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28 Oct 2017

Avalon “Voice Of Life” 1977 Canada Prog Rock

Avalon “Voice Of Life” 1977  Canada Prog Rock
full vk…..

Avalon (don’t be confused with countless bands with same name) are from Canada, and is a AOR/ prog act with one album in their pockets released in 1977 named Voice of life. Not much is known about, but the music is pleasent most of the time, with same attitude as Styx, Druid or Starcastle. The music as I’ve said is pleasent, even far from great, AOR combined with progressive rock arrangements, the best examples are first two pieces Celebration Day and Mother Russia, great guitars, nice keyboards and a pleasent voice from Myles Hunter. All in all anice release, that is totaly forgotten, but I think that fans of afrmentioned bands can check this one out. The album was re isssued on CD by canadian label Pacemaker in 1995….by b_olariu …

Avalon was a ‘70s progressive rock band that found its beginning in Ottawa, Canada. The group’s music was somewhat comparable to that of Genesis or Queen. Members of Avalon consisted of lead singer Myles Hunter, guitarists Brian Sim and Tullio Granata, bassist Manfred Leidecker, and drummer Robert Holtz. The band recorded only one album, Voice of Life. It was released in 1977 and carries tracks like “Celebration Day,” “Shadowcaster,” “Say You’re Sorry,” and “Land of Mordor.” 

After the short-lived assemble called it quits, the members carried on with their musical careers by joining other groups, doing session work, and one, Leidecker, even built his own successful studio in Quebec……by Charlotte Dillon…

Myles Hunter came from a deep religious background and almost ignored his musical leanings to become a minister. 

In the late 1970’s he fronted Ottawa band, Avalon, who released one album, 'Voice Of Life’, before calling it quits. Hunter moved on to write original material for the likes of The Raes’ Robbie Rae before hooking up with Martyn Jones (bass) and Rob Kennedy (guitar) to form the band Michael Fury - named after a character in James Joyce’s short story 'The Dead - in 1979 

The band started in the trenches and did the predictable round of club gigs throughout Canada with various additions to the lineup. Personnel conflicts in 1983 suggested to the band that perhaps a break from the everyday was in order, so they split up and did various other work until reforming in 1984. They had pieces of songs lying about, written predominantly by principal songwriter Hunter, so they put a demo together, shopped it around and got signed to record deal with Passport Records. 

With Gary Mischuk and Hunter producing and the addition of Howard Helm (keyboards) and Terry Martell (drums) was 'Affairs In Babylon’. They toured constantly throughout the country and earned a reputation for being a top-notch live act, but they began getting an identity crisis as people mistook the name Michael Fury for Myles Hunter himself. To compound matters Passport tried to push the band as a solo act. This didn’t sit well with the band (Hunter included) so when Chrysalis Records from New York came forward to dangle a deal at them, they bought back the rights to the album and signed with Chrysalis. The album was remixed and modified with additional songs and 'Affairs In Babylon’ was re-issued under the name Refugee. 

In 1986 a government official from Zimbabwe was in England and saw the band’s video for the first single, “Exiles In The Dark”, and was apparently impressed with the song’s lyrics. The government of Zimbabwe had been wanting to bring a western rock band to the country as an indication of its effort to open up a cultural exchange with the west and this official felt that Refugee would be the right band because their songs did not contain the traditional rock n’ roll subjects of sex and drugs. 

A tour was planned to cover 6 concerts in eleven days in Zimbabwe but from the moment the band stepped off the plane, things quickly fell apart when forces in the new racially charged government conspired against the band to make the tour impossible and therefore make the government’s plan look inept. 

Only two gigs were played - one in an predominantly Caucasian disco in Harare and one on a flat-bed truck in the parking lot of a hotel in the all-black region of Queens Gardens - but the band was “detained” in Harare for almost a month. 

Once back in North America, Refugee began getting pressure from Chrysalis Records to become more mainstream. The band, however, it wasn’t representative of what they were about and left for a new deal with Polydor Records in Los Angeles. 

'Burning From The Inside Out’ was their sophomore release and was produced by Pat Glasser (Night Ranger) and recorded in Los Angeles. They spent the next two years playing regularly, pretty much anywhere they could get a gig, including 29 dates in the US opening for Jeff Paris. Once again they established themselves as a premier live act, but the constant touring did nothing to boost sales or make their name known to more people. 

In 1988 Hunter had Russell Hitchcock (Air Supply) cover his song “Dreams of the Lonely” on Hitchcock’s Arista debut solo LP. By 1989 Refugee itself ceased to be, but by 1990 Hunter had landed a solo deal with Island Records and recruited his old Refugee friends Jones and Kennedy, along with Helix drummer Brian Doerner. He also persuaded the others to join him in the studio and live, and with some help from some friends (Tom Cochrane, the Partland Brothers, Ken Greer, Hugh Marsh, Bill Henderson), recorded 'Northern Union’. 

Myles Hunter & Northern Union played several live shows and although all three singles, “Celebrate Love”, “Dream Big” and “Always Twenty-One”, did better on the Canadian charts than any single they’d released under their different incarnations, they had trouble getting original paying gigs. They were soon forced to go out as a cover band, Northern Union, in order to keep playing. Frustration with this situation set in quickly and the band finally decided to call it quits once and for all in the spring of 1991. 

Hunter disappeared from the mainstream for many years to resume his theological studies but did resurface in 1994 with an album called 'Tales From Stoney’s Bar & Grill’ under the auspices of Hunter-Greer (Greer being Ken Greer of Red Rider fame). The album was released on the fre label out of Toronto with little to no fanfare. Hunter finished his theological education and, as of 1997, was the incumbent Reverend Myles Hunter for St. Agnes in Long Branch, Ontario for the Anglican Church of Canada. 

With notes from Howard Helm, Martyn Jones, and Rob Kennedy……canoe jam Canadian Pop Engyxlopedia…………..

Line-up / Musicians 
- Myles Hunter / vocals 
- Manfred Leidecker / bass 
- Robert Holtz / drums 
- Tullio Granata / guitars 
- Brian Sim / guitars

A1 Celebration Day 3:23 
A2 Mother Russia 5:32 
A3 Lady Of My Dreams 3:31 
A4 Say You’re Sorry 3:26 
A5 Voice Of Life 4:12 
B1 Land Of Mordor 4:05 
B2 Smoke And Fire 4:52 
B3 Shadowcaster 0:58 
B4 Maranatha 10:12

1977 Celebration Day/Silver Bullets (London) L-2630 
1977 Lady of My Dreams/Love Has Come (London) L-2641 
1977 Say You’re Sorry/Celebration Day (London) L-2659 

Five Day Rain “Five Day Rain”1969 25 copies pressed (10 throw away) 15 copies survived in original pressing of a Private acetape Uk Phych Rock

Five Day Rain  “Five Day Rain”1969 25 copies pressed (10 throw away) 15 copies survived in original pressing of a Private acetape Uk Phych Rock
full dailymotion

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One of the rarest UK albums; just 15 copies of this album were put out but soon after someone circulated ‘white label’ copies of it so beware of these. Graham Maitland had earlier been in Scots Of St James and Hopscotch. He was also in The Fleur de Lys in their final days. The album contained some adventurous pop compositions often with a taint of psychedelia but it was eventually put out as a private pressing in a plain white cover because no label was interested in it. Notable cuts are the 11-minute instrumental Rough Cut Marmalade, which is the album’s most psychedelic offering; the catchy Sea Song and keyboard driven Leave It At That. 

The CD reissue omitted Too Much Of Nothing and tampered with Marie’s A Woman. Graham Maitland was later in Glencoe but the other members quit the music business…

Five Day Rain formed in late 68 as Iron Prophet, a heavy trio comprising Rick Sharpe, Clive Shepherd and Dick Hawkes. They changed their name to Five Day Rain in early 1970, with the arrival of Graham Maitland and the beginning of the recordings we are presenting here. 

The usual disagreement between musicians, management and producers led the album to be shelved (only a few acetates were pressed) and the band to split. Rick Sharpe, Shepherd and Maitland formed the short-lived Studd Pump before taking separate ways, with Sharpe joining glam rockers Streak and Maitland resurfacing with Glencoe. Five Day Rain was issued for the first time on CD a dozen years ago, with nice John Hurford artwork made for International Times magazine, but without both musicians and illustrator permit. 

Our issue, made with the essential contribution of Rick Sharpe, uses the original running order and is enriched by a few bonus tracks: a Bob Dylan cover (Too Much Of Nothing) and four tracks recorded at the time but left off the purposed LP. Factory/Fleur de Lys connected early 70s UK psych monsters with all the right moves. Sounds like the aforementioned bands with a dash of Ogden-period Small Faces. Great guitar work particularly on the long trippy instrumental Rough Cut Marmalade.“ …

This is the first authorised issue of one of the best English albums on the edge between psychedelia and progressive: Five Day Rain. The band formed in late '68 as Iron Prophet, a heavy trio comprising Rick Sharpe, Clive Shepherd and Dick Hawkes. They changed their name to Five Day Rain in early 1970, with the arrival of Graham Maitland and the beginning of the recordings presented here. The usual disagreement between musicians, management and producers led the album to be shelved (only a few acetates were pressed) and the band to split. Rick Sharpe, Shepherd and Maitland formed the short-lived Studd Pump before taking separate ways, with Sharpe joining glam rockers Streak and Maitland resurfacing with Glencoe. 
Five Day Rain was issued for the first time on CD a dozen years ago, with a nice John Hurford artwork made for International Times magazine, but without both musicians and illustrator permit. This new issue, made with the essential contribution of Rick Sharpe, uses the original running order and is enriched by a few bonus tracks: a Bob Dylan cover (Too Much Of Nothing) and four tracks recorded at the time but left off the purposed LP. These, which have been completed by Rick Sharpe with a few overdubs in November 2005, are the only recorded proof of the original heavier Iron Prophet sound. The 12 pages booklet features the band’s detailed story, with never-seen-before photos and Sharpe’s own funny anecdotes, while John Hurford has generously created a brand new artwork, elaborated by Loriana Martin.(By pinkmoon)…

Factory/Fleur de Lys connected early '70s UK psych Sounds like the aforementioned bands with dash of Ogden’s period Small Faces. Great guitar work particularly on the long trippy instumental "Rough Cut Marmalade”.This tasty re-issue contains bonus tracks tracks as well, four or them never heard before. They were recorded same time of the album but never completed. Ricky Sharpe added some vocal and a bit of guitar only and they are heavier then the already known ones! The 12 pages booklet features the band’s detailed story, with never-seen-before photos and Sharpe’s own funny anecdotes, while John Hurford has generously created brand new artwork for the cover

Graham Maitland - keyboards, vocals, moog and mellotron. 
Rick Sharpe - Lead/rhythm , six and twelve string acoustic guitars, harmonica and vocals. 
Clive Burges - bass 
Kim Haworth - drums 
Sharon Tandy – backing vocals 
John Holbrock (Guitar) 
Gerry Beckley, Dewey Bunnell & Dan Peek - Backing vocals

01. Marie’s A Woman - 2:54 
02. Don’t Be Mislead - 2:20 
03. Good Year - 4:03 
04. Fall Out - 3:32 
05. Leave It At That - 5:22 
06. The Reason Why - 4:44 
07. Sea Song - 4:13 
08. Rough Cut Marmalade - 11:05 
09. Lay Me Down - 1:16 
10. Too Much Of Nothing - 3:38 
11. Antonia - 3:14 
12. So Don’t Worry - 3:28 
13. The Boy - 5:46 
14. Wanna Make Love To You - 4:58 

Monkey Diet "Inner Gobi" 2017 Italy Prog Rock

Monkey Diet  "Inner Gobi" 2017 Italy Prog Rock

A certain feeling of eager anticipation overcame me, even before playing a single note of this cd, such reasoning behind this enthusiasm being the combination of a) The stunning homemade lavishly styled artwork so reminiscent of times gone by of when psychedelic / progressive rock albums were adorned with the most beautiful and intricate of covers. b) The wondrously stupid band name of “Monkey Diet” so ridiculous it draws you in for further inspection c) The pedigree of Italian bands and their propensity for producing thoughtful melodic psychedelic /progressive music, which over the past forty years has been so well tried and tested receiving much critical acclaim and in this case under auspices of the “Black Widow” label which has been paramount in maintaining this trend. 

So how close did I think this unknown band meet such expectations of mine:- 
Well, in the first instance, the colourful three part CD artwork is simply quite beautiful, a joy to behold and a treat for the eyes. I suppose you could say it looks a little bit on the homemade side but never-the-less it is wonderfully colourful and a quite informative. 
The name “Monkey Diet”, as far as I could detect (I could be wrong here), is totally meaningless but thinking about so many other great bands with ridiculous names, Spoks Beard for example, it hardly matters because at least it is somewhat different and quite catchy in a funny kind of way. 

The music too didn’t disappoint and it has to be said that none of the tracks are, in anyway, first time listening. It was only after about the third play that the music started to piece together in my mind and make any kind of sense. Whilst the lead guitar erupts endlessly with fiery staccato chord sequences, finite riffs, trills and heavy bursts, the bass guitar all the while engages in a series of beautifully melodic jazz structured runs but these are carried out strangely to the fore and hardly ever in the shadow of the lead guitar. In fact I would conclude that the bass guitar is employed in this band rather more as a second lead instrument. As the various tracks expand into full flow both the lead and bass guitars complement each other as they weave their intricate musical patterns together supported with some wonderful percussive time keeping from the drum department. The term Psychedelic Rock, seemingly quite rare these days, certainly applies in this case and snippets of the UK Band “The Bevis Frond “ comes to mind in terms of both style and delivery although of course without any vocals. 

Summary: A fascinating, well-constructed album which requires several plays to get fully into and then on subsequent plays you continue to discover many facets of hidden musical delight to keep you coming back for more. 

Artwork: Glorious in every respect, beautifully put together and well, it’s just very cool……by….Geoff Penn 

Monkey Diet is the outcome when you put the former bass player of Italian jazz rock band Accordo Dei Contrari, a psychedelic progressive guitar player and a drummer for a Genesis tribute band all together, with the goal to create music that is purely improvised. 
Inner Gobi is the first result of the co-operation of those three musicians. 

When the reference is a complete improvised album, thoughts swiftly go to projects like Liquid Tension Experience, Attention Deficit or more lately, some of the Moonjune recordings. Monkey Diet has a bit of both I guess. Guitar player Gabriele Martelli is more an inventive fusion player as he is the ultimate progressive metal shredder. Bass player Daniele Piccinini does have some Tony Levin chops up his belt and drummer Roberto Bernardi is both a steady drummer as well as adventurous in his rhythmic playing. But still the overall impression is that we get to listen to a real band, more than during some of the aforementioned projects, which sounded a bit “forced to be creative”. Sometimes the progressive music shows some hunches of post rock, like in Sorry Son…(I’ve Lost Your Car) or Slidin’ Bike. But the majority of the tracks are nice and melodic and although the focus mainly goes to Gabriele’s guitar , both Roberto as well as Daniele do get enough attention and get the chance to show their skills. The track Moth has a vocal minded intro, which does add a special touch to this tune. Similar extra’s would have been nice to spice things up and take away the serious undertone of the compositions. The final track; Viking is a very pleasant sounding track, only the last three and a half minutes are kept in silence, except for a final comical outburst. 

Inner Gobi turned out to be a very interesting album, both fusion aficionados as well as instrumental progressive rock fans would find some of their likings here. For me Inner Gobi has that nice intensity that will bring them on the right path towards a band like LTE. Well done…… Background magazine…

Gabriele Martelli (PropheXy): Guitars, Synths 
Daniele Piccinini (Accordo dei Contrari): Bass, Synths 
Roberto Bernardi: Drums

1 Ego Loss 
2 Inner Gobi 
3 Slidin’ Bikes 
4 The Endless Day of Robby the Ant 
5 Moth 
6 Sorry Son…(I’ve Lost Your Car) 
7 Moonshine 
8 Seppuku 
9 Viking 

Sage “Sage” 1970 US Private Southern Psych Rock

Sage “Sage” 1970 US ultra rare Private Southern Psych Rock

Super rare original 1976 private pressing LP entitled “SAGE BY SAGE” on legendary “ILLUSION Records” (CM 2004), featuring a flowing hard psych groove reminiscent of early ‘Allman Brothers’! 

Sage’ was a Tampa, FL based band that was founded in 1967. Sage began playing local dances and clubs which eventually brought the band to the attention of Blues Image’s Mike Pinera who signed them to his small Illusion label. It is widely rumoured that Illusion was some sort of a tax scam with albums by Sage and stable mates Hopney being given away or destroyed immediately upon release. 

There probably is more than just a small grain of truth in this rumour, as this particular album is spectacularly rare and almost never comes up for sale. Sage By Sage is a strong album with some first-rate playing and excellent song writing. …by Adamus67…

John Cameron — guitar 
Hilda Williers — bass 
Ray Williers — guitar 
Rodger Stephan – drums
Duane Allman was suspected to play on track 1

1. My Girl - 3:10 
2. Lovely Lady - 4:08 
3. Don’t Stop Loving Me - 4:09 
4. No One But You - 3:52 
5. I’m Satisfied With You - 3:27 
6. I Believe In You - 4:27 
7. Morning Dove - 5:54

Goat "Fuzzed In Europe" Release Date: 27/10/2017 Sweden Psych Rock new album

Goat  "Fuzzed In Europe"  Release Date: 27/10/2017 Sweden Psych Rock new album
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Limited edition of 2.000 copies on GREEN/BLACK SPLATTER VINYL. When the masked Swedish collective Goat toured Europe in the Autumn of 2016 to promote its then recently released third album ‘Requiem’, the band decided to record every show. Once back home, the members painstakingly went through all the recordings and selected six tracks for release on the live album 'Fuzzed In Europe’. …….

Swedish psychedelic hero’s Goat have selected six of their favourite live recordings from their 'Requiem’ tour. Green and black splatter indie store only vinyl version…

When the masked Swedish collective Goat toured Europe in the Autumn of 2016 to promote their then recently released third album Requiem - the band came up with the idea to record every show. On returning back to their home town of Korpilombolo, Goat painstakingly went through all the recordings and have to picked out 6 tracks to be released on for limited live album Fuzzed in Europe. 

Goat picked these 6 tracks in particular as they are different versions to what is found on the releases the songs originally came from and the band liked the idea that these versions are documented onto vinyl. Goat’s live reputation is second to none – since their first public shows in 2012 they have stunned audiences across the globe. The bands brand of dancable, tribal psychedelia is guaranteed to create mass hysteria from the wanting crowds – Goat know how to create music that is made for the ‘head’ as well as the ‘body’. 

There are rumours of Goat disappearing into the hills – that they have hung up their masks now for good and have slipped away as quietly as they arrived on to the scene. Whether this is true or not, we don’t know, but even if they have or have not disbanded from public view, this is a great document of their immersive power to cherish, it celebrates band completely at the top of their game. The eye popping beautiful artwork for Fuzzed in Europe was created by the great poster artist Adam Pobiak – who has worked with everyone from Soundgarden to the Justice and Swans to Flaming Lips…

On October 27th Rocket Recordings will be releasing a limited edition vinyl and digital recording of six live tracks recorded by Goat during their 2016 tour, promoting their third album Requiem. (This being Rocket Recordings the physical album comes in very tempting coloured vinyl options, so hurry!) The six tracks included have been chosen by the band as they are markedly different from the studio recordings and show the band at the full extent of their powers. 
I was lucky enough to catch them live earlier this year, and for me, it’s where the band really make sense, their performance turning me from mildly appreciative into a proper fan of the band. Goat’s heady live mix of psych rock, world music, theatre and ceremony; the masks, the robes, and the dervish-like lead singers all combined to give me the chills in a similar fashion as to when I used to see Jane’s Addiction during their heyday. It’s more than rock a show, cult-ish but inclusive, a celebration of otherness and the mysteries of the universe.
Things begin in perhaps, expected fashion with ‘Talk to God’, wah wah guitars, chanted vocals and rock drumming, growing in power with muscular bass and an urgent Tinariwen-esque guitar riff into a full on freak out. Lovely stuff. 
With all six tracks being of considerable length I was expecting every one to be a full on blow out of Sufi-spin psych but next track ‘Time For Fun’ wrong foots you in a delightful manner. Almost skeletal in it’s make-up, it is based on incredibly hypnotic afrobeat drumming and mere shades of synth and a lonely, desolate sounding guitar licks. It highlights the incredible musical skill of the band, perhaps sometimes obscured by the imagery and energy. Nothing else here is as impressive, although every track is equally enjoyable. 
‘Gathering of Ancient Tribes’ wins out as the most giddily, danceable song in a very strong field, even seeing off live favourite ‘Run To Your Mama’, which does though have stonkingly great fuzzy riffs. Yes, Goat really can rock with the best of them. 
I’m not actually much of a fan of live albums, but if your chances of catching Goat in concert anytime soon are remote then you can certainly get a feel for them on Fuzzed in Europe. Just play loud and add friends, robes and intoxicants for the full effect… Chris Ball …

I went through a tough period of my life when I really disliked Sir Isaac Newton. Obviously, I never met the guy, but he did lay gravity and calculus on the world. And he just seemed to me to be the kind of person who wanted nothing more than to figure everything out and take the surprise out of life. I bad-mouthed him to anyone who would listen. But then, and this was a pleasant surprise, I found out he spent most of his time with alchemy, which is the art of taking basic stuff and magically transforming it into gold. 
That’s what ritual does: It levitates reality into the heavens. 
And the music of Goat is very ritualistic. It levitates us all into the heavens. Their first record, World Music, is a classic of powerful guitar rock, folk artifacts, ethnic percussion, harmonized and chanted female vocalizing, and psychedelic wah wah sounds. The album has alchemy in its grooves. It’s in the tradition of other Swedish greats such as Archimedes Badkar, Kebnekaise, and Algarnas Tradgard who all specialized in breaking the sound barrier of world music boundaries. A second album Commune followed with more of the same, with, perhaps the rough rock edge diminished a bit in favor of magical harmonized guitar work. It did, however, provide the ears of the world with the song “Talk to God” which is pretty much the band’s intent and, by the way, also the purpose of ritual. 
In all fairness, it should be noted that repetition is very much part of this music. But, as my friend, Kilda Defnut, always says, “Repetition reveals the nuances of life; and clever repetition reveals the nuances of the universe.” In fact, she created her own theology and her Sacred Maxim XV states, “Rock music must be about repetition, life, and the universe, but not necessarily in that order.” 
So to this Goat live album Fuzzed in Europe: well, it’s an all you can hear guitar buffet. Imagine Clapton’s guitar solo in “Presence of the Lord” from his Blind Faith days stretched over the entire length of the album. “Talk to God,” which in its former self was intricate in its guitar work, has morphed into wah wah pedal overdrive that bends the song into some sort of hypnotic dancing serpent. Quite frankly, I love both versions of the tune. “Time for Fun” is funky as the bass and percussion propel the track. I am reminded of how much I loved dub when I discovered the music of Linton Kwesi Johnson. The keyboards, which played such a big part in the band’s first album World Music, hover for moment but seem to disappear into the night. That was strange. My friend, Kilda Defnut (See above), suggested that somebody in the band pulled a Rick Wakeman during the Tales from Topographic Oceans tour and told a roadie to nip out for a curry for him to eat while the others carried on. I don’t know about that, but this is high octane electric guitar rock from the 70’s territory. 
That’s odd because they were touring their third studio release, Requiem, which was quite acoustic with a lot of Simon and Garfunkel “El Condor Pasa” flutes. Oh, guitars rear their heads once in a while, but for the most part, that record sounds like some rag tag conglomeration of world musicians playing in a deep Swedish forest grove without an electric circuit to their collective name. 
But despite all the rediscovered voltage, this is ritualistic music. It isn’t a soundtrack to a party. This music isn’t bloated with the gravity that Sir Isaac Newton discovered. No. This stuff is inflated with his much preferred alchemy that levitates the ordinary into the sublime. 
The show continues with “Sing in Silence.” The flutes from the Requiem version are all gone. The guitars take the lead as the song shuffles along in a 70’s early Steely Dan mode. I’m thinking about “Bodhisattva” from Countdown to Ecstasy. In a way, underneath all the ethnic percussion and chanting, this is really is a great rock album. On Commune, “Gathering of Ancient Tribes” added a pretty heavy exclamation point to the end of the record. This live version follows suit, with once again, that hypnotic serpent dancing to the sinewy guitar. “The Sun The Moon” simply rocks. And “Run to Your Mama” extends and, once again, levitates this world electric boogie music into the heavens. 
So what about all of the tribal masks and costumes? If you haven’t seen them live or on You Tube, it’s worth your time. Yeah, it’s been done before: Peter Gabriel dressed as a flower; The Art Ensemble of Chicago; David Bowie as Ziggy; Ian Anderson in minstrel tights and codpiece, and, of course, the great Arthur Brown hosted on a crucifix with or without fire coming out of his head. (Notice how I didn’t reference Kiss or Insane Clown Posse?) And I’m not sure if all the tribal attire has any really deep psychological Jungian archetypal significance. But that doesn’t stop all of this from being really cool. And this music is, hopefully, more about travelling into your soul than looking for stupidity. 
Now, there may not be much of a difference between soul searching and stupidity, but that much matters a lot when it comes to ritual. 
This Fuzzed in Europe album is different from all their other records. I really love that first one, World Music. But this one has serpents dancing in the aisles. And I like to think that good old Sir Isaac Newton, if the smart geezer were alive today, would put down his William Blakean Mundane Shell of gravity and calculus for the moment, lose the preverbal wig, let his hair down, discover the music of Linton Kwesi Johnson, buy a concert tee shirt, kick up the sawdust, get into the front row, and dance with those serpents who are always able to bend the beauty of time and space, and just like this album, bring every one of us a little bit closer to the exact pleasure of the universal perfect circle… Bill Golembeski …

1. Talk To God 
2. Time For Fun 
3. I Sing In Silence 
4. Gathering Of Ancient Tribes 
5. The Sun The Moon 
6. Run To Your Mama 


Goat “World Music” 2012 Sweden Psych Rock,Afrobeat,Afro Psych debut album

Goat “Requiem” 2016 Sweden Psychedelic Rock,World 

Goat “Commune” 2014 Sweden Psych Space Rock 

Goat “Live Ballroom Ritual” 2013 Swedish Psych Rock 

johnkatsmc5, welcome music..







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