short comebacks in 1991, 1993 and 1998 the band had its final resurrection in the new millennium with a steady line-up consisting of Józef SKRZEK, Antymos APOSTOLIS and new drummer Paul WERTICO (of PAT MATHENY GROUP fame). Now SBB found itself ready to go back in the studio and since then five new studio albums were recorded in the vein of their seventies formula; 'Nastroje' (2002), 'New Century' (2005), 'The Rock' (2007), 'Iron Curtain'(2009) and finally 'Blue Trance'(2010). From 2004 on SBB also was able to record DVD's of live shows and several live albums have been released since their comebacks in nineties.

For fans of the progressive genre 'Pamieç', 'Ze Slowem Biegne do Ciebie', 'Follow my Dream', 'Slovenian Girls' and 'Memento Z Banalnym Tryptykiem' are highly recommend.

The first ever release of SBB and it's a Live album!

Already experienced musicians stretching out in a fashion that prior to this LP was unheard of in Eastern Europe. Indeed, rather uncommon anywhere else. Largely due to this work, SBB have actually established a new genre and influenced numerous other bands that sprung up like mushrooms as a consequence.

Soaring guitar and keyboard duels dominate the performance, somewhat reminiscent of Santana/McLaughlin duel on "Flame-Sky", Brand X "Malaga Virgen", or even "One Word" by Mahavishnu. The difference is that SBB extends these improvisations much further. If you are into that sort of delivery - as I certainly am - you'll find these pieces indispensable.

The odd lyrical track on vocals and piano wouldn't be missed, but considering the length of the performance, one is still left with ample material to pay attention to.

Some of the bonus tracks on the CD release are also part of this concert, representing matching material - in places perhaps even superior - that didn't fit onto the original LP.

Highly recommended!

Led Zeppelin - September 29, 1971 - Osaka (Kutabare Moonchild / Moonchild)

Led Zeppelin
September 29, 1971
Festival Hall

Osaka, Japan

Kutabare Moonchild / Moonchild Records

101. Audience Cheer / Tune Up
102. Immigrant Song
103. Heartbreaker
104. Since I've Been Loving You
105. Black Dog
106. Dazed And Confused

201. Stairway To Heaven
202. Celebration Day
203. That's The Way
204. Going To California
205. Tangerine
206. Friends
207. What Is And What Should Never Be
208. Moby Dick

301. Whole Lotta Love
302. Communication Breakdown
303. Organ Solo
304. Thank You

305. Rock and Roll

Empress Valley started releasing snippets of the famous 929 concert earlier this year in fabulous soundboard quality, these tantalizing tidbits forever laid waste to the assumption that the tapes were of poor quality and the master tapes wiped clean. After the pre release torrent of the Seattle March 21, 1975 soundboard last year, EV decided that they had to have some control of future releases of such important material. In February 2018 the label released Immigrant Song as a single, followed by Stairway To Heaven and Friends a few months later and needless to say Zeppelin message boards everywhere were buzzing with the possibility. Finally on September 29 of this year to coincide with Led Zeppelin’s 50th anniversary, EV presented the release everyone was waiting for, September 29, 1971 from the true soundboard source. “Oh-Show”, “Geisha”, and “How The East Was Won” were three different packages with three different price levels, the higher the price the more extras you get. This release did not come at a good time, I could not justify even the lowest price level based upon what was offered.

Led Zeppelin’s first visit to Japan in the fall of 1971 continues to intrigue and inspire the fan and collector of the unofficial output, and for good reason. Led Zeppelin’s performances from this period are staggering, and their ones in Japan are legendary. It is interesting to look at how many recordings have surfaced over the years for these five concerts, and the vast number of bootlegs that have been produced from these shows. Other than the first night in Japan, perhaps no other concert has been the subject of so many releases than the fifth and final night in the city of Osaka, and for good reason. There are several audience recordings that exist ranging from average to very good as well as an incomplete soundboard recording, the band’s performance is sublime, one of the best played where they play a laid back relaxed yet intense concert that has made it a fan favorite since the early days of vinyl.

There have been too numerous to list releases of this material in one form or another individually on vinyl and compact disc, then various labels started using the main soundboard source and filling their numerous gaps with audience recordings in a way to present the complete concert. Titles such as 9291971 (Tarantura TCD-71 RSR-209), Fatally Wanderer 929 (Wendy 30,31,32), Fatally Wanderer Definitive Version (Wendy 71,72,73), Regalia 929 (Wendy 200,201,202), Live In Japan (Empress Valley EVSD 776-781), You Were There In Spirits (Empress Valley EVSD 291,292,293) and 929 (No Label) all feature some sort of variation on this theme.

Perhaps the best of the amalgamation of sources is not from one of the premier labels, but the work of a fan, a fan whose name is well regarding in the trading community for his work on a multitude of famous Zeppelin recordings who goes under the moniker Winston Remasters. He premiered his work on this famous concert, dubbed Arigatou Osaka, in 2015 and like his others, was made available to masses free of charge via various Internet sites. Then Kutabare Moonchild (Fuck You Moonchild) , Title that Moonchild record left as is to relase this little gem...lol (Would love to see Winston's face...)

There have been a few previous soundboard recordings from 1971, Hampton, Orlando, and the Toronto fragment and to me they sound great but lack true fidelity. This my friends, sounds incredible. This recording is a perfect balance of instruments and vocals, if anything the audience is low in the mix. The drums and bass sound incredible, if you are like me and are used to the old soundboard, hang on as this is what we dreamed the real tapes would sound like. There is just a small amount of hiss as one would expect but all in all this is not only THE best soundboard from 1971, it rivals the best from 75 and 77. The sound is fully three dimensional and has wonderful dynamics, turn this up loud and get ready for a hell of a ride.

What can be said about this concert that many before have not already said? Simply a wonderful performance, one that most never tire of and in my book a top ten. This new recording captures two thirds of this legendary performance, I have the TDOLZ 929 and many editions of the soundboard recording, to me this is like looking at something totally familiar from a new angle and really enjoyed hearing it from this perspective. Dazed is stunning in this recording and Robert’s comments prior to That’s The Way make more sense as you can hear constant clamber by the audience for Jimmy and based on Robert’s comment, he is keeping his distance and it also eludes to Peach’s position, obviously very close to the stage. While I have a stack of titles to review, I start this CD and am content to listen, all the while the others begin to collect dust, such is the nature of this concert.

As great as Immigrant Song and Heartbreaker are, Since I’ve Been Loving You is jaw dropping in its intensity, so clear and powerful it is simply a moving experience just listening, lights down low, eyes closed just taking it all in. Three minutes into Dazed and Confused and my floor is vibrating from the bass frequencies yet I will not turn it down, the journey is just beginning and while I have heard this hundreds of times, it is completely new. The bow solo is exquisite, Plant’s moans haunting and one imagines scaling a cliff at dark to see the Hermit. Jones and Bonham start the drive and Page enters ala Hendrix with some tasty flashes of Wah and just rips into the fast section without abandon, I cannot describe the rhythm section, you need to hear, and feel it. Pennies From Heaven is so clear and I find myself waiting for the audience patch, and after its gone I feel that the interlude was more effective and moving than I ever assumed.

What is most interesting is the sound of Stairway To Heaven when compared to the rest, while it is certainly 929, it has as different timbre as well as a slightly different mix, Robert’s vocals are extremely clear as is John Paul Jones’ Fender Rhodes and is very interesting to hear in such clarity…wait ‘til Bonzo enters, if your stereo is at the level mine it, hold on. Friends, to have this rarity in such a clear recording is such a treat…Eelgrass certainly could have done a better job with the transitions of these two songs, there are loud digital pops at the track cues. For What Is And What Should Never Be we are back to the original sound quality, one wonders if they had multiple tape machines running to overlap the tape flips so no music is lost. Moby Dick is not complete and clocks in at 10:33, the beginning is very muscular, just prior to the coda, the sound is not as clear.

The encores are a treat, especially the great Communication Breakdown, very loose playing by the same yet cohesively entertaining as Page free forms it. A superb Rock And Roll was the final encore of the evening, a superb straight forward version, loving the “oooh yeah…oooh yeahs” from Plant and the band sounds so relaxed after the marathon three hour performance. Another loud digital pop leads us into the bonus track Black Dog from the previous evening September 28, at the same venue. This was let out in 2016 as sort of a teaser that was never really followed up on. First thing you hear is the use of noise reduction or compression as the slight metallic sound is instantly heard. The sound of this track is rather harsh after listening to the previous recordings being so nice and warm. Nonetheless the sound is perfectly balanced and an excellent recording that sounds like the levels were jacked up a bit. Brilliant version of Black Dog, Pagey’s playing is confident and very fluent and one wonders is there is more of this recording coming in the future. Most interesting is that we get the full crowd noise between Black Dog, Plant’s introduction and Jonsey’s first couple of bass notes to Dazed And Confused.

The packaging is simple, a jewel case with inserts adorned with pictures from the event, the front cover is rather cheap looking and certainly not worthy of such a recording as found inside. Unbelievable that we have this material, this concert has long been a fan favorite, and to have the soundboard and the Mr. Peach recording all in one year is too much. A stunning performance and certainly one of the most important recordings to surface in quite some time…you need this!

Led Zeppelin - September 28, 1971 - Osaka (Please, Please Me / EVSD)

Led Zeppelin
1971-09-28
Festival Hall
Osaka, Japan

Please Please Me (EVSD 1255-1257)

101. Intro
102. Immigrant Song
103. Heartbreaker
104. Since I've Been Loving You
105. Black Dog
106 .Dazed And Confused

201. Stairway To Heaven
202. Please Please Me
203. From Me To You
204. Celebration Day
205. Bron-Y-Aur Stomp
206. That's The Way
207. Going To California
208. We Shall Overcome
209. Tangerine
210. Down By The Riverside
211. What Is and What Should Never Be
212. Moby Dick

301. Whole Lotta Love
302. C'mon Everybody
303. High Heeled Sneakers
304. Communication Breakdown

The latest installment of Empress Valley’s Soundboard Revolution is a nice chuck of the famed Osaka September 28, 1971 recording. The five concerts played during late September 1971 are all essential and required listening for Led Zeppelin fans. Free from the confines of the Western eyes, the band would play the five concerts in stunning fashion to hordes of mostly non English speaking audiences, the music would be the translator. These concerts have circulated among tape traders and bootleg aficionados for a long time, and hard core collectors knew the story, the concerts were recorded for possible used of a Japanese only live album. Apparently the recordings were deemed not fit for release and wiped clean, a story that seemed credible until the appearance of a soundboard recording from the first show in Osaka, Black Dog appeared in 2016.

When Empress Valley released the following evenings soundboard, the famed 9/29 concert, it drew the ire of many. The incomplete recording clocking in at 90 minutes had all the between song chatter edited out and sadly missed the entire epic Whole Lotta Love medley, coupled with a high price tag made for the more elitist collector, the quality though, was stunning. The announcement of the soundboard from 9/28 came as no surprise and like many I was checking online forums and Japanese release websites on a regular basis to find out the details. Finally news came with the details I was awaiting, “Unfortunately, this original soundboard source is incomplete. The suppliers have informed us that the only surviving portion of these amazing source tapes feature the set from Heartbreaker (fragment) through Moby Dick.”. Ok not sold yet. Then I read this recording would contain Robert’s onstage comments, finally I made my decision and took the plunge for the cheapest of the three editions, an easy choice from a pricing standpoint.

The three disc version features the new soundboard recording mixed with two audience recordings to provide the complete concert. The first and best audience recording is used for the beginning of the concert. This recording has been released numerous times, the most popular titles are Come On Everybody (Mud Dogs 008-009-010), Live In Japan (Last Stand Disc LSD 54/55/56), Please Please Me (Wendy WECD-710928), and The Bachelor Boys’ First Stand In Osaka (Empress Valley Supreme Disc 516/517/518). This recording is used for all of Immigrant Song and up to 4:51 of Heartbreaker, just in time for Jimmy to play the Bourree part of his solo. There is a cut at the last 20 seconds of Stairway To Heaven at the 10:12 mark, the audience source is used for the final “…Stairway to Heaven…” and the following moans. The soundboard cuts back in just prior to Robert’s “Arigato. Good evening. You are too quiet, much too quiet, dishonorably quiet, it’s not cool. Not far away to the east”.

There has been discussion about a portion of We Shall Overcome having an audience patch, specifically during Robert’s a Capella singing, while it does sound different I believe it is definitely not a true audience source but the soundboard, I checked both audience sources for this concert to compare, the clapping during this is very loud on both and do not know how they could isolate Robert’s voice from an audience source. Perhaps an explanation would be that microphones used to capture the audience portion of the soundboard were used, like a sound-man moving levels of different microphones around. The timbre or the ambiance does not sound anything like the audience sources either, I am sure someone with engineering knowledge will best explain it. The soundboard ends after Moby Dick just after Robert says “John Bonham…Moby Dick”. As reported online, this new soundboard does contain all of Robert’s between song banter, for this I used the Ramble On Zep for Plantation comparison and its all there plus a few tidbits that the audience recordings were not able to pick up.

It was stated that the quality of this new soundboard was a notch below that of 929, this is true. The 929 has a wider and better range of frequencies, fat bottom end and beautiful crisp highs, this new 928 is a bit flatter sounding. It has the same fat bottom end with the difference being the high end is not as bright. It is as clear and detailed as the 929 and to my ears does a better job of capturing the atmosphere of the Festival Hall versus being a direct board feed. Both have virtually no tape hiss to speak of and are equally powerful with the 928 being a bit more consistent, if I was to assign ratings based purely on sound, 929 would be a 10, 928 would be a 9.25. I did compare the Black Dog from this new release to the one found on the Eelgrass How The East Was Won title. The Eelgrass is louder with very clear highs and when you listen to them back to back the over mastering of the Eelgrass title is clearly heard, that metallic background noise ruins it, this new version sounds natural.

There is a lot to take in on this release, listen then listen again, and again, at least the first two discs which require repeated spins at high volume. Unlike the 929 soundboard, the inclusion of the between song banter and dead air at times, really adds to your enjoyment as well as ones overall understanding and appreciation of this concert, the slightly less popular Osaka gig. The capacity of the Festival Hall was only 3,000 and the intimacy can be heard in the audience and soundboard sources, one could only dream of seeing Led Zeppelin playing in such a setting, when one closes their eyes while the soundboard is playing, you almost can.

Since I’ve Been Loving You is at its best, the band play it slow and the song builds before exploding in typically dramatic fashion. Jimmy’s solo is to die for, never missing a note with the entire song intense yet relaxed, just beautiful. Black Dog is bombastic in its power and Dazed And Confused is simply incredible. The clarity and mix are spot on, every little nuance is heard, the Communication Breakdown tease before the first notes and Page’s snippet of the old Yardbirds’ chestnut Over Under Sideways Down are really nice to hear in this quality.

Celebration Day is devastating in this recording, Jones’ bass sounds frantic and provides a deep bottom end which Jimmy proceeds to just fly over, throw in Bonham’s drums and you are leveled, superb playing and incredible to hear the intricate playing so clearly. The acoustic section is the calm of the storm for the Japanese tour, the band play a three minute complete version of Bron-YR-Aur Stomp that segues into a gentle That’s The Way. It is quite interesting to hear the interplay between Jimmy and John Paul during Going To California, Jones seems to play the mandolin a bit safe, at times you wish he would just go for it, he doesn’t and the song floats melancholy by. While We Shall Overcome is a snippet, Down By The Riverside is a pure moment of what starts as improvisation that moves into a hootenanny, John Paul wastes no time in getting to the organ to accompany the others, a revelation. The entire acoustic section, like the other four shows, is an intimate conversation between group and audience, it’s cool how they pick up on small snippets like We Shall Overcome, like a musical translation turning into a conversation.

The audience sources are used for the rest of the concert, sadly it has been reported that the rest of the concert has not survived and again we are robbed of hearing the incredible Whole Lotta Love medley, and not least the unique encores from this concert in soundboard quality. At first it was difficult to listen to the third disc, the soundboard was like a warm bed on a cold morning, the audience sources is the cold floor (great analogy huh?) but as the band blaze through the Whole Lotta Love medley you get sucked in, super relaxed with great playing by the entire band. Source 1 is used for Whole Lotta Love up until the end of Hello Mary Lou then source 3 kicks in for the remainder of the song, all of C’Mon Everybody and all but the last 30 seconds of High Heeled Sneakers and finally the second source is used for the end of that song and Communication Breakdown. The transitions between sources are smooth and nicely done.

The packaging is a simple glossy gatefold sleeve with the cover and middle having live shots from the event, the back having a simple track list and concert poster reproduction. The discs themselves have a picture of Bonzo on them, something new from EV and there is an OBI on the set as well and is limited to 200 copies. After listening to the first two discs of this title for the past few days I am satisfied with my purchase, there is a lot here and I am looking forward to further digesting it over the next few days.

Led Zeppelin - September 27, 1971 - Hiroshima (Young Man Was Here / Moonchild Records)

Led Zeppelin
1971-09-27
Prefectural Gymnasium
Hiroshima

Young Man Was Here / Moonchild

101. Introduction
102. Immigrant Song
103. Heartbreaker
104. Since I've Been Loving You
105. Black Dog
106. Dazed And Confused

201. Stairway To Heaven
202. Celebration Day
203. That's The Way
204. Going To California
205. Tangerine
206. What Is And What Should Never Be
207. Moby Dick

301. Whole Lotta Love
302. Communication Breakdown

Right in the middle of Zeppelin’s crazy 1971 tour of Japan they decided to hold a low key charity gig for the victims of the atomic blast in Hiroshima. The venue was much smaller (6,000) than the Budokan in Tokyo and Festival Hall in Osaka and the band played a much shorter, subdued set. This is one of the few charity gigs the band played in their career.

A rather fast-feeling concert, but played brilliantly, with a really nice level of intimacy reached in the acoustic segment. Black Dog and Heartbreaker are great and Robert's voice is excellent, especially of Since I've Been Loving You and the rather short and compact yet brilliant rock medley. During Communication Breakdow some audience members are climbed the stage so the band stopped the song for a while and Plant said: "Whoa, you must stop it! Please do not come on the stage. Stay here and be cool. Please sit down. Sit on the floor mate!"

Led Zeppelin - September 24, 1971 - Tokyo (Afternoon Daze / Moonchild Records)

Led Zeppelin
September 24, 1971
Budokan, Tokyo

September 24, 1971 - Tokyo (Afternoon Daze / Moonchild Records)

01. Introduction
02. Heartbreaker
03. Since I’ve Been Loving You
04. Black Dog
05. Dazed And Confused
06. Stairway To Heaven
07. Celebration Day
08. That’s The Way
09. Going To California
10. Tangerine, What Is And What Should Never Be
11. Moby Dick
12. Whole Lotta Love
13. Organ solo
14. Thank You

15. Communication Breakdown

With five unique tape sources, Led Zeppelin’s second Tokyo show in 1971 is one of the more well represented. It is a good sounding recording with an overloaded and distorted bass which can detract from the enjoyment of the music. Moonchild didn’t boot the volume too much on the tape, making this perhaps the best sounding edition of this how.

This show occurs on the afternoon following the legendary first night in Tokyo. And unlike the previous show, where they began sounding slightly stiff, they get off to an energetic start. Robert Plant makes a big deal about playing in the afternoon by mentioning it several times between the first couple of numbers. “Black Dog” is from the new album coming out “in a manner of three weeks” and all of the new songs are dedicated to Cliff Richards.

“Dazed And Confused” lasts more than twenty minutes and is notable for Jimmy Page’s duplication of a jet crashing into the venue during the violin bow episode and for Bonham bashing out “The Crunge” during the funk section. Plant again speaks about the time while introducing “Celebration Day,” saying “Good Afternoon. I don’t really like playing when the daylight’s with us. It’s a pity it wasn’t a little darker….We just came from the United States of America, which is no fault of our own, but we’d like to do something that we really feel is…if anybody’s been there, it’s about five thousand oarstrokes away…” A whistle and applause are heard and he responds, “surgical rubberwear, that was very good.”

The acoustic set is expanded with the first live performance of “Tangerine.” The show’s finale “Whole Lotta Love” reaches past a half hour and like the first night is played at a furious pace. The medley was pretty well set by the end of the US tour but in all these shows they expand and experiment with the songs played and their arrangements. After “Boogie Chillun'” they get into rare covers of “Cocaine Blues” and Buddy Holly’s “Rave On.”

Plant is loose enough that he tries to lead the band into “Your Time Is Gonna Come” from the first album. Having never played it live before, it takes a bit of time before the band figure out how. Page strums the riff for “For What It’s Worth” and Jones plays the “Ramble On” rhythm before hitting the song’s chorus. After “I’m A Man” they play “The Hunter” section to “How Many More Times” and the medley ends with an uptempo reading of the first verse of that song. It’s one of their more adventurous medleys like all of them in Japan. The encores are much longer than the previous evening with the organ solo preceding “Thank You” and a long “Communication Breakdown” with Plant babbling the words from the “How Many More Times” violin bow section from the studio recording. Overall this is a great sounding edition of this well documented tape and is worth having.

Led Zeppelin - September 23, 1971 - Tokyo (Rock Carnival / Moonchild Records)

Led Zeppelin
September 23, 1971
Budokan
Tokyo

Rock Carnival (Definitive Version) / Moonchild Records

101. Introduction By Goro Itoi
102. Immigrant Song
103. Heartbreaker
104. Since I've Been Loving You
105. Black Dog
106. Dazed And Confused
107. Stairway To Heaven
108. Celebration Day
109. Bron-Y-Aur Stomp / That's The Way

201. Going To California
202. What Is And What Should Never Be
203. Moby Dick
204. Whole Lotta Love
205. Communication Breakdown

This is a copy of the no label released in Osaka several years back, containing the complete tape source that first surfaced in fragment on the Watchtower label. The sound quality is very good to excellent with some distortion present. Some of the gaps in the tape are plugged using alternate tape sources in seamless edits. The sound quality isn’t as bad as previously thought and this is a good title to seek out.

The first show of Led Zeppelin's epic first tour of Japan. The tape begins with a lengthy stage announcement in Japanese, which ends in a very enthusiastic band introduction. Immigrant Song is a sonic assault. While Page changes a broken string, Plant mentions how much the band have been enjoying their stay in Japan and tells the crowd that they want to make this the best time they've ever had before Heartbreaker. Page blazes through an excellent guitar solo.

Dazed and Confused includes one of the earliest hints of what will become The Crunge from Bonzo and Jones during the excellent guitar workout section. Page plays an excellent solo during Stairway to Heaven. Jones is on fire during Celebration Day. The acoustic set begins with a bit of Bron-Y-Aur Stomp before That's the Way. Plant talks about San Francisco in 1967 before a beautiful Going to California. He tells the crowd to "stop all that whistlin' man!" before What is and What Should Never Be.

There are a couple cuts during the theramin freakout in Whole Lotta Love. The second cut leaves us in the medley during Hello Mary Lou. Elvis Presley's A Mess of Blues is followed by an excellent Tobacco Road and the first appearance of Good Times Bad Times since 9/4/1970. The biggest surprise is the inclusion of How Many More Times, its first appearance since 9/19/1970. The medley ends with an excellent You Shook Me. Plant tells some people causing trouble near the stage to cool it before Communication Breakdown. The band stops playing during the guitar solo as Plant shouts "stop that thing, you!" at the offending audience members. The recording ends during the return of the main riff after a short funky interlude. A taste of things to come. Must hear.

Opening night of the first Japanese tour; there aren't too many words to describe this amazing show! Robert's voice is unreal, and the whole band, particularly Jones and Page, are definitely on fire! After blistering Immigrant Song, Jimmy's broken a guitar string and Plant did some observations: "I understand that in Japan not many people speak English. Anyway, every day it's getting better. We'd like to say that so far we've had an incredible time, a wonderful time. We haven't even played a concert yet and we've all really been having a ball. I'm gonna do my best to make this the best time we've ever had, because it seems to be such a difference to America. America doesn't seem to be so good anymore, unfortunately. Maybe it'll get better." Dazed And Confused has some awesome riffing led by Jones and Page, and the entire show, culminating in the exceptional medley, is great! Some crowd members climbed on stage during the Communication Breakdown and Robert Plant had to stop the song for a short while.

Sweet OK Supersister - 2020 - Looking Back, Naked

Sweet OK Supersister

2020

Looking Back, Naked

01. 2 x 3= Zes Blauwe Dwergen (September 1969) 1:15
02. Pinknal Sally (July 1969) 3:47
03. Seven Devils (July 1969) 3:28
04. Heebaberieba (November 1969) 3:05
05. Lonely Rocking Rocket Man (September 1969) 2:24
06. Seven Ways To Die (November 1969) 3:55
07. In Die Allee (November 1969) 3:11
08. Manke Boerenwals (November 1969) 1:06
09. We're On A Ship Now (November 1969) 4:22
10. Superblues / Supergreen Love Machine (July 1969) 5:40
11. French Key To Britain (March 1972) 7:25
12. Woods Of Fustrated Men (September 1969) 3:40
13. Metamorphosis (Live) 10:11
14. Sweet Dakota (June 1970) 13:03
15. Old Little Washerwoman (June 1970) 1:42

Limited Edition of 450 copies only available with the Fred Baggen biography 'Supersister Looking Back, Naked'.

The album is comprised of never before released songs, written about in the book and recorded by Supersister in 1969 and the early 70's.

You can only order this set from Robert Jan's Bandcamp page... He will even sign the book for you. 

Supersister Projekt 2019 - 2019 - Retsis Repus

Supersister Projekt 2019
2019
Retsis Repus

01. Memories Are New IV (3:26)
02. I Am You Are Me / Transmitter (4:44)
03. Sister Talk 1 (0:44)
04. For You And For Nobody Else (7:59)
05. Max Eco (3:00)
06. Hope To See You There Again (5:28)
07. Yellow Days (4:31)
08. Sister Talk 2 (0:35)
09. Next Door Movie (3:12)
10. Cuckoo (3:58)
11. Hope To See You Again (1:24)

- Robert Jan Stips / keyboards, vocals (3,8), composer, arranger & producer
- Marieke Brokamp / violin (1,4-7,9-11)
- Bart Wijtman / bass (1,2,4,9,10)
- Leon Klaasse / drums (2)

With:
- Henk Hofstede / vocals (1,10)
- Joke Geraets / vocals (1,10)
- Freek de Jonge / narrator (10)
- Peter Calicher / keyboards (7,9)
- Junior Huigen / trombone (1,4-7,11)
- Bart van Gorp / bass trombone (1,4-7,9-11)
- Thijs Kramer / violin (4-7,9-11)
- Rinus Gerritsen / bass (5-7,11)
- Rob Kloet / drums (1,9,10)
- Cesar Zuiderwijk / drums (5,7,10,11)
- Marco Vrolijk / drums (4)
- Rob Wijtman / drums (6)

Bonus Radio Show:

Supersister Projekt 2019
NPO Radio 2, Muziekcafé
Vorstin, Hilversum
March 23, 2019, 16.00-17.00 CET

01. DJ Intro
02. I Am You Are Me / Transmitter
03. Interview
04. Max Eco

05. DJ closing

"Sweet OK Sister" was a band founded in 1967 in the Netherlands. They changed their name to Supersister later, but were still the same band. Considered part of the Canterbury Scene, they had a sound similar to "The Soft Machine" and "Caravan". The band originally released 5 full length albums between 1970 and 1974. Since that time, two of the original members have passed away, but, original founder Robert Jan Stips has recently decided to release a new album in March 2019 (the vinyl version was released in early April 2019) under the name of Supersister Projekt 2019 which harkens back to the original sound of the band. These are all new songs, 11 total with a run time of 39 minutes, with individual tracks ranging from 0:44 to 7:59. Robert provides the keyboards and vocals, but there are many musicians joining him in this new album, which is called "Retsis Repus".

Right off the bat, you get that somewhat minimal, somewhat dissonant and somewhat odd sound with the Progressive Folk and Canterbury sound, each instrument is easy to hear and distinct. Minimal percussion, interesting vocals and harmonies, and fuzzy guitars give it all that retro sound in the first track "Memories Are New IV", but the clarity of it all makes it current. Then there is that layer of jazz that permeates the music, you'll hear that clearly in the piano led "I Am You Are Me/Tramitter". The sound here is bright and there is a instrumental section in this that is long enough to let all of the solos breathe, most of them being piano or synth solos.

"For You and For Nobody Else" (the longest track on the album) continues with the jazz orientations, as expected, but has the inclusion of brass this time around, and very airy vocals. The tempo slows down later and meanders along in a nice way with violin, brass and piano creating a pastoral feel. The tempo alternates back and forth several times with the percussion staying mostly far in the background. "Max Eco" is a complex and more rock style than the previous track, but still with the odd melodies and progressive style. The vocals might be a little strange to a listeners that haven't had much experience with this style of music as they are somewhat dissonant and definitely not your standard fare which in a way reminds one of the complexity of "Comus", but much smoother sounding (it is progressive after all). "Hope to See You There Again" is a nice, almost blissful, instrumental (mostly anyway) which makes me feel like I'm flying above the clouds.

"Yellow Days" goes back to the jazz feel, but even with the strings and brass and the odd fuzzy synth, it still has that nice, smooth sound. Soft vocals come in after 2 minutes as everything turns quite minimal and pensive. "Next Door Movie" is another instrumental led by some interesting brass and string exploits with a xylophone also having it's own say. Progressively complex, yet smooth and airy at the same time. "Cuckoo" is a witty track with harmonized vocal layers and silly spoken words and sung lyrics. "Hope to See You Again" ends the album with a nice lushness.

Canterbury lovers will enjoy this album for it's strangenss and unpredictability and prog lovers will enjoy it's complexity. There are defintately legitimate ties to the sound of other Canterbury bands like Comus and Gong, but the overall sound isn't quite as choppy as those bands as there is this airiness and smoothness to the music in this album. But I still think it will appeal to fans of those bands, like myself. I feel it just misses the 5 star mark, but it definitely is an excellent album that seems to get better the more you hear it. Highly recommended to fans of the genre.