Led Zeppelin - 1973 - Bonzo’s Birthday Party

Led Zeppelin

March 31, 1973

The Forum

Los Angeles, CA

Source:

Bonzo’s Birthday Party 

Wendy (WECD-42/43/44\\\\\\\\\\)

101. Rock And Roll

102. Celebration Day

103. Black Dog

104. Over The Hills And Far Away

105. Misty Mountain Hop

106. Since I’ve Been Loving You

107. No Quarter

201. The Song Remains The Same

202. The Rain Song

203. Dazed & Confused

204. Stairway To Heaven

301. Moby Dick

302. Heartbreaker

303. Whole Lotta Love

304. The Ocean

305. Communication Breakdown

Wendy’s Bonzo’s Birthday Party, released in April 2005, is a redaction of the soundboard and two audience recordings. It is their attempt to present the concert in its entirety. The first hour of the soundboard surfaced in the fall of 1999 on Bonzo’s Birthday Presents (CDM-001) on the Celebration label, their very first release. Three years later the second hour appeared on both Watch Tower (WT 2001041/42) and Empress Valley’s Bonzo’s Birthday Party Definitive Edition (EVSD 171/172). The first audience recording is used for the beginning and runs to the first verse of “Rock And Roll”.

It is used again for several holes in “The Rain Song” and “Dazed And Confused”, and picks up again with “Moby Dick”, “Heartbreaker”, “Whole Lotta Love” and the first encore “The Ocean”. The third and poorest sounding tape is used for the second and final encore “Communication Breakdown”. There have been multiple releases of the audience tapes including several editions utilizing all three, and it sounds as if Wendy used Bonzo’s Birthday Party (Vol. 90) on The Diagrams Of Led Zeppelin, one of their last and greatest releases.

This is the first time the audience sources were used to complete the show, but Wendy equalized the soundboard recording a bit too much and it produces an unwanted crunchiness to the music that isn’t present on prior releases. It is a shame because this could have been a killer release except for that flaw. Since this show has been in constant circulation for more than thirty years it is familiar to all Zeppelin collectors.

Robert Plant himself calls this show “magic” and it is given how loose everyone is and in the mood to party. Jimmy Page hurt his finger several days before when they were throwing beer bottles out of the hotel window (so the story goes) and the first LA date on May 30th was canceled. His injured finger is noticeable with some bum notes in “Rock And Roll” and especially “Celebration Day”, but with “Black Dog” he hits his stride. Plant suggests the name of the recording after “Over The Hills And Far Away” and says he had known Bonzo for fifteen years ”and he’s been a regular bastard”.

The new songs from Houses Of The Holy “No Quarter”, “The Song Remains The Same” and “The Rain Song” sound magnificent from the soundboard. “Dazed And Confused” is introduced as something as old as the band and is, “as you say in your country, a far out heavy trip.” What follows is one of the best half hour versions of the songs available. “Stairway To Heaven” is dedicated to Bonzo and Plant allows him to bash his balls out for “Moby Dick”. After the “Whole Lotta Love” finale the audience are rewarded with two encores.

Overall this show is a must have for any collection. It has caused interest in people that the soundboard recording has been trickling out in stages over the years and there is hope that someday the final hour will somehow be liberated from the hoarders who are holding it hostage for, what can be assumed, vast amounts of money. That is the sad state of affairs with Led Zeppelin tapes and it deprives everybody from these great recordings.

Space Circus - 1979 - Fantastic Arrival

Space Circus 

1979

Fantastic Arrival

01. Heavy Duty Space Dragon (5:43)

02. Demon Blast (5:50)

03. Acryl Dream (7:40)

04. Pot People (6:13)

05. The Dawn of Aquarius Age (10:23)

06. Arcadia (4:48)

07. Fantastic Arrival (10:00)

- Okano Hajime / bass

- Ogawa Yoshikazu / drums

- Sano Yukinao / guitar

- Takashi Toyoda / keyboard, violin

Space Circus, what an intresting name for a band. They caught my atention few years back when I"ve discovered new to me japanese prog/jazz rock bands from late'70's. This band coming from near Osaka formed in mid '70's and releasing 2 albums before gone into oblivion. Thier second offer from 1979 named Fantastic arrival with a very intresting cover art is the best from the two. Quite inventive in places jazz rock with fusion elements and aswell with a clear progressive aproach make from this album a very worthy and enjoyble ride. The album is all instrumental with plenty of memorable parts like the first 2 pieces that opens the album Heavy Duty Space Dragon and Demon blast. Great musicianship , specialy the guitar work is quite inventive and has some spacey moments that are truly great. The rest of the instruments are not behind having spectacular parts, the drumer is very busy but he can offer some slow chops of the highest calibre, the bass is very proeminent in places with intresting and inovative passages. Some influences from Dixie Dregs specialy on Demon blast, some Camel prog rock warmness and here and there space prog is melted with the rest giving a special atmosphere. A great forgotten little album from the land of the rising sun. Ffans of prog rock and aswell jazz rock can easely dig this release, worth it for sure.

Whereas Space Circus' debut "Funky Caravan" traded in on the cliches of the late 70s era - fat funky bass lines, and overall danceable jazz rock - "Fantastic Circus" reaches further back into the fusion canon and emulated no less a luminary than Mahavishnu Orchestra. As the album cover demonstrates, this is one fiery affair certain to light you up. By far the better of their two albums.

Everything comes together on this album for me. I have always loved Japanese Jazz Rock Fusion as well as the Progressive Rock. I would say this is the better album of the two that they put out as it's more proggy and has all kind of obscure spacey effects on here with the keyboards. It's a shame that they only made just two albums, but maybe the cheesey fuzak would've come in if they continued on into the early 80s.

Most of these compositions on here are incredible with the opener Heavy Duty Space Dragon, that's just such a heavy cool way to start an album. My favourite on here would probably be that one & Pot People which is so funky, a really cool groovy jam.

Space Circus - 1978 - Funky Caravan

Space Circus

1978 

Funky Caravan

01. Alibaba

02. Network

03. African Reggae

04. Funky Caravan

05. The Way We Were

06. Spring Wave

Okano Hajime - bass

Yamagiwa Kizuku - keyboard

Ogawa Yoshikazu - drums

Sano Yukinao - guitar

Studio: Asahi Sound Studio 501st

Date: 19. Nov - 11. Dec 1977

One has to wonder how this group went over in the far east. The music is straight out of the Mahavhishnu/RTF mold - precise musicianship, tight riffs, clean sound. The melodies are harmonius and engaging on each song, I particularly like how the stylistic shifts play out on the sequencing.

The opener, Alibaba, hits right off the bat with a thick bass line, shuffling drums and hazy synths. 30 seconds in the riffs start. Funky and tight! A winner right from the get go, somewhat reminiscent of Jeff Beck in his fusion period. 3 and a half in, the mood shifts somewhat to an almost canterbury feel. Excellent track.

Second is Network, a pedestrian effort that could be Bob James.

African Reggae is the third song, it has neither an African nor reggae feel. In fact, this wouldn't sound out of place a Steely Dan album or the soundtrack to Bosom Buddies. A somewhat bluesy, jazzy soundtrack feel to this one, very polished and clean just like Steely Dan and the guitar in the middle is reminiscent' of Skunk Baxter.

The second side opens with the monster title track, a tour de force through funk, fusion, middle eastern raga, and everywhere in between. A triumph for the band and a bona fide classic.

The way we were is a slow guitar guitar jam that speeds it up a bit halfway through. Another song with a soundtrack feel.

Spring Wave is the closer, reminiscent of Sea Level to my ears. Happy, rollicking with lots of piano. Some Dixie Dregs thrown in for good measure. This is a great song and a fine way to end an uneven, yet very interesting album for those of us that can't get enough fusion.

I'd say this is three stars for most progsters, I happen to really like Steely Dan and Bob James and find the filler to give the record a certain charm in my collection. It's a nice record to have, surprising nobody's reviewed it. I've owned it for some time now.

On this album you will find fantastic musicianship, catchy melodies, some of the funkiest bass playing ever recorded, and most notable TALKBOX GUITAR SOLOS ("Spring Wave")! After all, there's never a dull moment on the Funky Caravan

Satchitananda - 1978 - A Thought Away

Satchitananda

1978

A Thought Away

01. A Thought Away (9:12)

02. The Whisper Heard Above The Roar (3:44)

03. Alpha And Omega (7:28)

04. Destiny (4:23)

05. Listen To Me (5:47)

06. Prelude (3:19)

07. Along Our Way (4:27)

Kevin McGlennon: grand piano, vocals, flute

Mark Janas: drums

Dave Hoffman: vocals, electric piano, flugelhorn, synthesizer

Ken White: soprano saxophone, lead vocals, flute

Recorded March - April, 1978 at Deglman Studios.

One of the very few Prog/Prog-Related bands not linked to Folk, which didn't have either a bassist or a guitarist.The short-lived Satchitananda (translated to ''being, consciousness, bliss'' and derived from three Sanskrit words) came from Illinois and recorded one album and two singles for the small Aferton label.They were Dave Hoffman (performing on a couple of electric pianos and synths), Mark Janas (drums), Kevin McGlennon (flute, grand piano, vocals) and Ken White (sax, flute, lead voices).Their sole release ''A thought away'' came out in 1980.

Apparently the bass rhythms has been replaced by the work on keyboards and the band played a nice, intricate Prog/Jazz/Fusion, albeit in a much lighter version than the one performed by most bands of the genre.The sound is driven by the constant keyboard and piano alternations, they remind me of compatriots ILIAD and even FLIGHT at moments with the mix of sweet vocal lines with ethereal jazzy tunes and totally professional interplays.When the keyboards don't prevail there is some room for measured sax soloing and even some good flute lines, always performed with a sense of melody and without the guys becoming too offensive with non-sense masturbations.Nice use of synthesizers in different fashions, either like a dominant instrument or in a background, supportive way and cool electric piano all the way.The vocal tracks appear to be the ones with the more commercial vibes, but even these contain a fair amount of intelligent interplays.But my favorite track in here is the closing ''Along our way'', an amalgam of THOMAS FLINTER/SUPERSISTER-like piano/flute interactions, fast vocals parts and melodic flugelhorn/synth battles till' the very end, excellent piece to say the least.

Can be found in its original form in reasonable prices, no reissues exist.An underground work of serious but too elegant US Fusion with a few pretty great interplays included. Recommended.

Speed Limit - 1975 - Speed Limit II

Speed Limit

1975

Speed Limit II

01. Time's Tune

    a) Breese Borealis (6:00)

    b) A Run Around The Block (3:40)

    c) Jettatura (4:10)

    d) Goodnight Little Bear (1:05)

02. African Dance N° 3 (4:00)

03. Pastoral Idyl

    a) Pastoral Idyl pt1 (1:55)

    b) Lemon Tree (8:40)

    c) Reaching the Stars (3:21)

    d) To The Girl Of The Moon (1:17)

    e) Pastoral Idyl pt2 (6:14)

Jorge Jinda: drums

Jeff Seffer: wind instruments

JL Bucchi: electric piano

Gerard Curbillon: guitars

Janik Top: bass

Shiroc: percussion

SL's second album came roughly a year later than the debut, by which time the band found a major label (RCA) and changed bassist, enrolling Magma alumni Janik Top, but lost their guitarist as well (not replaced). With a stunning artwork from Sheffer himself, the group is more ambitious, even using a string section on and some intriguing vocals.

The opening track Time's Tune (a 15 minutes 4-part epic) has a real superb crescendoing start where Sheffer's winds and Bucchi's electric piano plunge into a torrid fusion of molten rock, disaggregating jazz, wild female howlings for its opening movement Breese. The band gets even hotter and quicker with run around The Block, where Coltrane's more transcendental (past 65) music is obviously the influence. The third movement heads back to the Breese mainly through the aerial vocalizing (they seem female, but none other than the core male musicians are credited with vocals), while the track goes out on a Bucchi (he wrote the whole track) piano piece. As for the JT-penned African Dance, the music is more of the Saharan kind than tropical Black Africa, and honestly I'd prefer hearing the real stuff than having SL wasting 4 minutes of precious vinyl time.

The flipside is occupied by an ambitious 20 minutes Sheffer-penned Pastoral Idyl, separated into 5 movements and using a string section, which happens to introduce the track. While the use of the string quintet is in itself adventurous, I find that Sheffer put the strings at use that well. When they intervene, they seem to weigh tons, drag their feet screechingly and often border the dissonant. The second movement Lemon Tree is a fast piano-driven improve where Sheffer and Bucchi clash forces and end up with a strong pressed lemon juice. As for the vocal section it is a weird almost opera voice. The track goes on a bit bizarrely, the whole thing remaining rather dry, borrowed and (dare I say it?) academic.

While their second album is somewhat superior to the debut, both are extremely valid jazz-rock, but not bringing much new (even counting the Pastoral Idyl) by the time of their releases. BTW, I hear the Belle label incremented the tracks with the movements rather than the tracks on their Cd mini-Lp reissue, so don't be surprised to find 10 increments where even the special Japanese insert announces only the three original ones. Despite such a strange screw-up, SL 2 is a more an accomplished album, so if interested, start with that second album.

Speed Limit - 1974 - Speed Limit

Speed Limit 

1974 

Speed Limit

01. Sleep walker (11:12)

02. Pava (5:04)

03. Abra (2:57)

04. Spanish Dream (9:16)

05. Ballad To Laura Antonelli (6:31)

06. Ducky (3:58)

Jorge Jinda: drums

Jeff Seffer: wind instruments

JL Bucchi: electric piano

Gerard Curbillon: guitars

Joel "dud" Dugrenot: bass

Shiroc: percussion

Recorded at Alain Français Studio, Paris.

A jazz-rock quintet formed around MAGMA alumni Sheffer, Dugrenot and Top, Speed Limit recorded two albums in the middle of the 70's, the first being closer to Bitches Brew, Body Electric (Weather Report) and Elastic Rock (Nucleus) than Upon The Wings Of Music (Ponty), Elegant Gypsy (DiMeola) and Metheny's Offramp. The second is much more adventurous, mixing early XXth Century classical composers to their proggier sound and adding up a string quartet Their music was never far away from experimental or dissonant music, obviously veered a bit on Zeuhl grounds as well. While Speed Limit wouldn't break new grounds, they had some ambitious tracks, like the sidelong Pastoral Idyl on their second album, which is clearly the group's most outstanding achievement. By the end of the 70's Speed Limit was already forgotten by most of the public and the musicians had turned to other projects.

Speed Limit's debut album is a very interesting collaboration between ex-Magma and ex-Zao Seffer and Bucchi (the other pillar of this group along with bassist Dugrenot), and musically it sounds like a cross between good early 70's jazz-rock (Soft Machine and Nucleus style) and Zeuhl music (more Zao than Magma). Graced with a double-headed parakeet paper collage for artwork, the album takes us into deep early jazz-rock ala Miles or Nucleus, where Bucchi's electric piano gets its share of exposition.

Starting on the 11-mins torrid fusion of Sleep Walker, SL is certainly not going faster than the speed of light, but Seffer's sax intervention drives the group red hot into the groove they chose, while Curbillon's guitar remains mainly rhythmic. The much shorter Pava is a slower builder but manages the same red-hot intensity. The even shorter Abra is more or less full on weird noises that simulates a newborn giggles and groans coming from Seffer's sax squeals and percussions, providing a bit of humor.

A squealy sax opens the flipside and the first few times, you'll check your stylus for dirt and clean the vinyl uselessly, but it's all part of the track's deliria and drama of Spanish Dream. Fundamentally, there aren't many differences between Seffer's material and Bucchi's, they're both fairly similar, stuck somewhere between Bitches Brew, Nucleus and mid-Soft Machine. The following Ballad is a bit of a bore, never getting past the late night or pre-dawn jazz noodlings. Fortunately the closing Ducky recuperates the same superb intensity present throughout most of the album.

Coma - 1977 - Financial Tycoon

Coma

1977

Financial Tycoon

01. Up from the Sump... (0:25)

02. Financial Tycoon 1 (6:16)

03. Peer Grynt (3:55)

04. One of Them Crazy Gurues in Love (3:51)

05. Fulton (6:11)

06. Financial Tycoon 2 (4:28)

07. A Hard Banana (2:44)

08. Frank Fedling (5:33)

09. ...Down from the Trees (1:54)

10. Tumbling Shadows (8:13)

Leif Christiansen (Guru) / bass

Klaus Thrane: drums & percussion, piano

Viggo Bertelsen / guitar

Jakob Mygind alto, tenor & soprano saxophones

Flemming Friberg: vocals, Guitae

Recorded 1976 in "Plexus Sound Studio", Ringsted

COMA formed in 1971 in Frederikshavn with some of the ex-members of the band RAMASJANG, and some of the earliest members were Uffe MARKUSSEN, Flemming FRIBERG and Jakob MYGIND. The stable line-up of the band was made in 1973 with the addition of Klaus THRANE, Viggo BERTELSEN and Leif CHRISTENSEN, with whom they made their debut Financial Tycoon in 1977. The complicated sound of this avantgarde jazz rock band is harder to describe, which is seen in their taste of musicians they apreciate: KING CRIMSON, JOHN COLTRANE, FRANK ZAPPA and JIMI HENDRIX; and it can be heard on Financial Tycoon that they were not strangers to some eastern music as well. After their debut they released Amoc in 1980, and not limited to music, they were active in local political activities in Frederikshavn and remained active through the early 80's releasing some singles. COMA can be recommended to people who like their already mentioned role models (especially ZAPPA, their instrumental and lyrical inspiration) and music with some similarities to NATIONAL HEALTH, GONG and SUPERSISTER.

This album is one of the best to come out of Denmark, in fact right now I'd say it's my favourite. I'd also mention SECRET OYSTER's "Furtive Pearl" and DR. DOPO JAM's "Entree" as possibly my top three from that nation. All three have that jazzy style that I love and certainly "Financial Tycoon" and "Entree" have strong Zappa influences both instrumentally and lyrically. Other bands I thought of while listening to "Financial Tycoon" were early KRAAN and SUPERSISTER. The band thanks Jimmy Carter, the CIA and Frank Zappa among others. Funny guys as the three tracks with lyrics attest. This was released in 1977 and the lyrics would really be considered politically incorrect these days(haha). Lots of sax and guitar in fact there are two guitarists.

"Up From The Sump..." is something like 21 seconds of spacey but dramatic sounds before "Financial Tycoon 1" kicks in. I really dig the melody to this one as the horns blast away. It settles back after 1 1/2 minutes then the humerous vocals kick in. So good. A nice sax/ drum section eventually follows then the guitar comes in lighting it up. I love the tone of the guitar. "Peter Grynt" has a feel good sound to it at first but then the tempo picks up and the guitar joins in picking away. Sax comes in as well with guns a blazing. I like how melancholic the guitar is that follows. "One Of Them Crazy Gurues In Love" is pleasant and jazzy with relaxed horns. Vibes later as the horns and drums continue. "Fulton" is a top four and this ends side one. How good does this sound!? Again the guitar just hits the spot for me. It then settles into a relaxed horn led section, in fact it's quite psychedelic here. The guitar is back along with a yell. Themes are repeated.

"Financial Tycoon 2" opens with the guitar and sax trading solos before it settles and the vocals arrive. Funny stuff. Instrumentally I'm thinking early GONG then we get some soaring guitar later. A top four. "A Hard Banana" has a catchy beat with guitar and sax playing over top. Some impressive drum work here and throughout this album really. "Frank Felding" is a top four with that heavier sound and how about that sax solo. More heaviness then it settles back as vibes help out. "... Down From The Trees" has guest violin leading the way in this short instrumental piece. "Tumbling Shadows" is my final top four. Sax eventually leads the way but it trades off with the guitar. Vocals arrive then some dissonant sax when he stops singing. Nice guitar work halfway through as he is ripping it up. So impressive. It settles late as the vocals return along with sax. The guitar is back with 2 minutes to go and it turns chaotic just before the song ends.

Complex yet so funny certainly describes Zappa doesn't it? And this album from COMA as well. I believe a couple of these amazing instrumentalists from this band now play with Robin Taylor who is still putting out great music. This is almost flawless for my taste

Child's Play - 1979 - Child's Play

Child's Play
1979

Child's Play

01. 'sNo Danz (6:05)
02. Stella (By Flashlight) (7:18)
03. Captain's Groove (6:10)
04. Jonquille Pour Moi, Stanley? (5:28)
05. Little David (5:38)
06. Bossa Who? (4:40)
07. Melichar Babie (8:15)
08. The Gnome House That Franco Built (4:26)

Bruce Ford-Fyffe: piano
Richard Lumpkin: electric bass
Merrill Reese: drums

Muddd: guitar, synthesizer

Child's Play are an all instrumental progressive fusion band from Richmond, Virginia who successfully mix melodic and atmospheric composition with kinetic jazz school chops. Piano and electric guitar get the lion's share of attention, and the tracks move at a fast clip, keeping the listener's attention focused at all times. Plenty of excellent guitar solos, with some wah-wah applied to great effect. I really appreciate the psychedelic tones he achieves. The ivory tickling here is very impressive as well. The rhythm section does a great job of holding it all together with some crisp fills and meter shifting. Actual attention is paid to composition as well, so the album is not just a flimsy excuse for non-stop boring solos. For 70s fusion fans, this is a guaranteed hit. File alongside Genre (New Mexico), 3PM (North Carolina), and Momentum

An exciting Fusion of Jazz/Funk material littered with Progressive atmospheric break downs mainly in the form of piano movements. This one is a beauty.

Little is known about this 4 piece from Richmond Virginia except that this, their sole record, was released on a small label from North Carolina which hosted a handful of very eclectic bands including 'Killer Whales' and a late release by 'Jethro Tull'.

'Childs Play', approach these songs with a true sense of composition, lead by the piano styling's of Bruce Ford-Fyffe who writes most of the material. There is a unique sense of space and time within these tracks that is usually absent on these kind of instrumental Jazz/Fusion recordings. The solos have direction and the parts, while giving off a feeling of 'looseness', have intention and purpose and in a way are approached with a Progressive and dynamic sensibility that Jazz fans will love. Its also an extremely melodic record with loads of slick and chunky guitar riffs to grab a hold of as the piano steers the ship, the guitarist gives plenty of color to the mix, and the tracks offer up a complete Drum and Bass workout.

A knock out record that is well worth checking out.

Bounty - 1981 - Bounty

Bounty

198

Bounty

01. Juango Zingo

02. So Have a Good Time

03. Fireflight

Steven Hartman / Steinway Grand, Arp Odyssey, Solana String Ensemble

Alan Mintz / Rickenbacker Electric Bass

David Scheff / Rogers Drums and Percussion

Ron Freshman / Electric Guitar

Recorded at Eldorado Studios, Hollywood, California 1977

BOUNTY was a Californian progressive rock band led by Steven HARTMAN and Alan MINTZ. The group first recorded in the early 80's with David SCHEFF and Ron FRESHMAN on drums and the guitar respectively, and created their self-titled debut album which was a jazz tinged rock record with HARTMAN's EMERSON style keyboards being in the spotlight so the record might please the fans of both jazz rock and EMERSON, LAKE & PALMER.

In the late 90's the group revitalized under the same name as a duo of HARTMAN and MINTZ who released another two albums more rooted in new age or ambient music similar to Brian ENO or even some of Robert FRIPP's calmer instrumental work.

Proggladan: Sveriges Radios inspelningar av alternativ musik 1967 & 1985

Various Artists

2013

Proggladan: Sveriges Radios inspelningar av alternativ musik 1967 & 1985 

[40CD Box Set] 

Sveriges Radio's recordings of alternative music between 1967 & 1985 (except for disc A01 which was recorded in 2012 specifically for this box). A compilation consisting of 40 cd:s, subdivided thematically into 4 boxes (A, B, C and D). Each box contains 10 cd:s in cardboard covers and a booklet of 16 pages (box A and C) or 24 pages (box B and D). The 4 boxes are housed in a sturdy slipcase with another booklet (12 pages).

Box A: Tung Rock & Blues 

CD01: Cosmic Rays

CD02: Ensamma Hjärtan

CD03: Motvind

CD04: Nature Och Dave Greenslade / Rolf Wikström & Hjärtslag

CD05: November / Panta Rei

CD06: Peps

CD07: Rekyl / Anton Swedbergs Svänggäng

CD08: Solen Skiner / Piska Mig Hårt

CD09: Trettioåriga Kriget / Levande Livet

CD10: Ulf Lundell Och Nature

Box B: Instrumentala, Experimentella, Urproggare, Punk 

CD01: Ragnarök / Arbete Och Fritid

CD02: EGBA / Solar Plexus

CD03: Fläsket Brinner / Hörselmat

CD04: Gärdets Urproggare 1970

CD05: Made In Sweden / Hansson & Karlsson

CD06: Kaipa / Horizont / Dice

CD07: Kornet / Gladas Kapell / Jukka Tolonen Band / Alfons Bandage

CD08: Pink Champagne / Tant Strul

CD09: Punk Från / Punk Från Rågsved

CD10: Samla Mammas Manna & Ron Geesin, Recorded 1975

Box C: Folkprogg & Sjungande Låtskrivare 

CD01: Bernt Staf / Bernt Staf Och Alternativ Stad

CD02: Folk Och Rackare

CD03: Kebnekajse

CD04: Kvinnligt, Manligt, Allvar Och Humor, Recorded In Gamla Riksdaghuset (Kvinnofestival -77)                 And Berwaldhallen (Fria Teatergruppers Gala) 1980, And Kongresshallen 1973

CD05: Lasse Tennander & Kaipa / Dan Berglund Band

CD06: Norrlåtar / Ramlösa Kvällar

CD07: Röda Bönor

CD08: Träd, Gräs & Stenar

CD09: Jan Hammarlund / Turid Lundqvist / Lena Ekman

CD10: Vargavinter / Margareta Söderberg Med Arbete Och Fritid

Box D: Melodisk Rock

CD01: Blå Tåget / Kjell Höglund

CD02: Contact / Thomas Wiehe & Tomas Forsell / Trotsålderns Barn / Mobben

CD03: Fria Proteatern

CD04: Första Förband / Kabaréorkestern

CD05: Hoola Bandoola Band

CD06: Ola Magnell / John Holm

CD07: Monica Törnell & New Band

CD08: Nationalteatern

CD09: Norrbottens Järn

CD10: Nynningen / Vildkaktus

Box 1

CD1

Cosmic Rays

Inspelat November 2012, Silence. Koppom.

Tekniker: Anders Lind, Producent: Coste Apetrea

Petter Heineman: Gitarr, Sång

Victor Henriksson: Trummor

Lino Borg: Bas

Text och musik: Petter, arr. Cosmic Rays, 

utom låtarna 3: Heineman/Apetrea, 7: Apetrea samt 9: Cornelis Vreeswijk.

1. Freeload

2. A little place called home

3. Stormy weather

4. South of heaven

5. Goodbye jojo

6. Whispers of a ghost

7. Spoonful of beauty

8. I get a kick out of misery

9. Mördar Anders

10. Blues child

CD2

Ensamma Hjärtan

Inspelat i Sveriges Radios studio4 för Tonkraft 1977

Ulf Hörberg: gitarr, steel guitar

Gunnar Danielsson: Sång

Jan Johansson: Trummor, sång

Kent Edmark: bas

Magnus Hartelius: gitarr

Pekka Lunde: sång, gitarr

Staffan Dahl: orgel, piano, synt

1. Introsnack

2. Dårhusrock

3. Porten slår igen

4. Bullshit blues

5. Givakt

6. Jag

7. Hamburgaren

8. Ego boy

9. Arg

10. Gamla grisar och fyllhundar

11. Snutlåten

CD3

Motvind

Inspelat för Tonkraft 1977, låt 4 1976 på Gärdet.

Göran Ekstrand: sång

Janne Brynstedt: gitarr, sång

Juris Salmins: gitarr, sång

Krister Jakobsson: bas

Leif Mårtensson: trummor

Olle Nyberg: klaviatur

1. Bomber och granater

2. Solstrimma

3. Värdelös

4. Opiets väg

5. Asfalt, glas, betong och stål

6. Vårdoffer

7. Jo jo ja ja

8. Falskspel

9. Honken

CD4

Nature/Greenslade

Inspelat våren 1972 för Tonkraft

Lasse Wellander: guitar

Mats Ronander: vocals & harmonica

Per-David Johnson: bass

Bosse Skoglund: drums

Dave Greenslade: hammond B3 and synthesizers

Red Ward: saxophone

1. Dreams

2. Mr Monroe

3. How sweet i roam from field to field

4. Valentine's suite

5. Stormy monday

Rolf Wikström & Hjärtslag

Inspelat för Tonkraft 1977

Rolf Wikström: gitarr, sång

Slim Notini: piano, sång

Ali lundbom: trummor

Teddy Walter: bas

Johan & Anders Stengård: sax och trombon

Americo Belotti: trumpet

Ulf Andersson: sax

6. Snack med C.Eklund och R.Wikström

7. Klippet

8. Intervju del 2

9. Du kramar musten ur mig kvinna

10. Bluesen läker mina sår

CD5

November

Inspelat för Sveriges Radios "Midnight Hour" 1971

Rickard Rolf: gitarr

Björn Inge: trummor, sång

Christer Stålbrandt: bas, sång

1. Ganska långt från Sergel

2. Ta mig tillbaks till Stockholm

3. Jag har sett allt genom dig

4. Mukta

5. Mina fotspår fylls av vatten

6. Kommer långsamt

Panta Rei

Inspelat för Sveriges Radios "Tonkraft" 1972

Thomas Arnesen: gitarr

Tuomo Wiima: trummor

Kari Wiima: bas

George Trolin: munspel, sång

Leif Östman: gitarr

7. Ficktjuv

8. Järnets drag

9. Knekten

10. Everybody thinks she's a fool

CD6

Peps Persson

Tonkraft 1973 Blues Set

Peps: sång, munspel, gitarr

Rolf Alm: bas

Brynn Settels: keyboard

Sven Sjöström: trummor 

På Gärdet 1976 spelar Bosse Skoglund trummor och Göran Weihs är extra gitarrist och sångare.

1. Vakna törnrosa

2. Himlen gråter

3. Det är dags att välja sida nu

4. Gravy child

5. Ångestneurotiker

6. När solen sjunkit ner

7. Samma lea snea gamla blues

8. Onådens år

Gärdet 1976 Reggae

9. Introsnack

10. Snea figurer

11. Det roliga är slut

12. En liden såg

13. Hög standard

14. Varför blev jag terrorist

15. Dust my broom

CD7

Rekyl

Inspelat på Norrbottensfestivalen i Luleå 1975

Morgan Andersson: trummor

Dan Bergman: elgitarr, sång

Rolf Hedberg: dragspel, saxar

Urban Nilsson: elbas

Björn Sjöö: piano, gitarr

1. Stå på dig bror

2. Grå grönska

3. Slagskämpens sång

4. blir det aldrig morron

5. Ur jorden runt på 80

6. Huvudlös hals

7. Olle opolitisk

8. Securitas

9. Ett liv

10. Med näsan i vädret

Anton Svedbergs Svänggäng

Inspelat i Stockholms konserthus för Tonkraft 1975

11. Nödrop från ett betonggetto

12. Sedelmakaren

13. Lillan sussar i skönan säng

CD8

Solen Skiner

Inspelat för Sveriges Radios "Tonkraft" 1975

Håkan Agnsäter: trummor

Sven Bjärhall: sång, gitarr

Lennart Holmgren: munspel

Christer Kilander: bas

Christer Nahrendorf: sång & gitarr

1. Entertainment blues

2. Min tystnad

3. Dolda förtrycket

4. Det blir inte ljusare för att man visslar i mörkret

5. Margareta

6. Inget snack om saken

Piska mig hårt

Inspelat för Sveriges Radios "Tonkraft" 1973

Per "Plura" Jonsson: gitarr & sång

Carl Stefan Jonsson: trummor

Curt Åke Stefan: gitarr

Tony Thorén: bas

7. Introsnack av C.Eklund

8. Elfte budet

9. Elisabet

10. Bilder på väggen

11. När du reser dig upp

12. Trollkarl

13. Mig kan man lita på

CD9

Trettioåriga Kriget

Inspelat för Tonkraft 1973

Robert Zima: sång & gitarr

Dag Lundquist: trummor

Christer Åkerberg: gitarr

Stefan Fredin: bas

1. Fjärilsattityder

2. Ur djupen

3. Perspektiv

4. Handlingens skugga

Levande Livet

Inspelat för Tonkraft 1973

Einar Heckscher: sång, tamburin

Hans Berggren: saxofon

Johnny Mowinckel: keyboard

Lars Bergström: bas

Tommy Broman: gitarr, sång

Anders Spets: trummor

5. Människolivet

6. Out of this mess

7. Boony maroony

8. Hr Drever och Hr Ströver

9. Lost identity

10. Free

CD10

Ulf Lundell & Nature

Inspelat för Tonkraft 1976

Ulf Lundell: gitarr, sång

Rickard Rolf: gitarr

Stanley Larsson: trummor

Mats Ronander: munspel, gitarr, sång

Per-David Johnsson: bas

1. Stockholm city

2. Då kommer jag och värmer dig

3. Jag vill ha ett lejon

4. Duellen är över

5. Jag går på promenaden

6. Bente

7. Våren närmar sig city

8. USA

9. Törst

10. Sömnen

11. 67

12. Johnny B

Admas - 1984 - Sons Of Ethiopia

Admas

1984

Sons Of Ethiopia

01. Anchi Bale Game
02. Bahta's Highlife
03. Tez Alegn Yetintu
04. Kalatashew Waga
05. Wed Enate
06. Samba Shegitu
07. Astawesalehu

Guitar, Percussion, Bass, Vocals – Henock Temesgen
Organ, Percussion, Guitar, Synthesizer, Vocals – Abegasu Kebre Work
Drums, Percussion, Vocals – Yosef Tesfaye
Electric Piano, Percussion, Vocals – Tewodros Aklilu
Lead Vocals – Simeon Beyene (tracks: B4)

Sons of Ethiopia is a mostly instrumental album, rich with global influences. It is one of the few recordings to be produced outside Ethiopia in the early 1980s. It is a key document of the Washington DC exile scene. The core members of Admas – Tewodros ‘Teddy’ Aklilu, Henock Temesgen, and Abegasu Shiota – had previously played in a group called Gasha, one of the few local Ethiopian bands. Admas was born from Gasha, as an outlet for their more experimental instincts.

Emerging from the community of Ethiopian exiles who fled the brutality of the Derg – the military dictatorship that had deposed Haile Selassie – the album was the sound of a new generation. The members of Admas were not musicians from the ‘golden age’: they were children of the terror of the Derg time. Their music formed during an era of state-sponsored neighbourhood bands and a propaganda-tinged traditional music scene, where the weekends were sound-tracked by the remaining hotel groups of a bygone Imperial world.

Admas took Ethiopian popular music into wholly new territory. Having established a residency at the Red Sea restaurant in the early 1980s, the Admas players were steeped in the polyglot musical culture of the American capital. The diverse sonic influences of the city filter into the music, making the album a radically modern work of Ethiopian fusion.Mulatu, Girma Beyene and their peers in 1960s Addis Ababa had created an Ethiopian pop sound by using rhythms from Latin music, soul and jazz. Admas threw their net wider still, adding highlife, electro, go-go, samba, and roots reggae to the mix.

Sons of Ethiopia is the fresh sound of youth, freedom and imagination, which the band made for themselves and by themselves, owning every part of the process. But it is also a music of exile. Admas performed week in, week out, for crowds of fellow Ethiopians, many of whom had lost family and friends to the Derg. Sons of Ethiopia channels this loss, longing and hope. It is at once imbued with the melancholy and nostalgia so typical of Ethiopian song. And at the same time, is a joyful work of synthesis and experiment with deep roots.

A really cool Ethiopian record, but not the sort you might expect – as most of the instrumentation here is heavy on electric elements, which includes a fair bit of 80s keyboards, synth, and drum machine lines! The group were actually exiles, living in the Washington, DC area during the early 80s – and the record is almost a fusion of Ethio roots with more familiar American styles – a bit like the work that Mulatu created during his early time in the US, but with a very different vibe! There's lead vocals on one track, but most of the set is instrumental – and filled with plenty of sweet keyboard lines and guitar riffs – jazzy, electro, and plenty charming.

Grotto - 1978 - Grotto-II: Wait... No Hurry

Grotto

1978

Grotto-II: Wait... No Hurry

01. Wait... No Hurry

02. Maya

03. When Will I Learn

04. Who Gives A Damn

05. Bad City Girl

06. Yeah! Runnin'

07. Freestyle

Bass Guitar – S. Benson (tracks: A1, B3)

Bass Guitar – T. Mason Jnr. (tracks: A2 to B2)

Chorus – E. Bassey (tracks: B3)

Chorus – M. Amenechi (tracks: B3)

Chorus – T. Mason Jnr. (tracks: B3)

Drums – E. Bassey

Guitar – J. Ikemefuna (tracks: B3)

Guitar – T. Mason (tracks: A1)

Interviewer – Temitope Kogbe

Keyboards – Gboyega Adelaja

Lead Guitar – M. Amenechi

Lead Guitar – S. Benson (tracks: A3 to B1)

Lead Vocals – J. Ikemefuna (tracks: B3)

Percussion – T. Mason Jnr. (tracks: A2 to B2)

Percussion, Flute – Willie Edozie

Rap – E. Bassey (tracks: B3)

Vocals – E. Bassey* (tracks: A1, A3, A4 to B2), M. Amenechi* (tracks: A1, A4, B2), J. Ikemefuna* (tracks: A4, B1), S. Benson* (tracks: A3), T. Mason Jnr. (tracks: A1, A4, B1)

Grotto II: Wait, No Hurry, originally released in 1979. "Odion Iruoje was the A&R manager at EMI at the time,' Benson says, 'and he auditioned us, liked the material and signed us.' Odion Iruoje of course had groomed and produced Ofege. Now he was looking to repeat the formula with other high school groups such as Tirogo, Apples and Question Mark. Grotto's deep rock would be a welcome addition to this 'schoolboy rock' series. Work on their album started immediately, with Iruoje in the producer's chair. Adapting to the tastes of the times -- as well as their own maturing musical sensibilities -- Grotto started transitioning from acid rock towards sleeker, more dance floor-friendly grooves. 'As I grew older I think I got a bit jazzier,' Benson says. 'I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.' 'Hard rock was the content of the first album,' Amenechi agrees, 'and funk/jazz/R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.' The group's second album, Grotto II: Wait, No Hurry (released in 1979) reflected the growing sophistication of its members' musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs." --Uchenna Ikonne

Grotto - 1977 - At Last...

Grotto

1977

At Last...

01. Come Along With Me

02. Bad Times

03. Funk From Mother

04. Grottic Depression (2)

05. Grottic Depression (1)

06. Change Of Tide

07. Doomed

Etim Bassey

Femi Lasode

Martin Amenechi

Skid Ikemefu

Soga Benson

Grotto formed from the ashes of War-Head Constriction, one of the heaviest of the nigerian schoolboy rock bands. Impressively versatile, within the course of a few years they would shift styles from proto-metal to funk to jazz and disco.

A rare gem from the Nigerian archives, Grotto's lost Afro-rock classic At Last..., originally released in 1977. Formed at "Greg's" (St Gregory's college in Ikoyi, Lagos), Grotto came up at the same time as several other influential student bands based there, including Ofege. "As Grotto, we played a rock/funk fusion. We were probably aged 15, 16 or thereabouts and we were heavily into music; we listened to Jimi Hendrix, Carlos Santana and lots of rock bands," explains lead guitarist Soga Benson. Their debut album is a heavyweight trip, drifting from psychedelic workouts to crunching breaks and funkier directions. "Odion Iruoje was the A&R manager at EMI at the time and he auditioned us, liked the material and signed us. He also produced our recordings," continues Benson. "Most of us were boarders and the school encouraged music and had instruments so we had time to jam and really gel together. The group still continued after we left Greg's. We had to juggle A-Levels with gigs and we used to skip school whenever we had a show, rehearsal or a recording date." While many Nigerian student bands were studio-based projects, Grotto was an active live unit during the '70s. "We played at The Shrine with Fela, with Tee Mac at Batakoto, with Sonny Okosun at Kakadu, Segun Bucknor at Granada Hotel."

Formed at “Greg’s” (St Gregory’s college in Ikoyi, Lagos), Grotto came up at the same time as several other influential student bands based there, including Ofege. “As Grotto, we played a rock/funk fusion. We were probably aged 15, 16 or thereabouts and we were heavily into music, we listened to Jimi Hendrix, Carlos Santana and lots of rock bands,” explains lead guitarist Soga Benson. Their debut album is a heavyweight trip, drifting from psychedelic workouts to crunching breaks and funkier directions.

“Odion Iruoje was the A&R manager at EMI at the time and he auditioned us, liked the material and signed us. He also produced our recordings,” continues Benson. “Most of us were boarders and the school encouraged music and had instruments so we had time to jam and really gel together. The group still continued after we left Gregs. We had to juggle A-Levels with gigs and we used to skip school whenever we had a show, rehearsal or a recording date.” While many Nigerian student bands were studio-based projects, Grotto was an active live unit during the ‘70s. “We played at The Shrine with Fela, with Tee Mac at Batakoto, with Sonny Okosun at Kakadu, Segun Bucknor at Granada Hotel.”

A rare gem from the Nigerian archives, Grotto's lost Afro-rock classic At Last..., originally released in 1977. Formed at "Greg's" (St Gregory's college in Ikoyi, Lagos), Grotto came up at the same time as several other influential student bands based there, including Ofege. "As Grotto, we played a rock/funk fusion. We were probably aged 15, 16 or thereabouts and we were heavily into music; we listened to Jimi Hendrix, Carlos Santana and lots of rock bands," explains lead guitarist Soga Benson. Their debut album is a heavyweight trip, drifting from psychedelic workouts to crunching breaks and funkier directions. "Odion Iruoje was the A&R manager at EMI at the time and he auditioned us, liked the material and signed us. He also produced our recordings," continues Benson. "Most of us were boarders and the school encouraged music and had instruments so we had time to jam and really gel together. The group still continued after we left Greg's. We had to juggle A-Levels with gigs and we used to skip school whenever we had a show, rehearsal or a recording date." While many Nigerian student bands were studio-based projects, Grotto was an active live unit during the '70s. "We played at The Shrine with Fela, with Tee Mac at Batakoto, with Sonny Okosun at Kakadu, Segun Bucknor at Granada Hotel."

The Broadway Quintet - 1976 - Amalume (Lekani Mowa)

The Broadway Quintet

1976

Amalume (Lekani Mowa)

01. Amalume

02. Kanyange

03. Nifyo Fine

04. Chingoma Uri

05. Change Your Mind

06. Akana Ndiwo

07. Jiye Manguwe

08. Matteo

09. Kayuni

10. Mr. Music

11. Pimu Chinanga

Tony Maonde – Keyboards

Zacks Gwaze – Lead Guitar, Vocals

Simanga Tutani – Bass Guitar, Sax, Vocals

Timothy Sikova – Drums, Percussion, Vocals

Jonah Marumahoko – Congas, Rhythm Guitar, Vocals

Peter Bwalya – Trumpet on "Matteo" and "Nifyo Fine"

Produced and Arranged by The Broadway Quintet

Recorded at d.B Studios, Lusaka in 1976

Sharp-Flat Records presents the long-awaited restoration of The Broadway Quintet's cult classic Amalume – a hypnotic concoction of traditional Zambian sounds and jazz-rock grooves with a twist of 1970s African psychedelia.

Emerging to serve the entertainment needs of Zambia's United National Independence Party (UNIP) in the early 1960s, The Broadway Quintet gathered seasoned talent from Lusaka's best hotel bands to fashion its esteemed lineup. Starting as a quartet and later evolving into a quintet, the group's career spanned over twenty years as favourites on the cabaret circuit and boasted a myriad of prestigious collaborations.

The Broadway Quintet's jazz sensibilities set them apart from the rock sound that dominated the music landscape of the 1970s. Yet the formula behind Zamrock, fusing indigenous Zambian sounds with Western pop, shaped their one and only 1976 long-player. Featuring modern arrangements of traditional songs, Amalume blended congas with sax sounds, folk lyrics with electric keyboard shenanigans and show business staples with jazz guitar noodling. With its psychedelic fever dream illustrated cover, it was an explosive package of "originality and electrifying beauty" as the album's liner notes rightly attested.

A killer full length set from this Zambian group of the 70s – a smaller combo made up of members from some of the bigger hotel bands of the time – coming together with a lean groove that's really wonderful throughout! Core elements include the guitar of Zacks Gwaze, the keyboards of Tony Maonde, and the saxophone of Simanga Tutani – and vocals are usually sung by one or a few members of the group together, often in these lightly lilting ways that roll along with the rhythms and instrumentation, rather than stand apart from them. Songs are short and tight

Black Truth Rhythm Band - 1976 - Ifetayo

Black Truth Rhythm Band

1976

Ifetayo

01. Ifetayo

02. You People

03. Save D Musician

04. Kilimanjaro

05. Aspire

06. Umbala

07. Imo

Guitar, Percussion – Labe Ijoba

Keyboards, Synthesizer – Ogbon Iselu

Vocals, Whistle – Dada Eleja

Steel Drums – Akowe

Vocals, Bass, Kalimba, Congas, Flute, Percussion – Oluko Imo

Vocals, Percussion – Alafo Juto

Soundway presents a long-awaited remaster and re-cut of the 1976 album ‘Ifetayo’ by Black Truth Rhythm Band, an important and overlooked chapter in Trinidad’s rich musical history that blends West African influences with jazz, funk and the social commentary of the calypso tradition.

Led by the charismatic Oluko Imo (who went on to record with Fela Kuti and perform with members of Fela’s Egypt 80 band ), the group drew on the strong connections to Yoruba culture and Orisa traditions in Trinidad, looking to Africa for inspiration and reflecting the burgeoning Black Power movement of the time.

Recorded at KH studios in Port of Spain, Ifetayo (Yoruba for ‘Love excels all’) was the group’s sole album release. Imo contributed lead vocals and played bass, kalimba, conga, flute and percussion, channelling music from both sides of the Atlantic into a distinctive and unique slice of Afro Trinidadian expression.

Includes bonus track “Imo” not included on the original LP

A Caribbean group, but one with a much heavier groove than most – much more of a West African vibe overall, with a very heady mix of percussion, bass, and other heady elements! There's a mixed-up, dubby approach to the music that almost recalls Cymande at times – core musical ideas taken nicely far from their roots – not in a way to make them more commercial, but just to shake things up, recombine then, and come up with a sound that's wonderfully unique! The whole thing is every bit as funky as you might expect, and really criss-crosses scenes and styles with a blend of percussion, guitars, flute, kalimba, keyboards, and Arp. The production is great – nice and moody, with just the right current of echo – and all titles were penned by lead singer Oluko Imo,

The Good Samaritans - 1982 - No Food Without Taste If By Hunger

The Good Samaritans

1982

No Food Without Taste If By Hunger

01. Onughara

02. Ughamwen-Rhienenemwen

03. Ekhueghamunu

04. Gaskya-Kace

05. Bi Enu Ba Sahun

06. Aikemienaru-Nanorunomwan

Harp – Almighty Isibor

Percussion – Goddy Asia, Sunday Bey, Taiwo Alias Showboy

Rhythm Guitar – Osas-Ohenhen

Vocals – Bacel Organization, Voices Of Victory (V.V.)

Instruments – The Good Samaritans

Written-By, Composed By, Arranged By, Translated By– 'Brother' Angel Philosopher Okundaye (The Ba 'C' El)

Put your dancing shoes on and be ready to kill the dancefloor, the intoxicating highlife music known as Edo Funk from Benin City, Nigeria is back. Following the planetary success of our "Edo Funk Explosion Vol.1" project we have now unearthed "No Food Without Taste If By Hunger" by "The Good Samaritans", one of the most obscure Nigerian album ever recorded. Originally released in 1982, the bands first album is full of bouncy basslines, raw trance-like grooves and tripped-out psychedelic guitars, a funk experience unlike any other.

"The Good Samaritans" is Philosopher Okundaye’s own Edo-Funk project, under which name he produced four albums, all recorded at Phonodisk Studio in Ijebu-Igbo east of Lagos with a 24 track. Okundaye who played many instruments, engaged the right musicians for each project and mixed the whole thing himself, is known as the composer of a large part of Benin City’s celebrated hits in the 80s. His name keeps popping up but somehow his role in the scene remains a bit hazy, giving the character an image of something like the gray eminence of Edo funk.

Due to its private pressing in a probably very small edition, "No Food Without Taste If By Hunger" is very difficult to find. With this reissue limited to 2000 copies - newly mastered by Nick Robbins and approved by Philosopher Okundaye himself - "The Good Samaritans" make a welcome and long-overdue return to turntables around the world in a beautiful Silk-Screen printed cover and an orange colored vinyl pressed on 180g high quality vinyl. This is funk stripped down to its primal essence, driving rhythms mixed with highlife horns, sweet keyboards and psychedelic guitar riffs, pushing the limits of dance moves towards cosmic dancefloors.

A lean little groover from the Nigerian scene – an Edo funk set that's got a vibe that's more stripped-down than most – really focused on the rhythms, with a stark, spare quality that's very different than bigger groups of the decade before! There's almost an influence here going on from both post-punk and reggae – darker production with some echoey edges, heady basslines that often come across with a slightly spooky sound, and use of horns and guitars in ways that really have a sharpness that's unexpected – funky but lean too

Abacothozi - 1976 - Night In Pelican

Abacothozi 

1976

Night In Pelican

01. Dolly's Dish 13:37

02. Night In Pelican 13:10

Bass – Berthwel Maphumulo

Drums – Innocent Mathunjwa

Guitar – Joe Zikhali

The title here, Night in Pelican, refers to the famed Orlando East club — the Pelican — a popular music hub and "laboratory" for a number of seminal bands of the mid 1970s. Run by Lucky Michaels, the club featured a house band led by Dick Khoza who was also employed as stage manager. In September 1976 Khoza took the Pelican house band into Rashid Vally's studios to record his classic Chapita album, issued at that time on Vally's Sun label (and recently re-issued by Matsuli). (Matt Temple)

Of course, four of the musicians featured on Chapita were drawn from the group Abacothozi, notably Bethuel Maphumulo, Mac Mathunjwa, Joe Zikhali and Negro Mathunjwa. (Note that the spelling of their names differs from album to album so I have used both versions in this text to facilitate web searches.)

Abacothozi were formed in 1973 by bassist, Berthwel Maphumulo, formerly of the Elite Swingsters. Together with Mac Mathunjwa on organ, his brother Innocent Mathunjwa on drums and Joe Zikhali on guitar, they recorded at least two albums: Thema Maboneng (Soul Jazz Pop, BL 59, December 1975) and Night in Pelican (Soul Jazz Pop, BL 66, February 1976). The two Abacothozi albums were recorded six weeks apart and predate the Chapita sessions with Dick Khoza by eight months. Mac Mathunjwa would go on to play keyboards with the Peddlers backing Mpharanyana. (The above image of the group is sampled from SoulStrut.)

Night in Pelican features two long, single-sided tracks that slip out of the bump jive groove — the style that developed from Dollar Brand's seminal Mannenburg (1974). But where the early bump jive tracks have a slower, more jazzier reference to the majuba tradition, the tracks here are fast, funky and a lot more danceable — straddling the organ jive sounds of the Movers and the disco sound that would soon follow.

In the early 1970s Gallo Mavuthela's jazz catalogue was apparently quite thin. The company that had perfected the short, highly successful mbaganga sound in the late 1960s, by 1975 was now trying to compete with Teal's lengthy, bump jive formula and subsequently recruited a number of their jazz veterans (including Ntemi Piliso, Michael Xaba and Ellison Themba) to record new material in a similar vein. The Members, the group developed out of this push, generated a number of long format tracks in the bump jive style in January and April of 1975 and were subsequently issued on Gallo's Soul Jazz Pop label. Mavuthela would continue the experiment with a number of other long format albums including The Webb by the Makhona Zonke Band and Abacothozi's Night in Pelican. But without too much success, the company soon returned to its winning mbaqanga formula with groups like Abafana Baseqhudeni. (Rob Allingham)

The cover of Night in Pelican features a drawing by Zulu Bidi, the bassist for Batsumi, who also designed the cover for their debut album. His Pelican album image features the band, presumably Abacothozi, in a somewhat psychedelic African landscape that channels the club itself with its patrons drinking and dancing to their vibe.