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Saturday, 4 November 2017

Stone Axe “Slave of Fear/ Snakebite” 1971 single 7” US Texas Heavy Psych Hard Rock (members of Josefus) + TNS “Time’s Up / Essential” 1972 single 7"US Garage/ Proto Punk


Stone Axe “Slave of Fear/ Snakebite” 1971 ultra rare single 7” US Texas Heavy Psych Hard Rock  (members of Josefus)
TNS “Time’s Up / Essential” 1972 single 7"  US Garage/ Proto Punk 
full vk two singles
https://vk.com/wall312142499_7863


Stone Axe 

For death-Zep unit Josefus of Houston, Texas, the busy and drug-addled 1970—birth-year of shattering hard rock LP Dead Man and its self-titled follow-up— proved shatteringly fractious. Vocalist J. C. “Pete” Bailey, lead guitarist Dave Mitchell, bassist Ray Turner, and drummer Doug Tull would play their final live set in December. Meanwhile, Josefus’ core trio had been doling out copies of Dead Man to drummers hoping to replace Tull. They were assembling Stone Axe, a quartet whose paranoid guitar vexation was soon to dance upon the grave opened by Black Sabbath’s epochal early albums. 

By ’71, Stone Axe had coalesced around Bailey and Turner, plus “Wolf” Mike Long on biting lead guitar and serious skins upgrade Jerry Ontiberoz, whose skills took “the chains off an eagle dying to fly,” as Bailey put it. Preparations for buzzing those same clubs pounded by Josefus put Bailey on a new songwriting tear. That year, the vaulting power-dread of “Slave of Fear” flew batwinged on 45 out of Rampart Street Records (actually addressed at 6105 Jessamine in Houston). “Snakebite,” a less horror-stricken if no less potent B-side, warned in galloping, distorted blues of letting the fangs of spirits or horse—perhaps both— near one’s veins. The 500-copy pressing put Stone Axe on stages, but reached nothing approaching the lusty arena-sized audience “Slave of Fear” sought to stir. 

From there, the rough-hewn Stone Axe crumbled quickly. For one, their cheap, cavernous, AC-free Heights-area band house had never been rehearsalfriendly. Then, after a devastating theft bereaved them of gear, Stone Axe felt its own camel’s back sliced clean through. One-and-done in ’71, membership retreated into marriages and rock-life burnout. As the decade waned, Bailey, Turner, and Mitchell would reconvene Josefus—with Ontiberoz still manning Tull’s vacated drum throne—and sharpen long dormant Stone Axe material for stage and studio alike. 

STONE AXE are Pete Bailey (vocals), Ray Turner (bass), “Wolf” Mike Long (guitar), Jerry Ontiberoz (drums)




TNS

TNS was from Grand Rapids (Michigan), originally known as The TNS Blues Band, they shortened their name to TNS in time for the recording of this bona fide crunching classic. It has all the ingredients, a heavy pulsating beat, really meaty and overdriven guitars, killer lead and pure PUNK vocals…I mean this is real Iggy-type stuff. Both sides are ace, but Time’s Up wins in the Stoogian department; Telling Your Fortune being a Chicken Shack cover.. The line-up was Allen Martinez (vocals), Steve Barkwell (bass), Dave Dehoog (drums) and Randy Nichols on guitar.
Time’s Up is a a remarkable no holds barred overdriven Michigan Rock Classic and the archetypical example of the perfect Proto Punk performance. Following a couple of calls with drummer Dave DeHoog, here’s the lowdown 
TNS were born as a trio comprised of Dave DeHoog (drums/lead vocals), Steve Barkwell (bass) and guitarist Randy Nichols. Based in Grand Rapids, the band was formed around Dave and Randy’s friendship. After trying out another couple of guys they met Steve (bass). He didn’t play an instrument but really wanted to be in the band, so Steve went off to buy a Silvertone bass and Randy taught him some basic moves. Dave: “After 6 months he learned so much that we put him in the band. He just took right off…” In 1971 they auditioned Al (lead vocals) who then joined the band
They were known as The TNS Blues Band from 1969 onwards heavily inspired by UK Blues Boom acts such as Chicken Shack or early Fleetwood Mac. But why the name TNS? The reason screams out attitude…Dave: “Originally we would play anywhere including wedding receptions and our music didn’t fit that kind of thing and we were done being yelled at during wedding receptions because the music was too loud. TNS stands for Take No Shit! We are the Take No Shit Blues Band and we are going to play what we want, where we want and we are going to play as loud as we want…” 

The change from TNS Blues Band to simple TNS was not due to a shift in direction or even a concerted decision, but due to practicality and graphic design issues! Dave: “There wasn’t room on the label for TNS Blues Band! 
Although heavily inspired by the UK blues sound, Michigan/Detroit high energy wasn’t far away Dave: “We used to go and see the MC5 about twice a month, we loved Wayne Kramer and Dennis Thompson, but we weren’t really aware of The Stooges and never saw them. Detroit was about a three hour drive away and there was a lot of talent there…” 
The sound on the record is incredibly raw with an exemplary guitar sound. Dave: “When we got to the studio there were 2 engineers. We started rolling in those 100 W Marshall stacks in and that one dude didn’t want anything to do with us and left, so we were just left with one engineer…” That lone engineer did a great job in capturing the performance with the amps cranked up to maximum to get the overdrive and sustain needed. The band played the tracks live in the studio and added the vocals later. 
The recording of the single was the only record session they did, but there is a live ¼” tape waiting to be uncovered. Their live set included other originals as well as some choice covers such as MC5’s Ramblin’ Rose or Alice Cooper’s Return of The Spiders along with more bluesy material such as Taste’s Catfish Blues or Messin With The Kid. I hope that we will get to hear this live tape one day. 
Time caught up with TNS and although they remained friends; by 1974 the band started to dissolve due to other commitments taking precedence. Now 40 years later, TNS are gaining wider interest. Time’s up has since shown up on Michigan Meltdown Volume 2 and may be making another appearance on a Numero group compilation. But there’s still nothing quite like playing Time’s Up as it was intended on a glorious 45.

TNS Dave DeHoog (drums/lead vocals), Steve Barkwell (bass), Randy Nichols (guitars), Allen (lead vocals) 

TNS Live at Calder Plaza, Grand Rapids 1972

TNS  From Left to Right -Randy, Dave, Allen and Steve

Young Hunter “Dayhiker” 2017 US Stoner Rock, Stoner Metal


Young Hunter “Dayhiker” 2017 US Stoner Rock, Stoner Metal 
full vk
https://vk.com/wall312142499_7865

full bandcamp

https://thefearandthevoidrecordings.bandcamp.com/album/dayhiker

facebook

https://www.facebook.com/Young-Hunter-127424170682508/


Atmospheric Stoner Rockers – Young Hunter – return with their epic new album – Dayhiker. This is perhaps Young Hunter’s most grown up and accomplished album to date. As the band create a wide range of different sounds that harks back to the days of 70s Classic Stadium Rock. 

Opening track – In The Shadow Of The Serpent – is a Doom/Psych/Stoner Rock affair with Sara Pinnell on fine form from the start. The sound is a mixture of All Them Witches style gloomy Stoner Rock and Fleetwood Mac progressive sounds. The song is quite heavy and features top-notch frantic fast-paced guitar riffs courtesy of Benjamin and Erik. Maybe this isn’t the best song to open the album with but it gives you a brief glimpse on what to expect on the album. 

Second track – The Feast – is another heavy doom and gloom offering with the band creating an eerie and cold hearted song. The psychedelic moments littered throughout the song make this one of the standout tracks on the album. The dual vocals of Benjamin & Sara add a real sense of gloomy and heartfelt lyricism. This track could be considered a “love-song” in a way. As the lyrics are very emotional and most of all, everything feels and sounds so real. 

Third track – Entered Apprentice – is a more soulful and blues rock take with Young Hunter adding a more “Jazz” feel. This is a side we haven’t experienced from Young Hunter before. It’s more experimental compared to the other songs on the album. The organs from Sara offer a more psychedelic and alternative style of music from the band. 

The other songs on the album – Hunger, Dark Age and the exceptional Black Mass sees Young Hunter create bleak 70s Stadium/Doom Rock sounding riffs matched against emotionally charged lyrics and vocals. Maybe the “Folk-Rock” elements of the album doesn’t quite match the heavier Doom/Stoner Rock riffs but that doesn’t stop Dayhiker being Young Hunter finest album to date. 

The album sounds exquisite from the start and that’s down to the fabulous recording, mixing and mastering skills of one certain Tim Green (The Fucking Champs). Tim has worked with bands such as Comets On Fire, Earthless, The Melvins and Wolves In The Throne Room in the past. 

Dayhiker is a true work of art in places and it’s an album that could see Young Hunter expand their profile way past their Doom/Stoner fan-base and perhaps into the mainstream. 

Excellent and Highly Recommended……by Steve Howe…


Since inception in 2011, Young Hunter has not shirked from conventionally grim subject matter, preferring instead to dive headlong into the existential void through prose of ominous beauty paired with the layered guitars and intense drumming typically given the classification of “doom metal.” But where past releases have merely identified or flirted with these vast notions, Dayhiker raises the cry for active attack in its seven loaded tracks. 

Opening song “In the Shadow of the Serpent” welcomes us into the fold like a twitching tail vanishing into the underbrush. It begins with a duet of acoustic guitars, tentatively joined by electric guitar and drums before settling into a forceful advance commanded by Sara Pinnell’s tantalizing vocals. Like a dark enchantress, her voice invites us to “gather around this ancient fire,” eventually rising to a melodious caterwauling as the song progresses, conjuring the feelings of desperation and slow burning anger that perfectly introduce the album. 

The driving guitars and numbed despair-laden vocals of its successor, “The Feast,” capture the all-too familiar feeling of being trapped in society’s unrelenting grind. With a voice like a warm tube amp, Benjamin Blake apathetically beseeches “try to find my voice, try to share my pain” to no one in particular in a dispirited serenade that somehow soothes even as Blake lyrically breaks the fourth wall with the entreat: “I guess it’s just us two, if you can hear me then I’m talking to you.” 

“Entered Apprentice,” with its staccato guitar, immediately calls to mind desert rock acts like Queens of the Stone Age, but quickly resolves into its own identity as guitars break to give way to bass grooves, crashing drums, and confrontational lyrics like “I’ve been a ghost before but I ain’t one yet” that challenge the status quo while commenting on the circular nature of existence. 

Plodding along in the middle of the album with its vibe of portentous doom is “Hunger,” which questions futility (“Why do I fight so hard?”) and explores the seemingly implacable whims of human nature (“In another life I was trained to kill”) with upward soaring yet still melancholy guitar loops and an eager bass-line. 

This bass takes us smoothly into “Dark Age,” where its low rumble becomes more salient in the mix, mirroring the undercurrent of unrest Dayhiker has been progressing towards with single-minded purpose from its opening notes. Posing the question: “did I really come here just to watch it burn?” Blake calls for an intelligent rebellion with lines like “but this feeling inside me burns hotter than hate” and “I can already feel the change is me.” All the while, Pinnell’s delicate wailing laments haunt the lead vocals like a welcome spirit. 

At just over 9 minutes long, the penultimate “Black Mass” is the Homeric Odyssey of the album. It begins as a threatening rockabilly of sorts, the guitar-driven rhythm pulsing behind swaggering vocals that tackle such heavy topics as political deception, social unrest, and war. Lyrically, this is the album’s lynchpin. All core themes converge here, and the anger only hinted at previously takes center stage in gravelly delivered lines like: “I’ve been losing so long, tonight I’m gonna win” and “I look evil straight into the eye.” Musically, the song is operatic with several radically different acts sewn together into one groove session reminiscent of early Black Sabbath epics. The rising chaos reaches a crescendo, giving way to buzzy synthesizer that dissolves beautifully into the more peaceful closing track. 

“Night Hiker” finds us as we were at the album’s beginning, seated around a fire, being lulled by Pinnell’s quavering vocals. “Sit by this fire, what can I do? See the Earth turning from blue” she sings over somberly plucked acoustic guitar. Strident single piano notes pierce the dark folk atmosphere like stars in a night sky amid lyrics that gently mull over daunting questions like: “When an empire dies, where do people go?” It is a wistful ending that leaves the mind full of questions in the charged silence that follows. 

On Dayhiker, Young Hunter has found the perfect balance between heavy music and mesmerizing vocals such that the barrage of guitars, bass, and drums serve to echo and enforce the messages of the lyrics without burying them. With a cemented and now seasoned lineup, the five-piece Portland band has created a full immersion sonic experience that invites you to revel in duality of all kinds: darkness and light, male and female, noise and silence, nature and man, inner peace and necessary war…..New Noise magazine…


Thus far in a career that spans more than half a decade back to 2011’s semi-blackened Children of a Hungry World EP and 2012’s Stone Tools (discussed here) debut full-length — though at this point the band might be more comfortable considering both as demos — the tenure of Young Hunter has been marked by standout songwriting, geographic and personnel shift, and unmitigated stylistic growth. One might think that a certain amount of circumstantial upheaval might result in a corresponding sonic chaos, but after triumphant 2013 three-songer Embers at the Foot of Dark Mountain (review here) was issued as a split tape with Ohioan, founding guitarist/vocalist Benjamin Blake moved himself and thereby the band from the Arizona desert to Portland, Oregon, and completely revamped the lineup around himself. 

This new Pacific Northwestern incarnation of Young Hunter issued their of-sorts self-titled debut (review here) in 2016, and though it turned the group away from the rawness of impact that had in part served to highlight the sincere emotionalism driving Embers at the Foot of Dark Mountain, it also demonstrated just how distinct Young Hunter‘s sound had become up to that point — that Blake could essentially reform the band, and they’d still sound like Young Hunter. Of course, his own performance as guitarist/vocalist is no small factor in that, but as the third Young Hunter album, Dayhiker, surfaces through The Fear and the Void Recordings with the returned lineup of keyboardist/vocalist Sara Pinnell, guitarist Erik Wells, bassist Sam Dean and drummer Grant Pierce alongside Blake, the same holds true in the seven-song/39-minute new offering, even as the band as a whole continues to progress and refine the scope of its individualized style. 

Dayhiker was recorded by The Fucking Champs‘ Tim Green (Comets on Fire, Earthless, Citay, etc.) at Louder Studios in Grass Valley, California (NorCal, about an hour out from Sacramento), over the course of five days, and one can hear in the swing and punctuation of Pierce‘s snare/hi-hat and the vocals from Pinnell and Blake, respectively, in the sharp rhythmic stops of “In the Shadow of the Serpent” and “Black Mass” that there is a heavier push in these tracks than on the preceding outing, which is something that suits Young Hunter well, giving the contemplation of cuts like “Entered Apprentice,” with its steady line of organ behind a bouncing bassline from Dean, dual vocal arrangement and ’80s metallic shuffle, a resonant force behind its thrust when called upon to do so, as behind the quick solo just passed the halfway mark. The aforementioned “In the Shadow of the Serpent” is the leadoff, and the acoustic plucking with which it starts sets an immediately folkish underpinning even as it’s met with thuds and crashes and a slow march that gradually introduces the elements at play — guitar, bass, drums, keys — before moving into its swinging verse, which is delivered with enough tempo to be insistent and urgent but not more than it necessarily wants to be.
Pinnell takes the first lead vocal and she and Blake trade fluidly as the subsequent power-hooks of “The Feast,” “Entered Apprentice” and “Hunger” play out, coming together atop the rolling groove of “The Feast,” letting Blake hold sway on “Entered Apprentice” with some complement, and finishing side A in duet fashion on “Hunger,” which answers the consistent organ line of the song before it with more keys establishing the root notes of the melody in the central riff played by Blake and Wells and shoved forward by the rhythm section, Dean working in dynamic basslines circa the four-minute mark that only enhance the effectiveness of the guitars surrounding. Young Hunter, in short, have it all working, and sound more like themselves than they have yet. 

That means heft, patience, songwriting, naturalism of performance, a focus on emotionality and sonic elements drawn from classic heavy rock and metal put to modern and progressive use. Their sound, as they move into side B of Dayhiker with the lead guitar embellishment of “Dark Age,” has never felt so much like a tapestry and has come to owe no less of its richness to the forests of the Pacific Northwest than to nighttime visions of the sands around Tucson. “Dark Age” once again brings Pinnell and Blake together on vocals atop a rolling but tense progression topped with airy guitars held together by Dean‘s bass and Pierce‘s steady snare, and though the pace picks up after halfway through its near-six-minute run, Young Hunter save the larger payoff for “Black Mass,” which follows. 

Working in multiple stages, the nine-minute side B centerpiece and penultimate inclusion on Dayhiker is ambitious and memorable in kind, setting its hook instrumentally in the intro and unfolding quickly into its first verse, deftly peppering in a guitar solo for a bridge before the second, and exploring a social thematic in progressive texture with a graceful balance of keys throughout, cycling through a longer guitar lead before another verse crosses the midpoint and brings a refrain of the repeated line, “This is the face I wore before I was born” from Blake and Pinnell that leads to a full stop at 6:14, crashing back in with a more urgent thrust and cymbal wash to introduce the next movement — a fuller and more weighted, all-in shove that, with yet another engaging vocal melody overhead, will carry Dayhiker to and through its apex, ringing out amp and effects noise as an acoustic guitar line enters the slow fade almost in answer to “In the Shadow of the Serpent.” 

That’s closer “Night Hiker” ending the record with Pinnell holding sway on a last bit of forest folk that, were it not so gorgeously done, might be thought of as an epilogue. Keys join in subtly but only help the overall resonance as they have all along, and they and the gently swaying guitar back a farewell verse before cutting out and giving a few seconds of thoughtful silence before the track actually finishes. It’s a gorgeous and somewhat unexpected ending, but not by any means beyond the reach of Young Hunter at this stage, since if Dayhiker demonstrates anything, it’s that their maturity has brought them to a place where little would be. And they are mature enough at this point with the clear benefit of having worked together on the self-titled to make the most of the opportunity to craft something special here, which is exactly what they’ve done. What the ultimate impact of Dayhiker will be depends in no small part on the band — i.e., they need to tour, a lot — but no question that in style and substance they’ve reached a new echelon and only seem poised to continue to flourish……….the obelisk…





Members 

Benjamin Blake 
Sam Dean 
Grant Pierce 
Sara Pinnell 
Erik Wells

Tracklist 
1 In the Shadow of the Serpent 5:24 
2 The Feast 6:03 
3 Entered Apprentice 4:26 
4 Hunger 5:33 
5 Dark Age 5:50 
6 Black Mass 9:25 
7 Night Hiker 3:20 

Pyramid "First Stone" 1978 Swedish Private Heavy Prog




Pyramid  "First Stone" 1978 Swedish Private Heavy Prog

full vk
Pretty good prog rock from Sweden, features SILVER MOUNTAIN and NORDEN LIGHT vocalist Christer 
Mentzer!. Recorded in Studio G, Gothenburg, 26 december 1977 - 8 january 1978. Produced by Göran 
Sandqvist. Sleeve artwork by Sven Magnusson, photos by Rolf Axelsson. Thanks to DrHooker for the rip!. 

Christer Mentzer - Vocals, Congas, Percussion (Silver Mountain, Norden Light, Mentzer, Nemo, Expressen, 
Valfritt, Imperium, The Great Family Orchestra) 
Kaj Börjesson - Guitar 
Michel Salvabella - Guitar, Vocals 
B-A Wernersson - Bass, Vocals 
Erling Mentzer - Drums 
Svesse Axelsson - Sax, Flute, Vocals 
Hans Ågårdh - Trumpet 
Ove Larsson - Trombone

1. First Stone 
2. Getting Hot 
3. Regrets 
4. Sista Chansen 
5. Dog'n Roll 
6. You and Me 
7. Desirèe 
8. Sweet Maria 

Gila “Night Works” 1972 Germany Kraut Rock previously unreleased album Live


Gila “Night Works” 1972  Germany Kraut Rock previously unreleased album Live
Recorded live in Cologne, Germany, on February 26th 1972
full vk
https://vk.com/wall312142499_7854


Unreleased compositions recorded during a gig on 2/26/1972 with the band’s first lineup as featured on their debut Free Electric Sound. The recording quality does not meet today’s expectations, but a lot of effort was invested to get rid of background hiss and other noises with the help of the most modern digital equipment. Nothing was changed, however, and listeners may forgive some flaws and imperfections as it was impossible to do more. The picture on the cover was painted by bandleader CONNY VEIT himself. The 32-page booklet contains an extremely elaborate history of the band in German, English and Swedish, a very meticulous discography and all sorts of photos of labels and covers, leaving nothing left to be desired


Although this album was never officially released at the time, this should be the second Gila album and even if only played as a radio broadcast, all of the tracks were brand new and not available on their other two albums. We can thank once again the great label Garden Of Delights for releasing officially this great album out to the public. Unfortunately this is not a studio album, so the sound is not perfect, but it is rather good given the conditions and the complicated story of the tapes. 

This album is a real gem if you enjoy psych/prog rock and confirms Gila’s reputation as the German Pink Floyd (much more than Eloy will ever be), but by Floyd, one should understand the pre-DSOTM period. Yes we are dealing with mid-tempo tracks allowing for great mood swing and many semi-improvised instrumental interplay while the lyrics are generally open enough to allow flexibility. Most of the tracks have a feeling as if they were the extended versions of Floyd’s More soundtrack and you could easily glide through the skies with a doobie at your disposal. 

After this record, Veit will form Popol Vuh , but will come back with Fichelscher and Florian Fricke to record the following concept album Wounded Knee about the organized massacre of Amerindians. In the mean time this posthumous release is fo be seen as a full-fledged Gila album and right on par with the historical two albums. A must for psycheads and Krautheads….by Sean Trane …Prog Archives


“Night Works” was lifted from an old FM radio broadcast and really should be considered GILA’s second album. In a similar fashion to the stunning debut album “Free Electric Sound”, this album pulls out all the underground Krautrock vibes and is a truely great little album. Although the folks at Garden Of Delight have done a masterful job in restoring and presenting this snippet of Krautrock history, my only issue is the fair production quality (obviously the source tapes were not perfect). But having said, the music is still superb and I love the FLOYD like extended jams and spaciness of this album. “The Gila Symphony” is my favourite track which clocks in at around 14 mins and represents a great extended space jam not unlike early FLOYD. GILA was the early proving grounds for guitarist Conny Veit who would later play with others including POPOL VUH and GURU GURU….. by loserboy


This is a live recording from Cologne in 1972 that was broadcast live by a radio station. As has been mentioned, all the songs on this album are new and different from the 2 studio albums they recorded. After this recording the band would eventually break up and guitarist Conny Veit would join POPUL VUH and play with them on their “Hosianna Mantra” and “Seligpreisung” albums. Conny decided between the recordings of those two records to reform GILA with 2 of the key POPOL VUH members(Florian and Daniel) and make one more album called “Bury My Heart At Wounded Knee” which would also sound more like POPOL VUH than the 2 earlier GILA recordings(i’m including this live one). Conny would then go on to play for GURU GURU after his stint with POPOL VUH. I was reminded of the live KOLLEKTIV record when listening to this because they both have no crowd noise at all. Maybe they were all too wired, I don’t know. I have to say though that i love this record. I can listen to this all day long, it’s so trippy and hypnotic and well played. 
“Around Midnight” is just one of those songs i was talking about that you just close your eyes, relax and enjoy the catchy repetitive beat. It opens with different sounds starting to form a melody that slowly builds. Organ 3 minutes in before it settles down, then it kicks back in a minute later. “Braintwist” is a song that builds to a nice raw sound. The organ is great. Check out the guitar 1 ½ minutes in that goes on and on for almost 2 minutes. Drums then lead the way with the organ helping out. Vocals after 4 minutes by Conny are theatrical at times. Maybe “crazy” is the right word, the lyrics sure fit that description anyway. Very trippy stuff man. Guitar is back before 7 minutes. “Trampelpfad” has such a good rhythm to it. It’s mesmerizing to say the least. Amazing sound ! Guitar comes in before 3 ½ minutes as the beat and organ continue. The guitar starts to get more aggressive. Nice. 

“Viva Arabica” opens with a steady beat that eventually starts to speed up. The guitar joins in at 1 ½ minutes. The organ starts to rip it up after 4 minutes. “The Gila Symphony” is almost 14 minutes long. It opens with experimental sounds with no real melody. These sounds do stop as organ, bass, drums and other sounds come and go. A beat arrives 3 minutes in. A minute later a full sound kicks in including the guitar soloing over top. The sound starts to get more intense and the guitar is back 6 minutes in. It settles down 7 ½ minutes in. Organ is back. Guitar is too 11 minutes in as this song blends into “Communication II” with no change at all as drums, guitar and organ continue to mesmerize. “The Needle” was cut short by the radio station because the alloted time was up. That’s disappointing as we get but 52 seconds of this final track. 

So this is in the same style as “Free Electric Sound” and is for me a valuable historical document,and besides I love the music presented here. Easily 4 stars….. by Mellotron Storm


When I think of the Krautrock movement, I often find myself dreaming up pictures of the rock n roll scene of the 60s - the wild appearances with long facial hair and some kind of installed antenna-bush instead of hair - but first and foremost, - it makes me think of the newly found appreciation of music. The magic of music - the thought that it could be something more - something beautiful and free - an epiphany in sound speaking of whatever you wanted it to describe. The empty spaces between people, events, spirituality or maybe just the local giraffe in your backyard. 

This album by Gila is a live one with wild jams and lots of space to go mental, not that you´d notice it, because it is in fact recorded from the insides of a radio studio in down town Cologne, excluding any traces of an audience to go “clap clap”. If the exteriors of the Krautrockers evoke those pictured in the Woodstock flick, the music on the other hand does its very best to keep up with it. Certainly bands like Agitation Free and Gila seem like the German counterparts of those bluesy, psychedelic, jamming, drug infused and tireless acts like The Grateful Dead and Quicksilver Messenger. I hear some similarities yeah, but that isn´t to say that Gila sound like a second hand version of a 1969 band that just woke up on the lawn after 3 years - with a massive hangover thinking: How did we get home from Woodstock - and how come we´re in Germany? 

This music is an enchanting amalgamation of snarling and fiery guitar, fuzzed and trippy - wielded by the brilliant Conny Veit who has played with both Popol Vuh and Guru Guru. On this live album he sounds like he´s out of his mind, and most likely has a head full of acid, but then again who am I to judge anyone who can play like this - as if he´s trying to tame a psychopathic fire-hose with his guitar? Blended nicely in a big blurry cocktail along with the sizzling organs, the robust and hammering bass and the boom boom boom of the drums - the guitar feels at home, and if you´re into this band´s legendary debut album, you should feel right at home in this psychedelic milk and honey land. 

I recommend this album(and their debut as well) to anybody who thinks that Pink Floyd should have made another More album - or maybe just recorded Embryo in a studio. It´s music for the desert, for walking barefooted in orange sand. It´s music for a quiet evening in Ali Baba´s cave with a drunk Elvis on your lap - humming El Dorado with a wah wah pedal attached to his throat…..by Guldbamsen …


This disc offers the only known recording of the first version of Gila, a group that gigged constantly to build a considerable reputation as a formidable live act. Taken from a live Cologne radio broadcast from February 26, 1972 (a few months before the group’s demise), Night Works is all that one could hope for, long space rock acid jamming and much better fidelity than one would get from a recording by an audience member. Swirling organ tones and acid guitar burnouts surge out of the throbbing rhythm section. In particular, “Viva Arabica” stands out as the group locks into a single groove that intensifies until the guitar finally rips loose on Middle Eastern-tinged riffing, soon followed by the organ. “The Gila Symphony” begins with a massively cosmic wash of feedback noise, before launching into another upbeat space rock jam somewhere between early Guru Guru and Golem. Like the first album, vocals are kept to a minimum to let the group stretch out instrumentally. The last track’s volume appears to have been turned down by a radio engineer as if it were the end of the broadcast time; it’s a pity that more wasn’t recorded so that listeners would have an even longer live document of this group…..by Rolf Semprebon…


Conny Veits’ guitar work stands out in comparison with his band-mates, though sometimes his sound is mixed a bit low. It’s clear to me that he needed a better rythm section as the drums and bass are simplistic on this outting. One can only imagine what ‘Gila’ would’ve sounded like with 'Geezer Butler’ & 'Bill Ward’ or 'John Paul Jones’ & 'John Bonham’ laying down rythms. I don’t feel this recording merits more than a 70/100 4 star rateing. Track 2 has the only lyrics and vocals which are not Conny Veits’ strong points, he does deliver the goods with his axe esspecially on Gila Symphony…a standout track that takes up nearly a third of the 42+ min. run time. This is meditative music designed to work with substance use. Along the lines of “Yeti” the title track from 'Amon Duul 2s’ 1970 album, lightly structured improvization through-out, if you like “Yeti” here is more of the same. The sound quality is nice for a live record, basic but solid with a few minor glitches, Veits’ guitar could’ve been louder, remember this was a radio show broadcast and not a traditional live record. So if you have heard all your 'Amon Duul 2’ discs umpteen times and you need more drop this one in your cart then do some deep breathing exercises in a smoke filled room…yeah!….By Steve Zubal…


Definitely one of the BETTER releases out on the German label Garden Of Delights. Coming to your deserving ears from Stuttgart, this disc is of an archive live performance the band had played in February, 1972. Originally was made for the 'Nachtmusik’ (meaning, of course 'Nightmusic’) WDR radio show. Gila was a short-lived four-piece in which vocalist / guitarist Conny Veit, who later joined up with Guru Guru was a member. I thoroughly enjoy the entire CD, but the true highlights for me are “Braintwist”, the space rocking “Viva Arabica” and the fourteen-minute galactic “Gila Symphony”. Also liked “Communication II” featuring some of Veit’s superb guitar playing. Another thing, Fritz Wiederkeh’s organ and mellotron playing doesn’t exactly hurt Gila’s sound either as the disc’s duration of 43 minutes will surely fly by. I believe that I hear traces of Jefferson Airplane, early Pink Floyd, Hawkwind, and even a bit of The Doors here. Highly recommended…..By Mike Reed


Extremely good LIVE recording by German KRAUT-PSYCH monsters in the first line-up who recorded the fabulous classic GILA album. This one is recorded in 1972 and they play only unknown tracks…


Wishing to repeat the sound with enthusiasm and spontaneity of the musical miracle achieved with their debut album, the excellent “ Free electric sound ”, at least in their intentions, the Germans Gila - always led by the brilliant guitar talent Conny Weidt ( or even Veit) - decided to go beyond the simple studio activity, turning their attention to a 'on stage’ recording of new tracks captured on the hard disk. It was born in 1972 “ Night Works ”, continuing the same line-up ( Conny Veidt on guitars, voice and electronic effects, Daniel Alluno on drums and percussion, Fritz Scheyhingkeyboards, mellotron and electronic effects, and Walter Wiederkehr at bass). The album was a kind of “ Free electric sound ” full- fledged live performance - with no external noise - preserving original ideas and inspirations. A more formal and official album (released on Compact Disc only in 1999), probably destined primarily to radio stations, but which is now considered to be an integral part of their discography
The cover also resembles the same general graphic theme of the former, with chromatic 'electric’ fantasy and changing into a purely abstract and psychedelic design. Seven tracks include “ Around Midnight ”, “ Braintwist ”, “ Trampelpfad ”, “ Viva Arabica ” and then “ The Gila Symphony ” (the longest track on the whole album), “ Communication II ” and “ The Needle ” just 52 seconds. 

Talking about this instrumental work, in fact, may also be useless (quoting in this case Frank Zappa’s words that “talking about music is like dance of architecture”) because it only finds its most correct sense in a complete listening in total transportation within the sound and performance reminiscences created by Gila . 

The whole album is in fact a real trip between psychedelic rock and freak'n'rock, always and in any case in the peculiar style of the most successful krautrock where the focal point of the entire compositional and executive struggle remains the Music and only that. Nothing further away, then, from any tendency to 'commerce’ or easy melodies but also to fine rock sounds to themselves. The 'journey’ and the improvisation become a fundamental part of a creative extemporaneous inspiration and uncompromising suggestions….by Fabio Truppi


Gila’s vision was to use the means of communication - both rigorous and artistic - to transform ourselves and society, to reduce thresholds, to overcome inhibitions, to confront prejudices and to break through isolations in order to establish an honest centerpiece could and should open up the shared world of experience of music. We wanted the subculture, the artistic exploration of the world. 

So Conny Veit in the booklet of the CD “Night works” by Gila. The music should therefore be a means to differentiate itself from the stale adult world, to break away from musty traditions, senseless rules of conduct and traditional ideals, to change the society, or at least to send signals that it is otherwise. From today’s point of view that might sound a bit naïve, but in the end this was a core element of the Krautrocks of the late sixties and early seventies, who saw themselves as part of the counterculture, and perhaps helped a little bit more tolerant of the world and new ideas, far from the old, to be more open-minded. Maybe that’s just an equally naive wishful thinking of the reviewer. 

Musically, Gila did not necessarily come up with new ideas. Rather simple and hard is rocked on “Night Works”, a live recording that in February 1972 in Cologne (in the studio of the WDR? - so clear is not the case of the booklet text, there are at least no audience reactions) recorded and broadcast in the program “Nachtmusik”. Electric guitar and organ dominate this psychedelic spacey Krautrock, which presents itself as a long, nearly three-quarters of an hour, continuous jam. The influence of Pink Floydis unmistakable, even if Veit’s electric guitar comes across a bit earthier and bluesier than the one of Gilmour and Fritz Scheyhings organ playing is a bit more restrained than that of Rick Wright. Quite rough and edgy is the whole thing and occasionally also reminiscent of the simultaneous productions of the exiled Britons of Nektar . 

Unfortunately, the music does not change much over the entire playing time of the CD. It is consistent, jammed meditatively, organ and guitar stoically dissolve in the melody (the guitar, however, dominates clearly - but this can also be due to the mix), accompanied by the rotting rhythm group. Passing does not do much, and the four are not very virtuoso. In “Braintwist” there is a bit of raspy vocals, otherwise rocking is instrumental here. The sound quality is neat, with occasional tone fluctuations and, especially towards the end of the CD, short dropouts. 

“Night works” is a very interesting contemporary document, but in terms of music, it offers only average quality. Anyone who appreciates the first Gila LP, and wants to hear “more of the same” in a quasi-live garb, should still be able to access it here. Otherwise “ Gila ” - if only because of the better sound quality and production, because musically there are hardly big differences - “Night works” to be preferred…..by…. Achim Breiling…


Line-up / Musicians 
- Conny Veit / guitar & vocals 
- Fritz Scheyhing / keyboards 
- Walter Wiederkehr / bass 
- Daniel Alluno / drums

Tracklist 
Around Midnight 5:46 
Braintwist 7:45 
Trampelpfad 6:11 
Viva Arabica 5:24 
The Gila Symphony 13:46 
Communication II 3:04 
The Needle 0:53 

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