Ариэль весьма уважаемая среди старых меломанов группа,думаю большей частью из за их раннего творчества ибо где то как раз вскоре после выхода Русских картинок с них вышел пар,и появился достаточно безликий коллектив поющий всякую... 👌
Русские Картинки надо выделить,русского кроме языка там немного,он слеплен из кусочков арт и прогрессив рока первой половины 70-х,вышел легким и светлым и аналогов ему на сов.сцене больше не помню☝
Poor Widow2:34
She Sits There2:36
Jan3:06
Strawberry Jam Man3:16
Richman3:02
My Old Lady2:51
Changes2:12
Empty Feelings2:10
Scarborough Rose2:10
Matthew O'Grady3:40
Thanks To The Man In The Rabbit Hat
Changes (Alt. Version)
Strawberry Jam Man (Alt. Version)
Empty Feelings (Instr.)
Love Makes The World Go 'Round (Demo)
That Girl Has Got A Hold On Me (Demo)
She Sits There (Mono 45)
Poor Widow (Mono 45) 1970
The Magic Carpet
The Phoenix
Black Cat
Alan's Christmas Card
Harvest Song
Do You Hear The Words
Father Time
La La
Peace Song
Take Away Kesh
High Street
The Dream 1972
UK Psychedelic folk rock band. They released one LP on the Mushroom label in 1972
Electric Guitar – Jim Moyes
Photography – Gabriel Weissman
Producer, Engineer – Vic Keary
Sitar, Esraj, Tambura – Clem Alford
Tabla, Percussion – Keshav Sathe
Vocals, Acoustic Guitar – Alisha
Act One
Scene 1Alligator Wine
Scene 2Two Time Loser
Scene 3Treat Her Right
Scene 4Uptown To Harlem
Scene 5Crawfish
Act Two
Scene 6Baby It's You
Scene 7Can't Seem To Make You Mine
Scene 8He Cried
Scene 9I Was Born To Cry
Scene 10She Wants To Mambo 1988
Johnny Thunders
John Anthony Genzale, Jr.
Queens, New York-born guitarist, singer, and songwriter (July 15, 1952 - April 23, 1991) who first came to prominence as lead guitarist for the New York Dolls.
Pat Palladin
Legendary Punk girl duo (Patti Palladin, Judy Nylon) from New York, associated with the Art-Rock scene.
A–Albert DeSalvo Strangler In The Night2:00
B–The Bugs Albert, Albert2:01
Voice – Dick Levitan (tracks: A)
Written-By – The Bugs
Notes
Sleeve reads "...These are my thoughts, feelings and emotions." Albert H. DeSalvo. 1967
Astor paid the real serial killer Albert DeSalvo (The Boston Strangler) fifty bucks for the rights to Strangler In The Night which was then ghostwritten and recorded by The Bugs adding the voice of former Boston WEEI reporter Dick Levitan, who actually interviewed DeSalvo a couple of times.
As Mick Jagger once asked: ‘Have you heard about the Boston Strangler?’
Between 1962 and 1964 the city of Boston was terrorised by an ultra-violent serial killer, originally dubbed The Mad Strangler, but more popularly known (thanks to a series of press articles in 1963) as the Boston Strangler. In all 13 single women between the ages of 19 and 85 were murdered: most were sexually assaulted and strangled in their apartments by what was assumed to be one man.
In late 1964, in addition to the Strangler murders, the police were also trying to solve a series of rapes committed by a man who had been dubbed the Green Man. After a stranger entered a young woman's home in East Cambridge, tied her to a bed and sexually assaulted her, he left, saying ‘I'm sorry’. Her description led police to identify the assailant as Albert Henry DeSalvo, former naval petty officer and long-time petty criminal. When his photo was published, many women identified him as the man who had assaulted them. DeSalvo was not originally connected with the murders, but he gave a detailed confession to a cellmate George Nassar and, under hypnosis, to Doctor William Joseph Bryan, Jr., after he was charged with rape. However, there was no physical evidence to substantiate his confession and, because of this, he was tried for earlier, unrelated crimes of robbery and sexual offences.
After DeSalvo was apprehended, news reporter and author Dick Levitan (who worked for Boston’s talk radio station WEEI), was one of the very few reporters allowed to interview him. In a very creepy twist, Levitan was paid an undisclosed sum by Astor Records to record himself narrating DeSalvo’s words (rumour has it that the company also paid DeSalvo $50), putting him together with the local Beatles-influenced beat group The Bugs to produce Strangler in the Night. The Bugs also provided the b-side, Albert, Albert, about DeSalvo’s crime spree. The sleeve for the single reads: “...These are my thoughts, feelings and emotions.” Albert H. DeSalvo. These days it sells (well, people advertise copies for sale) for anything from $20 to $200.
The true identity of the murderer of the 13 women has been the cause of much debate over the years. Although DeSalvo copped for the crimes he was never tried for them and consequently never found guilty. He was found stabbed to death in the infirmary of Walpole State prison in 1973. 40 years later Boston law enforcement officials announced that DNA evidence had linked DeSalvo to 19-year-old Mary Sullivan, the last of the Boston Strangler’s victims. DeSalvo's remains were exhumed, and further DNA tests proved that the seminal fluid recovered at the scene of Mary Sullivan's 1964 murder was, in fact, DeSalvo’s.
A1Heavenly Feeling
A2Floating Haze
A3The Universal Form
B1Becky's Dance
B2Morning Glory
B3Night King 1972
Guitar [Uncredited] – Jim Moyes
Sitar [Uncredited] – Clem Alford
Tabla [Uncredited] – Keshav Sathe
Here we have so British boys coming together to play with the sounds of India. Sagram consisted of a sitar, guitar, and tabla combo, and sitarist Clem Alford apparently spent time in India receiving some proper training. The cover art suggests straight up psychedelic exploitation, but the music is something entirely different. There's not many pop or rock sounds on this LP, if any. I love psychedelic exploitation art, so I consider this a nice surprise even if the art and music don't match. And no, the well-mustached harem king on the cover is not a member of Sagram, although it would be kind of awesome if he was.
While the music here is very well performed and pleasant, the sounds are pretty uniform. You certainly won't hear the variety you might expect from someone like Ali Akbar Khan or Ravi Shankar. It sounds kind of like the house band at a groovy Inidan restaurant in London, with the music floating on well-played, but non-confrontational table grooves - the better to digest your curry, y'know. "The Universal Form" does manage to take a different direction, propelling itself on a much airier, ethereal sound.
A1Strassenfahrt Durch Wien
A2Ich Habe Tranen
A3Tempelmusik
A4Gospelsong
A5Wir Sind Hier Auf Einer Insel
A6Weisser Sand
A7Ich Kann's Nicht Glauben
A8Jazzwiese
B1Ein Korper Sind Wir
B2Song Ohne Worte
B3Sexsong
Der Teufel Hole... / Wie Ein Kristall In Einer Schale
B4aDer Teufel Hole...
B4bWie Ein Kristall In Einer Schale
B5Hey Boy, Come On
B6Macht Die Augen Auf
B7Spiegellied
B8Schlussmusik 1972
"Trip" was the Austrian version of the musical "Hair", just a bit more extreme in all its facets. The 1971 produced by ORF hippie opera once scared the Austrian television audience, as here drug-consuming, long-haired adolescents were shown who seek a way out of reality and find their redeemer in a dodgy guru. Embedded in glaring stage sets designed by the painter Ernst Fuchs, the narrative ultimately imploded in a hallucinogenic horror trip. The visual impression was further enhanced by a well-prepared soundtrack under the direction of Viennese musician legend Fatty George, who experimented with sitar, psychedelic funk and quirky jazz elements. In his band were future superstars, such as Karl Ratzer, Peter Wolf, Richard Schoenherz and Leszek Zadlo, who were still at the beginning of their career in 1971. After the finished production of the soundtrack, the jazz musicians joined the ORF Big Band collective, the rockers founded Gipsy Love. The "Trip" is not only an important piece of local pop history, but is universally considered among experts one of the most successful music productions of the local hippie era. The Innsbruck-based label Digatone is now releasing for the first time a lovingly restored reissue of the soundtrack LP, which at that time only appeared in small numbers and has now reached high collector's orders on file sharing. After the finished production of the soundtrack, the jazz musicians joined the ORF Big Band collective, the rockers founded Gipsy Love. The "Trip" is not only an important piece of local pop history, but is universally considered among experts one of the most successful music productions of the local hippie era. The Innsbruck-based label Digatone is now releasing for the first time a lovingly restored reissue of the soundtrack LP, which at that time only appeared in small numbers and has now reached high collector's orders on file sharing. After the finished production of the soundtrack, the jazz musicians joined the ORF Big Band collective, the rockers founded Gipsy Love. The "Trip" is not only an important piece of local pop history, but is universally considered among experts one of the most successful music productions of the local hippie era. The Innsbruck-based label Digatone is now releasing for the first time a lovingly restored reissue of the soundtrack LP, which at that time only appeared in small numbers and has now reached high collector's orders on file sharing.
(Source: ACCORDIA 1st Austrian Record Club)
Digatone present the first official reissue of Fatty George Und Silke Schwinger’s Trip the long lost and extremely rare Austrian hippie-rock/jazz/funk opera score from 1971. Features, among others, Su Kramer (also known from the Hair album and stage play featuring Czechoslovakian band The Matadors), Fatty George, Karl Ratzer, Peter Wolf, Richard Schoenherz, and Leszek Zadlo. Originally released in 1972 by Telefunken in Germany in a small quantity, and now highly collectable, the LP combines funk, pop, psychedelia, acid jazz, and gospel. Performed with electric guitar, flute, organ, sitar, and more, this music has been frequently sampled in recent years. Produced for Austrian TV, the story is about a guru who comes to Vienna to preach about a world with no technology, but with lots of drugs. However, when a young boy dies after an LSD trip, things go terribly wrong. Includes an insert supplying background information in German and English; Edition of 1000….~
Trip was an early 70s Austrian pop-opera concerning the reception given to a black messiah in the modern age. Touching on the youth concerns of the time, it made a strong impact in Austria, where this extremely rare soundtrack album was issued in 1972. Spanning funk, pop, acid jazz and gospel, with electric guitar, flute, organ, sitar and more, it has been sampled in recent years (notably the epic breakbeat in White Sand) and makes its CD debut here…..~
“Trip” is an Austrian rock opera about a guru who came to Vienna to preach life without modern technology, but with a lot of drugs, from which he eventually dies himself. The work was created by scriptwriter Silke Schwinger and jazz musician Franz Pressler (nicknamed Fetty George). It was first staged in 1971 on the stage of the Salzburg Festival, and then appeared as an album and a television movie. The recording is a jazz-funk with a powerful psychedelic guitar and a rich vocal palette…..~
Today we are dedicated to a sensational, ultimately completely forgotten climax of domestic television history and its accompanying soundtrack. Based on a play by Silke Schwinger, the revolutionary TV show “Trip” was shot in 1971 within a few days of filming. On August 8th, it aired on the ORF’s night program - and then disappeared into the archives, singing and singing.
The plot of the film is simple and good: A self-proclaimed Messiah, the charismatic preacher Ronny Nia comes to Vienna for 10 days to proclaim the universal love of God. Already on his arrival at the airport, he and his entourage expect a euphoric teen fanbase and a local press service. Unforgettable is the young Peter Rapp as an interviewing - and visibly irritated - TV reporter. All around: television cameras, autograph hunters, flower children, police.
Peppered with a top-class ensemble of German-speaking stage actors of the day (such as Julia Migenes, Su Kramer and Ron Williams), the “Trip” accompanies a group of young hippies, who have quickly formed around the prominent guest, at their debauchery, from an underground happening to the next. It is hilariously celebrated, danced and sung. And yes, drugs are probably also in the game.
But it comes, as it must come: After the initial ecstasy crashes, disillusionment and depression follow. As a member of the gang dies of an overdose, the mood tips. And since religious leader Ron still has no essential answers, the group finally breaks up. Remarkably, the narrative of “Trip” renounces the upscale, moral index finger and, in the meantime, steers towards an open, impulsive end.
The experimental design of the film, for which director Jorg Eggers was responsible, is groundbreaking for viewing habits at that time. Minute-long scenes of a single shot are followed by hallucinogenic nightmare sequences with psychedelic transitions and fast-paced sequences; an aesthetic reminiscent of the work of American underground filmmaker Kenneth Anger. A stage design specially designed by the painter Ernst Fuchs does the rest.
The media review in Austria, which was accompanied by the first broadcast of the film, however, was modest. Apparently, neither the local audience nor critics could figure it out. The film then disappeared again in the sinking and in the archives of the ORF. The soundtrack of the film, which appeared a short time later as long-playing record at the German major label Telefunken, but over the years developed into a sought-after cult object. Meanwhile, the eponymous “Trip” LP collects collector prices in three digits.
The Innsbruck cultural club Digatone has now dug up the rare soundtrack and makes the music from the film accessible again as lovingly made reissue. A strong gun: Under the direction of the Viennese jazz legend Fatty George, the cast of the “Trip” music-music orchestra on late-born babies seems like a little who-is-who of domestic entertainment music of the early 1970s: Fatty’s band had some later superstars Karl Ratzer, Peter Wolf, Richard Schoenherz and Leszek Zadlo, who were still at the beginning of their careers in 1971. The illustrious collective was expanded to include well-known jazz musicians from the ORF Big Band environment. And peng! The “Trip” soundtrack is a masterpiece of domestic soul jazz and also a significant piece of local pop and subculture history…..by….Bird Sputnik…..~
