Brain 72 GER foc, co. Show Boat 74 JPN in. Charisma 70 GBR foc. Charisma 71 GBR foc. Decca 74 GBR in. Famos 74 COL.
Famos 75 COL. Vertigo 72 GBR foc, is. Vanguard 68 GBR. Ergo 73 CAN. Love 78 FIN. Musik Shop 77 GER. Decca 71 USA is. Tutl 82 DEN in. Columbia 68 GBR. Major Minor 69 GBR.
Polydor 69 NLD. Jolly 70 ITA. Movieplay 79 ESP. Saga 68 GBR is. Movieplay 75 ESP foc. Vertigo 70 GER foc, is. Harvest 70 GBR foc, is. Muza 72 POL. Fools Meeting plays mint, slightly warped but not affecting play.
Brain 72 GER foc. Brain 74 GER 2lp, foc. Brain 75 GER. Hed Arzi 80 ISR. Liberty 71 GER foc. Discofoon 69 NLD. Rubber 75 NLD. Gryphon cover is top except beginning of ring-wear at reverse. Transatlantic 73 GBR foc. Transatlantic 74 GBR. Bell 74 USA co. Transatlantic 75 GBR co.
Harvest 78 ESP. Movieplay 76 ESP. Silence 71 SWE. Finnlevy 77 FIN. No Rays Of Noise promo record; two strange cut-outs at top and bottom corner. Gurnemanz 76 GER. Brain 78 GER 2lp, foc.
Sterne 80 FRA is. Metromedia 70 USA wfoc. Gypsy Moth 85 USA. Blackgold 79 PHI. Parlophone 71 FRA. Silence 78 SWE. Vertigo 72 GER 2lp, foc. Transatlantic 65 GBR. Polydor 74 IRE. Polydor 68 SWE. Minit 67 GBR in. Warner Brothers 78 ZAF is. Warner Brothers 70 GBR foc. Purple 72 GBR foc. Purple 73 GBR foc.
Liberty 74 JPN in. Harvest 77 GBR is. Harvest 74 GBR 2lp, foc. President 68 GBR. Philips 69 GBR foc. Deram 69 GBR foc, is. Deram 70 GBR b, is. Westwood 76 GBR. Virgin 73 GBR foc. Raymond Dumont 00 SUI foc. Polydor 70 GBR. Major Minor 70 GBR. Vogue 70 FRA. Philips 72 GER. Shandar 71 FRA. United Artists 72 GBR. United Artists 73 GBR 2lp, bc, is. Barclay 72 FRA. Caroline 76 GBR 2lp, foc. Dawn 71 GBR 2lp. Disaster Electronics 78 NLD. Rock Toilet 96 GBR. Smoking At The Edges promo record; cover front and rear separately.
Aphex 74 ICE p. Pilz 72 GER foc. Parlophone 65 GBR. Parlophone 67 GBR is. Polydor 75 GBR. Polydor 72 GER. Polydor 73 GBR. Burning Up Years cover shows some wear on edges and corners, otherw. Marble Arch 69 NZL foc.
Reveal 77 CAN. Immediate 69 GBR is. Philips 70 GBR. Village Thing 72 GBR. Edigsa 75 ESP foc. The Birthday Party mono; plays crackly in places, plays mostly near mint. Island 70 GBR. Gull 74 GBR. Gull 75 GBR. Sain 78 IRE in. Polydor 70 GER nc, is. Kuckuck 70 GER gc, in.
Sunshine Love vinyl looks bad, shows many hairlines but plays smoothly, no clicks or pops. Sepiso 76 DEN. Steed 69 USA co. Telefunken 73 GER. Elektra 68 GBR 2lp, foc. Elektra 70 GBR 2lp, foc, in. Elektra 72 USA foc, is. Island 72 GBR is. Island 73 GBR is. Michel Dickenscheid 79 BEL foc. Universe 75 NLD. In-A-Gadda-Da-Vida minor water-stain on rear left border, otherw. Atlantic 68 GBR. Polydor 74 DEN foc, is. Mulligan 76 IRE. Elkar 82 ESP in. Regal Zonophone 71 GBR.
Vertigo 72 GBR. Vertigo 73 GBR foc. Stoa 68 DEN. Vertigo 71 GER p. Vogue 70 GER. Brain 76 GER foc. Harvest 72 GER in. Surrealistic Pillow mono; minor crackling on run-in both sides. Mainstream 67 USA co. Liphook 69 GER. Shelter 72 AUS. Island 68 GBR foc. Island 68 GER. Island 69 GBR gfoc. Island 70 GER foc, p. Transatlantic 69 GBR foc. Atlantic 74 JPN in.
Atlantic 77 JPN in. Atlantic 78 JPN b, in. Alun Ashworth-Jones mono; light crackling in places, plays mostly near mint. Dawn 72 GBR foc. Pilz 71 GER foc. Polydor 72 GBR. Vertigo 70 GBR pfoc, is. Youngblood 70 GBR 2lp, foc. Philips 72 ITA foc, is. Barclay 70 FRA. Friendship short scratch beginning of B2 which clicks for 3 rev. Sonet 71 NOR 2lp, foc. Hammer 80 NOR. Pathe 71 FRA foc. Hi-Hat 75 FIN. Decca 75 SWE is. Decca 76 GER foc.
Decca 78 SWE. Amar 78 DEN is. Ranger 76 AUS. Pominus 72 USA. Bacillus 76 GER 2lp, foc. Dunhill 72 USA in. Rumur 83 AUS. Silence 73 SWE in. Zebra 73 GER is. Haparanda 69 GER. Pye 65 GBR is. Pye 65 GBR. Pye 66 GBR. Klamm 83 ESP is. Philips 74 GER foc. Minos 71 GRE. Nor Disc 77 NOR. Polydor 72 NLD foc. Brain 73 GER 2lp, foc. Xoxoa 78 ESP foc, in. Island 72 USA foc. Wintrup some lamination lifting on edges and a bit lamination peeling off on cover rear left border. Spiegelei 73 GER foc.
Spiegelei 75 GER 2lp, foc. Spiegelei 75 GER. Kuckuck 74 GER. Gump 73 SWE is. Getaway promo record; incomplete sticker removal on cover front. Atco 71 USA. Vertigo 76 GER. Edigsa 69 ESP pc, is. Whispering Afraid short scratch beginning of A1 which clicks for 5 revol. Vertigo 73 NZL foc. Lala Lapla 79 GBR. GM 74 GBR. Island 76 GBR is. Songbird 75 GER foc. Sazam 80 ARG is. Atlantic 71 GER. Swan Song 75 GER 2lp, wc, in. Bell 69 GBR. Love 70 FIN.
Polydor 74 GBR. The Story Of Moses plays mint except one hardly visible tiny spot beginning of B-side which clicks for 6 revol. Philips 71 GER foc, in. Cash Box 73 BRA. Pickwick 71 USA. Ohr 70 GER gfoc, co.
Philips 68 USA. Philips 68 GER. Mercury 69 USA foc. Dharma 73 USA in. Argo 71 GBR. Philips 69 NLD foc. Lizard 81 SUI 2lp, foc, p. Barnaby 69 USA. Som Interior 88 BRA foc. Parlophone 68 GBR. Berry 72 GBR. Phonic 78 ESP foc. Atlantic 70 GBR. Capitol 69 GER co. Ostskiva 76 SWE in. Scarlet 76 SWE. Vogue 66 FRA. Elektra 69 USA is, co.
Elektra 69 GBR. Blue Thumb 70 USA. Heavy 70 USA in. Parlophone 69 GBR is. Rainbird 76 AUS foc, is. Mushroom 80 AUS is. Radnor 70 USA in. Elektra 69 GBR foc. Connection 72 FRA foc. Mushroom 73 AUS foc. Mushroom 74 AUS. Fish Head 77 USA. Love 77 FIN. Sonet 69 SWE foc. Sonet 70 SWE foc. Love 76 SWE is.
IZ 81 ESP in. Polydor 75 JPN in. Seasons beginning of B-side plays crackly, otherw. Vertigo 71 GER gfoc. Epic 71 USA co. Expulsion 83 GBR.
Bel Ami 69 USA. Philips 72 GER gfoc. Good Noise 72 CAN. Mandioca 70 ARG foc. Emre 85 TUR foc. Philips 72 GBR foc. Pathe 75 FRA. Marcus 69 USA nc. Proby - vocals 8 Eef Albers - guitar 8 Steve Smith - drums 8. The most internationally known Dutch group of the seventies was formed as a trio by van Leer with Martin Dresden and Hans Cleuver in early Much of the material for their first album was already written when Jan Akkerman joined in November In And Out Of Focus displayed the basic idea of the group on the tracks "Focus" and "Anonymous" - combining jazz, heavy rock and classical rock in an approachable style, which tempted mainstream listeners into their camp.
The rest of the album didn't follow suit, though, being quite sub-standard. Moving Waves recorded in London in with bluesman Mike Vernon, their producer for the next few years could rightfully be viewed as the first true Focus album, where Akkerman and van Leer fused their talents. In contrast, the minute "Eruption" suite was more serious and moody, typifying their brand of romantic, instrumental classical rock, designed for adult listeners too old to rock'n'roll but too young to die.
These two aspects combined to create a commercial potential which would spellbind large audiences all over the world in the years to follow. Focus were always better musicians than composers. For those in a hurry, "Sylvia" saved the day, summing up much of what easily approachable progressive rock is about in three minutes. This also gave them a much deserved international hit when issued as a single. This disrupted the sense of wholeness and it would have been better to split the project into separate albums for instance, replacing the short tracks with Akkerman's superb minute opus "Fresh Air", issued on his first solo album Profile the same year.
At The Rainbow presented good live versions of their favourites but is not essential. Hamburger Concerto turned out to be the last in a triology of classic albums omitting the live one.
It benefited from a larger recording budget, improved sound quality and a wider instrumental array. Akkerman's contributions surpassed his sidekick this time. He wrote the majority of the title track suite and "Birth" the highlights. In some respects, this is Focus' most satisfying album, due to the more integrated and rich sound. The slow and majestic Leslie-treated guitar lines on the "Concerto" are matchless! Mother Focus was the first major disappointment where van Leer's yodelling can only be responded to by yawns from the listeners.
The short tracks could best be described as muzak, and only traces of their old inspiration are still present. Ship Of Memories was much better, due to the fact that it was recorded back in At that time, they weren't satisfied with it, but these tapes recorded in the famous Chipping Norton Studios in England are quite good.
Focus had enormous significance in the marketing of progressive rock to mainstream record buyers in the rest of Europe and the USA. Seen in retrospect, their music was shallower than that of many struggling contemporaries. Although their technical abilities were awesome, their ability to create convincing material was questionable. Focus had clever brains and crafty hands but lacked a bit of heart and soul.
The contrast to many Italian groups is striking. Focus certainly knew how to play with both humour and rock power, but when dealing with more complex structures as in classical music they became too serious and lacked passion. Still many of their albums have moments of excellence. Melodic heavy rock vaguely comparable to Wishbone Ash. Their guitar player Frank van der Kloot was one of the leading players in Holland at the time.
Before Fontessa he had played with Drama and on Barry Hay's solo album. Another of those obscure groups responsible for an impossible-to-get private pressing only were manufactured! Their album was recorded in , two years before it was finally released.
Full Moon was the product of Lucas Amor. His first recording has a lot of acoustic guitar, slightly eccentric violin playing and an overall eastern touch. A good example is the delightful, contemplative track "Morning Is Born" with sitar and birdsong. Nothing Ventured, Nothing Gained continued in the same trend but had more elaborate tracks with an underlying jazzy feel to them.
What's Going On marked a considerable change away from the psych-folk formula, heading into Santana territory. A group from The Hague that formed in the mid-sixties. After releasing several singles, Pun Of It became one of the last beat groups in The Netherlands to record on vinyl when Meditation was released in The music on it is vary variable, ranging from silly good time music to a couple of good tracks with a underground sound reminiscent of Fairy-Tale, After Tea, Blossom Toes or even The Doors.
Fred Piek - vocals, guitars Koos Pakvis - bass, vocals Louis Debij - drums Sido Martens - guitar, mandolin, vocals Bob Dekenga - keyboards Kees Maat - keyboards, accordion, vocals 1, 5 Jan Hollestelle - bass 1 Rens van de Zalm - guitars, mandolin, fiddle Arie van der Graaf - guitars 4. One of the leading Dutch folk-rock groups of the seventies. According to Marcel Koopman a record dealer and progressive folk-rock musician , Fungus were to The Netherlands what Malicorne were to France.
Their albums contain well crafted original compositions as well as adaptations of traditional folk songs. Most tracks had a "rock" backing of electric bass and drums. Anyone unfamiliar with the Dutch language should start with Mushrooms , unlike the other albums its songs had English lyrics and aren't too far removed from Fairport Convention's output post Sandy Denny.
Sido Martens' first solo album Land And Water is also certainly worth a spin - it was based on his own original songs and also featured Dekenga and Debij from Fungus. Jan Hollestelle was more into heavy rock and quit to play such music in the group Spin.
This was a British group and are only included because their album was only released in the Netherlands on the collectable Stoof-label. This is nice folk-rock comparable to Tickawinda. This was van Leeuwen's short-lived group after Shocking Blue, now attempting to conquer the world with electric mandolins in a dubious blend of pop, prog and electric folk-rock on two rather weak albums.
Paulus Poulissen - electric piano, organ, piano, fluegel horn, trumpet Edgar Starink - guitar, flute, organ 1 Frans Michel - vocals, lyrics 1 Phil Moolhuizen - rhythm guitar 1 Jean Michel - bass 1 Tom van Dyke - drums, percussion 1 Wouter Hasebos - guitars 2 Lex Bolderdijck - guitars 2 Rob Goubitz - bass 2 Hans van der Schaft - drums 2 Bob Martens - percussion 2. Gamma was the brainchild of keyboards player Paulus Poulissen. The two different formations of the group both played highly competent jazz-rock, stylistically typical of the mid-seventies and with the emphasis on keyboards.
Gamma was a powerful effort with several parts bordering on "progressive rock" vaguely similar to Focus. Four of the eight tracks had unusual vocals by Frans Michel. Darts ranged from Canterbury jazz-rock and graceful Latin-jazz to easy listening, only changing mood when interrupted by Lex Bolderdijk's really powerful electric guitar statements on three tracks only.
No revolutionary items but both albums offer good quality compostions and impressive musicianship throughout. The Gamma albums are among the earliest private pressings to be released in The Netherlands along with the albums by Danger and Ellufant. Needless to say, they are very hard to find on the secondhand market.
Fietje Baeten - vocals, percussion Peter Smits - guitar, vocals, mandolin Chris Schuns - vocals, guitar, mandolin, banjo Ronald van Rikxoort - vocals, drums, harmonium Peter Weinstock - vocals, accordion, recorder. The longest running Dutch band released their first single in Compared to Q65 and The Outsiders, The Golden Earrings were nothing more than a competent pop group, although they grew better with each album.
On The Double was the peak of their achievements as pop writers, ranging from orchestrated tear dripping ballads to rudimentary heavy rock via harmony pop and Bob Dylan pastiches. The album sounds, at least in parts, unfashionable for , owing much to traditional pop-rock songwriting.
Eight Miles High was a transitional album with slightly insecure progressive rock leanings and the first signs of their patented heavy rock. This would dominate their subsequent albums and Golden Earring was indeed among the best international heavy rock albums of the era, showing some influences from the earliest albums by Led Zeppelin and Jethro Tull.
They were rewarded by steadily increasing sales, not least due to the phenomenally successful single "Radar Love" in Subsequent early 70's albums stuck to this melodic hard rock style and are quite good, but did not surpass their effort. The solo albums of George Kooymans and Barry Hay displayed some interesting tendencies that didn't fit entirely with the group sound. Kooymans' offered plain early seventies rock varying between ballads and rock'n'roll a la Creedence Clearwater Revival whereas Hay's material was more adventurous and progressive such as the 8-minute track "Xena".
With the addition of Robert Jan Stips on keyboards, Golden Earring temporarily moved in a more progresive direction on Switch and To The Hilt, but this was abandoned when sales dropped.
Later albums turned towards traditional stadium rock and are of little interest. This group was active from to A private pressing in an edition of copies was prepared for their final concerts not all were sold.
The content varied from beat to pop and heavy rock. A jazz trio with a slightly freaky attitude, whose music is comparable to the first LP by the German group Xhol. He started his musical career at high school in the ancient and respectable city of Haarlem. Together with his gifted partner, text-writer Lennaert Nijgh, he interpreted the songs of, among others, Jacques Brel and Charles Aznavour. He also attempted to write his own songs.
After visiting the film academy in Amsterdam, he secured a recording contract with Phonogram for a few-singles. He achieved a first minor hit with his version of Aznavour's "Une Enfant" in Dutch translation by Nijgh Een meisje van zestien. This success tempted him into being a professional musician. His next hit "Welterusten Mijnheer de President", was a biting anti-warfare song and his first self-penned composition to gain recognition. It established him as the next protest singer, a label he later had difficulties rubbing off.
He changed direction on Voor de Overlevenden For The Survivors , a much more mature effort, especially notable for its abundant use of surrealistic lyrics and excellent, at times truly psychedelic, orchestration by Bert Paige. It also contained a no. In he issued a third LP, Picknick, one of the best albums ever to emerge from Holland. Readers of the Dutch collectors magazine still rank this among the 20 worldwide best ever albums of a year with ample competition thirty years later. It is a swirling collection of highly personal songs evoking images of a world apart.
Although usually playful and whimsical, the song "Megaton" revealed a darker edge, depicting the end of the world as we know it. The orchestrations were by now unsurpassable in their richness and resourcefulness, the melodies soar and the lyrics are among to the best ever written in Dutch. On the other hand it is a rock album with strong playing, much more so than on the previous LP's.
Apart from the short track "Babylon", the whole album was a continuous work including sections of spoken word and unusual backing. The theme of the album was witchcraft and wizardry, taking Dutch speaking hippies on a frightening trip through occult zones.
Original copies with a book cover and single with picture sleeve are now very rare. Tired of the fact that his Dutch lyrics prevented any notoriety abroad, he started a new band called Tower to sing in English and play more in a prog-psych rock style. Two splendid singles were issued, which sank without leaving a trace. After a considerable gap he once more embraced his own native tongue and scored another hit with "Jimmy", taken from the successful Hoe Sterk Is De Eenzame Fietser, an album which steered away from any experimentation towards common mainstream rock.
The collaboration with Nijgh was reconsidered and led to more articulate lyrics than his solo endeavours. De Groot's sixth album Waar Ik Woon En Wie Ik Ben had a strong touch of autobiography, but due to its mainstream content falls beyond the scope of this book. His best work is second to none in Europe, and characterized by a strongly individual and ornate style. Holland's prime exponent of psychedelic music was formed in The Hague in November and released their first single "Misty Night" on the independent Yep-label in This aroused the interest of Hans van Hemert then producer at Philips who soon signed them up.
Group had started with influences from the ugliest and most raw-edged rhythm'n'blues Pretty Things and Q The four Philips singles saw them leaping from strength to strength, starting with the rather usual freakbeat psych of "I Want More", expanding their visions into the absurd and surrealistic with "Mother No-Head" their first masterwork , entering with the ghostly hallucinogenic "Zero" and previewed their LP with their confident statement "We Love Live Like We Love You ".
In late their first major opus Agemo's Trip To Mother Earth appeared, possibly the best psychedelic album from the whole continent! For those wanting to explore the ultimate hippie lore, I recommend you to read the story of Agemo, son of Dog, from Irotas visiting Earth to experience imperfection.
The album deals with Agemo's experiences on Earth, discovering the urban paranoia and depravity of modern life in "Steel Sings", astonishingly scored with harsh guitars so brutal you hardly would believe it was created in the sixties.
Daniel van Bergen's omnipresent electric guitars hit you directly in your face, they sound derived from early Hendrix, but are more directly psychedelic with frequent use of tone bending, compressor and phasing. The album's central piece is Hans Wesseling's from the group Woorden proclamation of his "Mother Earth" poem, expressing the need for "more humanity and fellowfeeling". This is set to the strangest music imaginable, with phased, rambling drums and electronic noises.
The album ends with Agemo revealing his secret, leading those who rediscover the truth to their own paradise with angelic female chanting. The album is more extreme than almost any Anglo-American album of this era with The Satanic Majesties Request the only one slightly comparable to it but inferior. Doors open and close, thunderstorms pass away, men are blowing glass bottles in place of pan flutes!
Many will find it too strange, as so many different ideas are compressed into only 37 minutes. Sjardin and van Bergen soon started all over again with a new record deal and a revamped Group with a second guitar player, Dave Duba, along with Dolf Geldof and the jazz drummer Martin van Duynhoven. Their new effort Paradise Now was bleak, heavy, slow and stark, on the whole remarkably different from its predecessor. With their universal message already proclaimed, Group now concentrated on long instrumental passages highlighting Sjardin's eerie, hypnotic organ tones contrasting with the biting lead guitarists van Bergen versus Duba fighting their most powerful battle on "Hunger".
Obviously they were strongly influenced by the less experimental parts of A Saucerful Of Secrets and the hugely underrated More by Pink Floyd, even down to the imitation of "Party Sequence" on the tablas-and-flute meditation "Martin En Peter". This inevitably leads into the spell-binding trance of "?! Contrasting these instrumentals, the Hendrix influence was strong on the extremely slow and heavy blues number "Purple Sky".
On the whole, one feels that paradise is lost, rather than just found. The mumblings on "Lonelyness" and "Friday I'm Free" are not so far away from the secluded Barrett's dark world. This is another utterly brilliant album and timeless classic that will be coveted by any fan of the vintage Pink Floyd.
If this line-up had any further potential, then it was lost in the haze of the early 70's. Group played a lot of festivals, but didn't get another studio album out before Polyandri is another ace album and again almost totally changed. This was in reality a Peter Sjardin solo album recorded with his various friends. Now elements from progressive jazz-rock had flown in, most audibly on "Russian Gossip" and "Avant Les Pericles" most beautiful!
There are only vocals on three of the eleven tracks, if one ignores the crazy Russian gossip! With this brightened, freaky jazz-mood, Group suddenly sound similar to Daevid Allen's Gong. The live albums are looser and rather less professional in sound. They were recorded on Revox machines at various locations. For some reason they lack the exciting magic of the studio albums and often come up as quite dull.
Live includes the minute "Verandering - music for body and mind", recorded in This was the core of Sjardin's work with spellbinding sound effects, which would eventually result in a private solo release about copies were made. A one-man project. Only copies were pressed of the album, which contained very pleasant acoustic folk.
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James Solberg - LA Blues. The long tracks give enough time and space to enfold their improvisational. Austro Machana 83 AUT in. Shaffy returned to normal practice on Zonder Bagage, another orchestrated LP with concentrated emotional content, but in the end probably only interesting for people who understand Dutch. Albert Show. Going Home - Cuby + Blizzards* - Trippin Thru A Midnight Blues (Vinyl Mayall - Bluesbreakers - The Zydeco Bone Album). Group had started with influences from the ugliest and most raw-edged rhythm'n'blues Pretty Things and Q He changed direction on Voor de Overlevenden For The Survivorsa much more mature effort, especially notable for its abundant use of surrealistic lyrics and excellent, at times truly psychedelic, orchestration by Bert Paige.
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