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9 Sep 2017

Krayon Angels ‎"Nineteen Sixtynine" 1969 2000 UK Psych Garage Rock


Krayon Angels ‎"Nineteen Sixtynine" 1969 2000 UK Psych Garage Rock
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Recorded at: 
Radio Luxemburg Recording Studios London 
early 1969


This 5 piece group featured members of Killing Floor and Crushed Butler, and was led by USA singer Jeff Pasternak who gave them a West-Coast flavour. Recorded in 1969 and produced by legendary '60s Radio Luxembourg disc jockey Emperor Rosko. The LP contains everything they ever recorded, all unreleased so far.

excellent and previously unreleased album by a UK 1968 Psych band who only lasted enough time to record this set of demo's . A great power-pop psych sound permeates the whole album capturing the '60's London groove and at times there are flashes of the Small Faces, Pretty Things, Blossom Toes etc. It's quite a surprise to find a whole album of this quality that has never been heard before!
~ by freakemporium.com...............

Crushed Butler – An Interview with Darryl Read:
by Steve Krakow.
-How long was your earlier band the Krayon Angels around? How old were you then? Did you gig out?
-The Krayon Angels existed for around 8 months --- from beginning to end. I was 17, and we played the Marque Club/The Revolution/and a two week stint at a disco club in Bristol. We also recorded a demo album ---- to be released years later in 1998 by Dig The Fuzz records UK. I also formed the whole group for Emperor Rosko, who put me together with his brother Jeff --- who was the singer. The line up consisted of Lou Martin (Killing Floor)/ Stuart (Mac) McDonald (Killing Floor)/ Chris Gibbons/ Jeff Pasternak and yours Truly......

The short-lived group created by former members of «Killing Floor» and «Crushed Butler» headed by US singer Jeff Pasternak, who gave the sound team West Coast flavor. Recorded in the legendary «Radio Luxemburg Recording Studios» in London, this LP contains all the material ever by the group. ..............

Credits
Arranged By – Krayon Angels
Bass – Stewart McDonald
Drums – Darryl Read
Guitar – Chris Gibbons (5)
Lead Vocals – Jeff Pasternak
Organ, Piano – Lou Martin

Tracklist
A1 What Are You Doing (In The Rain)
A2 For The Rest Of Our Lives
A3 Natural Man
A4 Please Tell Me Why
A5 Clock Without A Face
B1 How Do Ya Like It
B2 Hearts In The Junction (Of Smoke)
B3 Step Around It
B4 Try Another Motor
B5 'Til The New Light Shines

Saga De Ragnar Lodbrock “ Saga De Ragnar Lodbrock” 1979 France Prog Folk


Saga De Ragnar Lodbrock “ Saga De Ragnar Lodbrock” 1979 France Prog Folk
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This is the resulting album of a bunch of non-professional musicians, who used to organize events (mostly theatre pieces) d started to revolve around the Proust brothers and guitarist Alliard and bassist Vanderkempen. Having fallen onto poetry text describing Viking invasions into medieval France, François had his brother (an actor) adapting the text and Alliard adapting the ideas to music. The project started developing medieval folk-influenced mini-opera-type of concept, which one might wonder through which miracle it came to fruition, given the punk upheaval sweeping France at the time. The recording sessions were spread over 78 and 70, the album being released in March of that year under the new label Solaris and received a pressing of 1,000 copies. Another similar concept based on La Chanson De Roland was planned but never came to fruition....by Hugues Chantraine, Belgium :....


 A theatrical progressive folk-rock collaboration produced in honour of Ragnar Lodbrock, the Viking captain. Musically speaking, I'm put in mind at points of Gryphon's medieval folk approach, though the one-off supergroup also share Eloy's irritating preoccupation with including obtrusive narration of the concept during tracks, which rather gets in the way of my appreciation of the music. Still, there's plenty of dramatic stuff on here - funeral dirges and so forth - and if you're really into theatrical French prog in the mode of bands such as Ange this might work well with you. Three stars seems to be a fair score - the album is no classic, but if you happen to be particularly receptive to its charms you'll probably enjoy it a lot....by Warthur 


Ahh... Ragnar Lodbrok... Pillager of France and annoyer of Britain. Claiming to be descended from Odin, Lodbrok was a fiend so full of greed and ambition that it probably served him right that he was thrown into a pit of poisonous snakes to meet his timely end. Bloody vikings... they caused nothing but trouble eh?. 
'Saga de Ragnar Lodbrock' probably belongs with bands such as Univers Zero and Shub Niggurath due it's chamber music approach. This is actually a very pretty album played in a very tasteful way It's also accompanied by lots of vocals, all of which suit the feel of the album very well. 

An underplayed album that sounds reasonably threatening and atmospheric whilst at the same time being sung in French. Of surprising note, one Jean Cohen-Solal (of Nurse With Wound List fame) appears with his flute on this recording. He flutes away quite nicely using his instrument sparingly. 

There's a huge list of contributors to this album - and despite countless listens - for the life of me I don't hear any of them. Figments of Norse folklore perhaps? All I hear is a big booming voice, a few horns, militaristic drums and a couple of additional singers. That's not to say it's bad. Not by a long shot. 

'Saga de Ragnar Lodbrok' is one of the more original and unusual recordings in the huge Prog Archives. They attempt to conjure up images of the year 840AD and do so quite well with multiple vocals and certain horns that sound just like 'Dead Can Dance'. I'd recommend this album to fans of theirs who like "Aion' 

Unfortunately it all gets a bit too much from about three quarters of the way through where you finally realise things ain't gonna change or progress....by Dobermensch ...



 You have to be a fairly dedicated student of progressive music (or a real history buff) to have something like this in your collection. There is no band named Saga de Ragnar Lodbrock, by the way. This was a rather arduous labor of literary and theatrical love for Patrick Alliard and François Proust, a couple of French theater acquaintances who decided to turn a historical novel about the life and adventures of Ragnarr Loðbrók into a musical score. Lobrock was an eighth-century Viking who conquered the Normandy region of France and took the title of king before perishing at the hands of King Ælla of Northumbria in modern-day Britain. In reading the history of the album and subsequently the history of Ragnar Lodbrock my interest was piqued, probably in much the same way Alliard’s was when he read these tales himself more than thirty years ago. Obscure history can be as addictive as progressive music it seems. 
Alliard had composed some music and put together a rough demo tape with the help of fellow musician Daniel Lysensoon in early 1977, which he and Proust presented to yet another acquaintance (Patrick van der Kempen) that autumn. With the help of Proust’s brother Oliver (an actor and stage director), François and van der Kempen expanded Alliard’s music drafts into a full-fledged epic composition, suitable for the stage with multiple scenes and both sung and spoken lyrical passages. Once complete the trio moved into the Solaris Studio of Armand Frydman, who agreed to not only allow the use of his studio but also recruited famed jazz percussionist Jean-Louis Mechali to take part in the recording sessions. The result was an eighteen-minute grandiloquent and multi-layered work which Frydman enhanced through the use of his studio’s mellotron by adding flute, strings and chamber choir sounds to produce what would become “Chants Funèbres de Ragnar Lodbrock”, the requiem dirge for Lodbrock’s death. 

An historical aside here: Ragnar Lodbrock is said to have perished in primal fashion at the hands of King Ælla of Northumbria, whose lands the Viking had invaded with the intent of plundering in the early ninth- century (he must have been a pretty old yet spry Viking to be taking on such an ambitious task at that point in his life). Anyway, King Ælla is said to have thrown Lodbrock into a pit of vipers to bring about his death in a slow and painfully public fashion. Some say the Viking did not die immediately, possibly thanks to the sturdy chain-mail garments common to Viking warriors of that day, so Ælla ordered him stripped naked to allow the snakes’ venom to do its job. Two of his sons when learning of his death, swore revenge. Hingwar (Ivar the Boneless) and Hubba led the notorious Great Heathen Army to York post-haste, relatively-speaking (in the ninth century post-haste apparently meant about a year later), and sacked York before eventually capturing King Ælla and executing him by staking him face-down to the ground, slitting his back open, and pulling out his lungs between his ribs in a sort of winged fashion so that he would suffocate (aka a ‘blood eagle’ as featured not too long ago in the horror film Saw III). So you see how history can be so fascinating (check Google or your local library for answers to the next burningly obvious question, which is how Lodbrock’s son got the name ‘Ivar the Boneless’). There’s so much a guy can learn with a library card and internet access these days…. 

Anyway, back to the story of the music. 

A second attempt at gathering the original musicians to flesh out “Chants Funèbres de Ragnar Lodbrock” into a full-length album was unsuccessful, owing mostly to the various participants all having lives and other commitments. But Frydman now owned a 16-track studio and Alliard still had a vision, so in late 1978 he, van der Kempen and the Proust brothers reconvened in Frydman’s new studio to finish the job. Mechali was no longer available, but the group managed to secure the services of an American (Kirt Rust), who happened to be in France at the time as a member of the French Zeuhl band Weidorje. So there’s your American and progressive music connections, all in one fail swoop. Avant- folk artist Jean Cohen-Solal was also convinced to stand in for these sessions to add real flute tracks instead of ones manufactured by the mellotron. Another progressive music connection there, in case you are keeping score – Cohen-Solal had released the flute ode to mysticism known as ‘Captain Tarthopom’ a few years prior to this record. 

This time the recording sessions went off with few hitches and the group managed to record the remaining music that would become the preface to “Chants Funèbres de Ragnar Lodbrock” and the first five songs on the resulting album. Mitia de Gialluli, another artist who was among those in the studio providing backing vocals, carved the emblem that became the album’s cover, and the final package became album number 001 on Frydman’s Solaris label in 1979. Plans for a second album based on the battle of Roncevaux Pass, an eighth century defeat of French soldiers at the hands of Basque invaders, was eventually abandoned. 

So what about the music? Well, all that background is sort of necessary to understanding this record, which is not exactly progressive music in any sense most fans would recognize. The feel of the music is quite dated, and not as in the Gods or Procol Harum or some other early prog band. I mean dated as in medieval-sounding, circa the tenth century or so which is probably when the tales Alliard wrote about first became legend. The long requiem track is quite dirge-like with heavy, somber chamber vocals (courtesy of the studio mellotron). The rest of the tracks offer serious backing vocal chants as well, but these are the real-deal, sung by various members of the cast and others who seem to have just been in the studio at the right time. The various flute, brass and piano arrangements throughout are classically- oriented and very professionally played, but again I would consider them more theatrical than progressive. And the vocals are clearly sung by men accustomed to aggrandizing voices of the sort needed to project out into an audience like in a stage play, not like those used in singing usually heard in popular music. And several passages feature spoken-word poems to augment the sung lyrics, so the overall impression is one of a recorded stage production, not a studio album. 

The original release of this album was limited to 1,000 copies on vinyl and released in France. Getting your hands on one today (if you even can) would probably set you back hundreds of dollars, which unless you just really dig collecting obscure stuff would be a real waste of money. Musea reissued the album on CD in 1999, which is the one I picked up for a much more reasonable price (although even then I did have to have it imported into the United States). This version also includes seven short tracks composed and recorded by François Proust. These have nothing in particular to do with this album, but they are of the same period and are also minstrel-like stage compositions. Proust plays all the instruments and does all the singing on these, including overdubbing himself to create harmonizing on most of them. The theme of these tunes seems to be something about ancient Notre Dame or some such thing. Which brings up another note – on the Musea reissue all the lyrics are printed out, but they are also all in French, so be forewarned if you are a monolingual dullard like myself. 

Like I said at the outset, this is music for very serious (and nerdy) folk music and history buffs. It is not a progressive music album in any sense most fans would recognize. So with those caveats I’m going to give it four stars as a very unique and extremely professionally produced folk offering, and recommend it only to those who find that description enticing. 

peace.......by ClemofNazareth ......


 This is a sole album from an unlikely team of theatre and music circles that were unknown back then. Their project is a giant-opera-like rendition of poems describing the Viking invasions of France at the turn of the first millennium. Graced with a drawn epic Drakkar artwork, it actually resumes fairly well the prog-arranged medieval folk laying on the slice of wax. While the vinyl contained two distinct parts (five short songs making a whole on the first side and the epic title track on the other side), the Musea Cd re-issue gives as bonus another series of similar songs that fit the artistic canvas of the album quite well, even if the different recording session is audibly noticeable. If the progressive folk developed is very accessible, it is recommended to have a correct mastery of the French language, but overall it is not mandatory either. 

The first five tracks are very impressive prog folk that is medieval as well as very contemporary as well, with some excellent drumming (Hellequin), fascinating vocals (from operatic to almost kobaian- type choirs), but the narration linking some tracks together is sometimes a bit too present (Loup Fendri). 

The "sidelong" title track epic is a bit more of the same, but here, the narration bring the music to cheesy levels that are sometimes bordering on the ridiculous. Normally this was written for a stage show, which I suppose would lessen the overly dramatic tone (which gives it an unwanted comic spin to it), especially in the opening macabre movement Empire Des Morts. Olivier Proust's narration itself is a bit overdone as well: he had gotten us used to lesser dramatic on the previous tracks. Musically outside the obligatory cheesiness of the theme, the music is not far from Prokofiev's Peter & The Wolf, later to evolve in a brassy heavy prog, marrying the very professional multi-vocals quite well. 

The bonus tracks give us a sort of third period into the match, adapting some François Villon poetry to music. This third "bonus" tome is more in the Malicorne tradition, all of the instruments played by François Proust and the recording session (in 82) did not receive a final production, so they might seem raw compared to the rest of the album. Rondo A La Mort sounds like Jacques Brel's Je Suis Un Soir D'Eté, managing the same kind of solemnity, as does Ballade Des Pendus. 

As prog folk is one of my fave genre, there is a lot for me to like on such an album, but unfortunately the few flaws present on it, cheapens it a bit to my eyes. Don't get me wrong, the execution of this album is next to flawless and the end result is almost miraculous, especially in its historical concept. While a good grasp of French is useful for full enjoyment of this album, the whole project is strong enough musically that even if you don't get the vocals and narrative, you can only be impressed by the grandiose and flawless execution of the project... by Sean Trane .....

Mysterious record from a very unknown band. As one can imagine when looking at the cover picture, it is going to be a dark record. But a dark folk recod, rather than a dark progressive record. It doesn´t mean it is a bad record. Great sad, dark and intimate songs ("Le Temps de Geants", "Chant de la Lance", Rèvelliez vous Picards", "Lai ou Rondo à la Mort" or "Ballade Finale") and the masterpiece and original project for the record: "Chants Funèbres de Ragnar Lodbrock", an epic about the Viking warriors who came to invade France in the XIIth Century: great dark choruses, tragedy, atmospheric and orchestral keyboards... and over all, very intersting musical work that blurs every prototypical category in music. 
No doubt this is a grat record. For prog listeners, the main point of interest is "Chants Funèbres de Ragnar Lodbeock", and in fact this song makes worth getting the record. For tose interested in folk music, this record is very enjoyable. 4 stars ......by victor77.....


 What to say, this album scares me so much, it has voices throw silence, and you feel being into a medieval casttle, with a ghostly man singing in the dark....well, that was my first impressions when i heard this album, and certainly has strong moments how it has weak instances...well, i recommend to people who loves hearing a voice who is the leader of the music....maybe you'll feel dissapointed, because it isn't true prog, but it you appreciatte all the experimental grounds musicians could explore, i say go and hear in a cd store this disc, and if you like it, buy it!!...by hola.



Tracklist 
A1 Les North Mendiants 4:12 
A2 Le Temps Des Géants 4:10 
A3 La Chasse Hellequin 4:21 
A4 Le Loup Fendri 4:26 
A5 Chant De La Lance 2:38 
Chants Funèbres De Ragnar Lodbrock (18:09) 
B1 Du Fond De L'Empire Des Morts
B2 La Route Longue Des Combats
B3 Alors Qu'approche La Mort
B4 Chant Final

Ten Jinn “Alone” 2004 US Crossover Prog


Ten Jinn “Alone” 2004 US Crossover Prog
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https://vk.com/id312142499?z=audio_playlist-8734396_45700331

Ten Jinn mp3…sign in first…..

https://vk.com/search?c%5Bperformer%5D=1&c%5Bq%5D=Ten%20Jinn&c%5Bsection%5D=audio


TEN JINN can be placed at the forefront of the current Progressive rock scene. That American band appears here, mostly because of its leader’s extravaganza: John Paul STRAUSS claims to be from the same family as a famous Austrian composer ! The singer develops clear and expressive vocal parts, frequently reminding of Michael SADLER’s (A link with SAGA that can be found on the instrumental level as well), and with a special love for GENTLE GIANT-like polyphonies. The music itself appears to be sophisticated and personal, strongly marked by the Seventies, but recorded with current sonorities. Melodies are well-crafted, and left their footprint so easily in the minds. As its predecessor "As On A Darkling Plain" (1999) was inspired by the baroque universe of vampire stories written by Ann RICE, "Alone" (2003) proves to be more mainstream and close to perfection at the same time. Here’s without any doubt the album of maturity !......


Biography

Progressive rock band, Ten Jinn, was formed in the beginning of 1991 by John Paul Strauss and Jimmy Borel. Their first CD, Wildman, (produced by brothers Ken and Ivor Francis) was recorded during the next couple of years and, after a good deal of delay punctuated by the band doing a good deal of live performance, the record was finally released in 1996. The years between 1993 and 1996 saw a lot of musicians come and go from the band, but by the time they were invited to perform at the “kick-off” party at Baja Prog in Mexicali, Mexico in 1998, the line up consisted of John Paul Strauss on lead vocals and keyboards, Mark Wickliffe on drums and backing vocals, Bob Niemeyer on keyboards and backing vocals, Mike Matier on guitar and guitar-synthesizer, Matt Overholtzer on bass and Chapman Stick, and Stan Whitaker in the second guitar spot as a guest performer.

Partially as a result of the performance at Baja Prog 1998, Stan Whitaker discovered that not only had the fan base for his 1970s progressive rock band, Happy The Man, not diminished, but had in fact grown and flourished in the underground prog-rock scene. This prompted Stan to get HTM boys back together for a new release. Meanwhile, Ten Jinn, off the heady experience of rave reviews for their Baja Prog debut performance, redoubled their efforts and recorded the band’s second CD, As on a Darkling Plain, which was picked up for distribution in America by InsideOut Records and, in Europe, by Sweden Rock Records.

The year 1999 saw a further rise in the band’s popularity with performances once again at Baja Prog, this time on the big stage at Teatro Del Estato. The second CD, which had been out just a few months prior, was receiving great reviews, and with a strong live show, as well, the band was invited to headline Prog Day, later that year in North Carolina. The years 1999 and 2000 saw Ten Jinn gigging constantly up and down the West Coast from San Diego to Los Angeles to San Francisco. However, Stan Whitaker was soon to leave the band permanently, and move back to Maryland, where he continued to work with band mates from Happy The Man on a new CD, as well as with his new band, Oblivion Sun.

In 2001 the boys were back in the studio again, recording tracks for their third release, Alone, at Ken Francis’ studio, Babaji’s Cave, when Strauss decided to move to Sweden, where the second CD seemed to be doing rather better than it had been in the States, as well as for personal reasons. It was at this time, Strauss teamed up with Ken Skoglund, who took over Stan Whitaker’s guitar duties, and with the CD partially in-the-bag by the LA crew, the recording, mix and mastering was completed at Skoglund’s Studio, “Sound Control Sweden,” located in Skutskär, Sweden, just a few hours drive North of Stockholm. Alone was released on Sweden Rock Records in 2003 and once again, John was out gigging with another line-up, this time with a group of Swedish musicians, which included Skoglund as the main axeman.

Strauss returned to the States a few years later in 2004 and, once again took a break from live-performance, to get an M.M. (Master’s of Music) degree in theory and composition. The culmination of this was a symphonic poem "Sisyphus," composed for piano and string orchestra. After a several-year homesteading stint, Strauss returned to music and reworked "Sisyphus," which the band recorded for Ten Jinn's fourth release Appearing on this record are band members John Strauss, Mark Wickliffe, Mike Matier, and Ken Skoglund, along with several guest musicians. "Sisyphus" marks the band’s first vinyl release, and contains both vocal and instrumental versions of the piece.......

Alone CD music contains a single disc. TEN JINN can be placed at the forefront of the current Progressive rock scene. That American band appears here, mostly because of its leader's extravaganza: John Paul STRAUSS claims to be from the same family as a famous Austrian composer ! The singer develops clear and expressive vocal parts, frequently reminding of Michael SADLER's (A link with SAGA that can be found on the instrumental level as well), and with a special love for GENTLE GIANT-like polyphonies Alone album for sale. The music itself appears to be sophisticated and personal, strongly marked by the Seventies, but recorded with current sonorities Alone songs. Melodies are well-crafted, and left their footprint so easily in the minds Alone buy CD music. As its predecessor "As On A Darkling Plain" (1999) was inspired by the baroque universe of vampire stories written by Ann RICE, "Alone" (2003) proves to be more mainstream and close to perfection at the same time. Here's without any doubt the album of maturity ! Alone album for sale by Ten Jinn was released Jan 09, 2014 on the Sound Pollution label.......


Line-up / Musicians
- John Paul Strauss / lead & backing vocals, keyboards, acoustic guitar (2,3,5,8,11,12), producer
- Mike Matier / guitar (1,2,4,7,9-11), 12-string acoustic guitar (2,10,11), mandolin (10)
- Kenneth Skoglund / electric (1-5,8-10,12,13), 12-string acoustic guitar (1,3)
- Robert Niemeyer / keyboards (1,4,7,9,10)
- Mark Wickliffe / drums & bass (1,2,4,6,7,9-11), acoustic guitar & keyboards (6)

With:
- Rick LeClair / guitar (1,7,10)
- Kenneth Francis / guitar (6), drums & percussion, bass, 6- & 12-string acoustic guitars, mandolin & harmonium (13)
- Stefan Kramer / bass (3,5,8,12)
- Ronnie Lundqvist / drums (3,5,8,12)
- Päivi Jansson / backing vocals (5)

Songs / Tracks Listing
1. Who You Are (5:42)
2. Alone (5:00)
3. Never Ending Love (5:17)
4. Felis Feminalis (4:21)
5. Goodbye My Love (4:22)
6. Legend Green (3:14)
7. How It Goes (5:57)
8. Too Late Now (4:53)
9. I'll Be There (4:23)
10. Something Going Wrong (4:00)
11. What Are You Gonna Do (4:04)
12. Killing Me Softly (4:05)
13. In The End (6:00) 

Vox Dei “Cuero Caliente” 1972 Argentina Prog Rock


Vox Dei  “Cuero Caliente” 1972 Argentina Prog Rock
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This is the third disc of the recorded band for the Disc-Jockey record label and the fourth of his career. It is composed of songs from his first LP, which was titled "Caliente" (album published in the blog), since the label that published it (Mandioca) had disappeared, and the album logically stopped being edited. The new versions, heavier and more rocky than the original ones, are published in this disc titled "Cuero caliente", that appears at the end of 1972, and whose original cover presented / displayed a pirate flag, implying that the already exhausted original "Hot" , was circulating in pirated copies. It is thus that Vox Dei re-recorded all his first material, except for "It's not for lack of luck" and "I want to be", also including the songs "Azucar Amarga" and "Doctor Jekill" (renamed and extended). 
In addition, Rubén Basoalto sings for the first time a song: "Reflejos Tuyos y Mios", which also was re-written by him. 
The vinyl editions of this album were made with two different covers, one with a black flag with a pirate skull (the luxury edition) and another with an engraving of three buccaneers in a room (economic edition). In 1993, the record company Diapason re-released Cuero Caliente on CD with a cover different from that of vinyls. 
In 2006, the D & D label remastered this album and added Vox Dei's first single for Disc-Jockey, released in 1971, containing the songs "Where Have You Been All This Time" and "Just a Man", which include "Nacho" Smilari, former guitarist of the band.

A classic disc of Vox Dei, recorded in 1972 with songs of its first disc of 1970, by then already inconseguible. It was published with two different covers, the super luxury of carton and folding, with the pirate flag, and this more economica of paper satinado...






The Three Musketeers were actually four. To the three pioneering foundation groups of Argentine Rock (Los Gatos, Manal and Almendra) we should add a fourth: Vox Dei. 

Vox Dei was formed in Quilmes (a big suburb beer factory city South of Buenos Aires). First called Mach 4, they used to sing in English until they heard Manal and Almendra. Producers Pedro Pujó and Jorge Álvarez signed them for their label Mandioca not before suggesting to them that they change their name along the lines of ‘‘Vox Populi, Vox Dei’‘ (in Latin: ‘‘The word of the people is the Word of God’‘). 

Their first single, titled 'Sin Ropa: Azúcar Amarga', b/w 'Quiero Ser', was straightforward rock & blues. The A-side was also included on the compilation LP, 'Mandioca Underground' (MLP 331). 

After several gigs in Buenos Aires, they released their second single for Mandioca, ‘Presente‘, b/w a rock'n'roll number, ‘Dr. Jekill‘. ‘Presente‘, now a big classic, is a beautiful ballad with superb lyrics (about how ephemeral life is, thus the importance of ‘‘living the present time’‘). 

'Caliente', their excellent first album, followed. This LP included rock & blues numbers such as ‘Reflejos‘, ‘Cuero‘, ‘Compulsión‘ and ‘Total qué’ along with some soul-rock,’No es por falta de suerte‘ and great ballads like the aforementioned ‘Presente‘ and ‘Canción para una mujer (que no está)‘, the latter also released as a single.
By mid 1970, Mandioca went bankrupt and Vox Dei wound up on another label called Disc Jockey. The group was into heavy work, composing a conceptual album based on The Holy Bible (no less!) For several reasons Yody Godoy left during the recording sessions. Nevertheless, the double LP was finally released as 'La Biblia', Vox Dei's indisputable masterpiece. 

La Biblia is magnificent for both its music and lyrics. Soulé did a terrific job summarising in just a few lines the most important facts of the Holy Book. Musically the band turned hard-psycho, with chirping, driving guitars, et. al. ‘Genesis‘, ‘Las Guerras‘, ‘Profecías‘ and especially ‘Libros Sapienciales‘ turned into Vox Dei standards. A truly wonderful album that is absolutely recommended! 

To promote 'La Biblia' live, guitarist Nacho Smilari (ex-La Barra de Chocolate, and future member of Piel de Pueblo and Cuero) joined Vox Dei. With this line-up they also recorded a single with two non-album tracks. 

'Jeremías Pies de Plomo', their next album, found the power trio going back to hard rock and blues. Another excellent album, it includes great songs like ‘Jeremías‘, ‘Detrás del vidrio‘, ‘Ritmo y blues con armónicas‘ (yet another Soulé classic) and the ballad, ‘Sin separarnos más‘. Soulé does a wonderful job both with his guitar and harp (he might be the best rock harmonica player in Argentina). A rare single with picture sleeve was also released from this LP. 

Their next album, 'Cuero Caliente', was actually a remake of their debut. Vox Dei (as a trio) re-recorded all songs from 'Caliente' minus ‘No es por falta de suerte‘, plus ‘Azúcar amarga‘ and ‘Dr. Jekill’ (from the singles). The result was good enough to satisfy the needs of those who did not own the original LP (which was hard to find even in those days). 

The band was filmed for the movie 'Rock hasta que se ponga el Sol' playing ‘Jeremías, pies de plomo‘ and ‘Las Guerras‘ (the latter inside a Methodist Church). Since they were on another label, their performance was not included on the soundtrack album. 

Then Vox Dei signed for CBS and recorded a very good album, 'Es una nube no hay duda', with better production. Best moments are the title track (written by Quiroga, now a classic), ‘La verdadera historia de Sam, el montañés‘ and ‘Prométeme que nunca me dirás adiós‘.
To conclude their contract with Disc Jockey, a live album was released. 'La nave infernal' was recorded during a national tour and featured old and unreleased songs. Unfortunately the sound quality is far from being good, but the performance is so energetic that the album is fun to listen to. Live albums were unusual in those days for rock groups in Argentina. 

At this point we can say that the good days for Vox Dei were over. In 1974, they recorded a second album for CBS: 'Vox Dei para Vox Dei', a mediocre effort. Then Ricardo Soulé quit and the story changed. 

Quiroga and Basoalto released two more disappointing albums, 'Estamos en la pecera', with Carlos Michelini on guitar and vocals, and 'Ciego de Siglos' with Raúl Fernández and Enrique ‘Avellaneda’ Díaz on guitar (both ex-La Máquina). 

Ricardo Soulé went to England and met band Heavy Metal Kids. This group recorded some Soulé songs for their debut album. In 1976, back in Argentina, Ricardo recruited brothers Rodolfo and Alejandro Pensa (bass & drums) and released 'Vuelta a Casa' (RCA AVS-4519), a very good hard rock and blues album, and a single containing two non-LP tracks (‘Cuéntame dulce‘ b/w ‘Inexplicable para mí’, RCA Vik 31A-2683). (Note: the album was also recorded in English; the vinyl version was never released, but these sessions were included as bonus tracks on the CD). 

In 1978, Soulé rejoined Vox Dei, and the old trio recorded a new album for Polygram, the satisfactory 'Gata de Noche' (Polydor 2387160). However, Vox Dei sort of split up again. 

Willie Quiroga formed a heavy metal group, Destroyer, and released an album in 1982. Soulé recorded two more solo albums - in 1982 and 1985. 

Neither friends nor enemies, Soulé, Quiroga and Basoalto occasionally reunited... occasionally split. They had a big successful comeback in 1986, split again, toured together again and so forth. 

The lyrics to ‘Presente‘ go like this: ‘All things have an ending/nothing can avoid that/all things have a conclusion/everything must end.... Maybe Vox Dei should listen to their own songs! 

All their LPs, except Mandioca's 'Caliente', have been reissued on vinyl - sometimes with different covers. Of all compilations, 'Lo Mejor de Vox Dei' (Disc Jockey 11077) and 'Los éxitos de Vox Dei' (Disc Jockey 14022) are recommended. 

Their entire albums with Soulé are available on CD. The CD version of Caliente includes the Mandioca singles as bonuses. 

Note: A new version of 'La Biblia' (Talent SE-515), performed by Billy Bond and other artists, was released in 1974. Vox Dei members did not play on this album. A newly recorded studio version of 'La Biblia', featuring 90s rock stars Andrés Calamaro, Alejandro Lerner and Fito Páez joining Vox Dei, was released by Warner Music in 1997........The Magic Land - A guide to Beat, Psychedelic and Progressive Rock music between 1966 & 1977 in Argentina and Uruguay ..............




Biography

Vox Dei was formed in the spring of 1967, when Willy Quiroga (bass and vocals) Ruben Basoalto (drummer Ricardo Soule (guitar, voice and harmonica) and Juan Carlos Godoy (guitar and vocals) met at the beginning. was Mach 4 (named after Willy, recalling his passing through the aeronautics school) and his repertoire covered subjects in English and Spanish. Two years later, when he met the producers of Cassava and before the possibility of recording a simple one, he decided to change the name and again Willy finds the name that would be the definitive .... Vox Dei. 
With this name they appear in the beat festival realized in the Amphitheater of Buenos Aires in June of 1969 and already it was a band of rock and blues in Castilian. 
After editing a couple of singles for the independent label Mandioca, Azúcar Amargo and Quiero Ser and then The return of Dr. Jeckill and Presente, the band recorded their first album Caliente in 1970. This album had quick acceptance and many of their songs became with the passage of time in classics, which occupy an important place in the repertoire of this band. 
From then on, the group went to the realization of the ambitious project to carry out a conceptual work based on the Bible. This double album, whose title was "The Bible according to Vox Dei, marks a milestone in the history of Argentine rock and became the highest creation of Vox Dei." At the end of the recording Godoy departs to face a solo project.
During 1971, Nacho Smilari joins the band for the live presentation of the work and with the record a simple with "Just one man" and "Where you've been all this time". But already in the `72 Vox Dei, it was again a trio, in that period they announce two new works:" Cuero Caliente "and" Jeremías Pies de Plomo ". Then they release an album recorded live in different presentations, during a tour throughout the country titled "The ship infernal". 
In 1973 they joined CBS Argentina and recorded their debut album for the company "It's a cloud, there's no doubt" and in 1974 for the same label they recorded "Vox Dei para Vox Dei". For this album Soulé invites the guitarist Carlos Rodríguez who records Something is changing me and I need to get you to look for. Soon after its release Soulé and Rodríguez announce their retirement to dedicate to their solo careers, being replaced by Beto Fortunato (guitar) sadly disappeared and Carlos Michelini (guitar and voice) only this last one participates in the recording of "We are in the fisherman ", published in 1975. In 1976 new changes take place, Michelini retires who travels to Spain and incorporate Raúl Fernández (guitar) Enrique Diaz" Avellaneda "(guitar and voice) with those who recorded" Blind of centuries ". 
In 1978 Soule returns and reunites with Quiroga and Basoalto, the fruit of this reunion is "Gata de noche" an excellent album of rock and blues. 
From that moment they begin the project of realizing a new conceptual work this time on El Cid Campeador, some of the subjects came to be known live, but due to the conditions of the country and the little interest of the record companies, the band decides separated in 1981, with a farewell recital performed at the Sanitary Works stadium, with massive influx of fans to fire their idols. 
At the end of '86 Vox Dei returns, with four full-function performances at the Opera Theater of Bs. As. These presentations were recorded with the mobile studio of El Cielito, for the edition of the live disc of The Bible according to Vox Dei that had as a novelty the inclusion of the letter in the theme "Apocalypse".
In 1987 they celebrated their twentieth anniversary with three presentations to full hall in the Theater Astral. The unconditional support of his people, the growth and maturation of the group was one of the reasons for the trio to continue. In 1988 they publish the tenth album titled "I have reasons to follow" presented at the Opera Theater on 4, 5 and 6 November of that same year. They perform a tour around the country presenting this album in addition to all the classics that make up their repertoire, with a good repercussion of audience, but towards the end of 1989 Soulé decides to travel abroad again, this time to Spain to try a new solo project. 
Since Ricardo's departure, several guitarists have passed; in 1992 with the inclusion of Carlos Gardellini the group stabilizes and they begin a whole series of presentations in different places until in the '94 they record a new work titled "Without giving already more turns" the one that consists of 11 unpublished subjects, with them get new fans to the band, mostly very young, seduced by the current and powerful sound of the trio, which is also evident in the recreation of Vox Dei's usual tracks. 
In April 1996, Soule returned with the intention of joining again to Quiroga and Basoalto to begin a new stage, having been absent for 7 years. In view of which, Ruben and Willy accede to his re-entry in agreement with Gardellini, who decides to continue with his solo work interrupted when entering Vox Dei .. Then with the production of Roberto Carrillo in the Opera Theater, the 31 of May and June 1st of '96 is the return, without a doubt, of the best Argentine rock band. Nothing was left out of that rock festival, new themes were presented and the classics that remain in the hearts of their fans, as testimony was recorded a new CD that was released in November 1996 with thirteen tracks and a multimedia track containing in video two more themes and personal impressions of the Vox. "The return of the legend" is the title of this work. 
On November 29 and 30 of `96 the band is presented again, this time the chosen venue is the Teatro Gran Rex, with important invited musicians, they are Alejandro Lerner, Walter Giardino, Edelmiro Molinari and traveling especially from Madrid, Andrés Calamaro. 
Then in 1998 they perform for Warner Records Argentina, the third and definitive recording of "La Biblia ..." with string orchestra and guests of the likes of Alejandro Lerner, Andrés Calamaro and Fito Páez. This recording had two bonus tracks, which consisted of two movements of a new conceptual work titled "El Mantle de Elías". At the beginning of 1999 Soulé decides to try again a new soloist stage ..... 
Due to this circumstance, Willy and Ruben meet again with Carlos Gardellini, to form the power trio that is the current and definitive band, that is making presentations in the country and as it has done in Bolivia. They publish their new album "El Camino" in November 2005 through their own label "La Rompe Records".......




Personnel: 
Ricardo Soulé (Lead Guitar, Vocals) 
Willie Quiroga (Bass ,Vocals) 
Rubén Basoalto (Drums) 
Juan Carlos "Yody" Godoy (Guitar, Vocals)



01. El regreso del Dr - Jekill 
02. Reflejos tuyos y míos 
03. Azúcar amargo 
04. Presente (El momento en que estás) 
05. A nadie le interesa si quedás atrás (Total que) 
06. Canción para una mujer (que no está) 
07. Compulsión 
08. Tan sólo estás recordándome (Cuero) 



Albums: 
1970 - Caliente (Mandioca MLP334) 
1971 - La Biblia (Dbl) (Disc Jockey 14004/5) 
1972 - Jeremias Pies De Plomo (Disc Jockey 15175) 
1972 - Cuero Caliente (Disc Jockey 25176) 
1973 - La Nave Infernal (Disc Jockey 25177) 
1973 - Es Una Nube, No Hay Duda (CBS 119289) 
1974 - Vox Dei Para Vox Dei (CBS119409) 

Singles: 
1969 - Sin Ropa: Azúcar Amarga/Quiero Ser (Mandioca MS009) 
1970 - Presente/Dr. Jekill (Mandioca MS015) 
1970 - Canción para una mujer (que no está)/Total que (Mandioca MS019) 
1972 - Donde has estado todo este tiempo/Tan sólo un hombre (Disc Jockey TS1383) 
1973 - Jeremías pies de plomo/Ritmo y blues con armónicas (Disc Jockey TS1454) 

Caliente, 1970 
La Biblia, 1971 
Jeremías, pies de plomo, 1972 
La nave infernal, 1973 
Es una nube, no hay duda, 1973 
Cuero caliente, 1974 
Vox Dei para Vox Dei, 1974 
Estamos en la pecera, 1975 
Ciegos de siglos, 1976 
Gata de noche, 1978 
La Biblia en vivo, 1987 
Tengo razones para seguir, 1988 
Sin darle ya más vueltas, 1994 
El regreso de la leyenda, 1996 
La Biblia, 1997 
El camino, 2005 
Vox Dei en vivo, 2007

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