BRUCE HAACK-the electric lucifer(Progressive Electronic)Canada/1970

After hearing late-'60s rock & roll from his friend Chris Kachulis, Bruce Haack added acid rock to his already diverse sonic palette. The result was 1970s Electric Lucifer, a psychedelic, anti-war song cycle about the battle between heaven and hell. The underlying concept of this concept album is "Powerlove," a divine force that not only unites humanity but forgives Lucifer his transgressions as well. But though this album extols the healing powers of peace and love, Electric Lucifer uses often menacing music and lyrics to get its point across. Haack's marriage of rock rhythms and his unique electronics creates a sound unlike either his previous work or the era's psychedelic rock, but songs like "Incantation" and "Word Game," with their percolating beats, buzzing synths and vocoders, are much trippier than most acid rock. It was Haack's only major-label release, Electric Lucifer remains musically innovative and subversive.

Bruce Haack/Bass,effect,Vocals,Electronic Sounds,Multi Instruments
Chris Kachulis/Vocals,Vocal Effect
Tony Taylor/Vocals
Jon St.John/Vocals
Farad/Vocals

1.Electric to Me Turn(1:53)
2.The Word(0:33)
3.Cherubic Hymn(2:19)
4.Program Me(4:37)
5.War(3:44)
6.National Anthem to the Moon(2:40)
7.Chant of the Unborn(1:22)
8.Incantation(3:17)
9.Angel Child(1:04)
10.Word Game(3:49)
11.Song of the Death Machine(3:01)
12.Supernova(5:24)
13.Requiem(3:24)

Total Time:35:19

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Program Me

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HUNGRY WOLF-hungry wolf(Jazz Rock/Fusion)UK/1970

Great album from 1970 by this short lived UK progressive rock band featuring Alan Parker, who played with Blue Mink, David Bowie, CCS, Elton John, Gerry Rafferty, and Alan Hawkshaw, who played with Cliff Richard, The Shadows, Madeline Bell, Donovan, and Family Dogg. In a similar vein to Blue Phantom, Ugly Custard, and other "progsploitation" groups it's a pleasing selection of jazzy mainly instrumental progressive rock with lots of keyboards, ripping guitar and big band backing. A big shiny funky sound with weird experimental flashes. There are many musical influences here. Shades of the jazz-funk sound of BS&T, and CCS can be heard, and many psychedelic prog. Rock touches also influence the album. Altogether, the sometimes experimental sound works wonderfully well. The album featured vocals by Peter Lee Stirling, aka Daniel Boone, who had a couple of pop hits in the early seventies. The musicians included future members of Rumplestiltskin who recorded one great s/t blues rock album in 1970, and well worth checking out. Most of the music on the album is original, inventive, and ahead of it's time. It doesn't sound like an album recorded nearly 40 years ago.

Clem Cattini/drums
John Edwards/trombone
Tony Fisher/trumpet
Herbie Flowers/bass
Derek Watkins/trumpet
Ken Gouldie/trombone
Cliff Hardy/trombone
Bobby Haughey/trumpet
Alan Hawkshaw/keyboards
Alan Parker/guitar
Peter Lee Stirling/vocals

1.Melanie(3:06)
2.Watching and waiting(3:25)
3.Custards last stand(2:51)
4.Country wild(4:42)
5.Waiting for the morning sun(3:03)
6.Like now(2:49)
7.Hole in my shoe(5:26)
8.Sleepy(5:13)
9.The drifter(3:24)
10.Revolution(2:56)

Total Time:35:37

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Custards last stand

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39.4-39.4(Jazz Rock/Fusion)Mexico/1972

Awesome Mexican jazz-rock. Take, if you will, the brass-infused sound that characterized bands like Chicago and Blood, Sweat & Tears. Then, remove defining elements like Terry Kath and classical pretenses. Following that, be sure to add a tighter and funkier rhythm section. It’s Guadalajara's criminally-underrated 39.4. Though the song titles are in Spanish, the words are all in English. Most Mexican bands did that back then. Luckily, unlike many of their peers, 39.4's vocalist didn't have an accent. His delivery is very much in line with the gruff 70s voices that were showcased in the aforementioned American bands. Considering they operated in early 70s Mexico, the quality of 39.4's music is outstanding.

Guillermo Brizio Dominguez Willow/guitar
Enrique Sanchez Ruiz/vocals
Jorge A.Salles/bass
Jaime Arturo Hernandez/saxophone
Carlos Hijar Medina/trumpet,trombone
Octavio Garcia Hernandez/trumpet,flute
Jose Luis Zuniga Lazcarro/drums
Ariel Castellanos Villanueva/keyboards

1.Fe(4:11)
2.Detras de la Mascara(3:20)
3.Perdedores, Ganadores(3:13)
4.Mas Alto(3:18)
5.Locura(2:54)
6.Yo Puedo Vivir Sin Ti(3:03)
7.Mujer de Todos los Dias(2:58)
8.Ciudad Express(2:50)
9.Dejarte Libre(4:09)
10.Ciudadano Electronico(2:54)

Total Time:30:10

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Detras de la Mascara

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MASON-harbour(Heavy Prog)USA/1971

Originally from Virginia, Mason was another example of an American Heavy Prog band that took its influences from the British underground and 1960s' psychedelic scene. This heavy rock album was initially released in 1971 through a tiny homemade pressing, but through the years it has gained collectibility and originals have fetched high prices as the band's reputation has spread among collectors. The album has been bootlegged a number of times over the past years with various covers in both CD and LP format. Mason's music combines the keyboard work of such bands as Deep Purple and the acoustics & complexity of Jethro Tull together with strong vocals, songwriting, and excellent instrumentation. All eight tracks on the album are originals, with six of them written by Jim Galyon and the other two co-written with Steve Arcese. Gear Fab legitimately released this album and included two bonus tracks written by Galyon. Digitally remastered and containing a brief history of the band, Harbour is a must for any heavy rock fan. Although Mason only lasted from 1968 to 1974, the band's musical legacy will continue this excellent reissue and will give fans of American music a chance to experience some of those long lost legendary albums that were, until recently, out of many music collectors' reach.

Steve Arcese/organ,vocals
James"Jim"Galyon/bass,flute,vocals,guitar,saxophone,piano
Morgan Hampton/drums,congas,vocals

1.Let It Burn(7:16)
2.Tell Me(4:30)
3.Electric Sox and All(4:54)
4.Golden Sails(3:06)
5.Travelin'(4:13)
6.Harbour(8:21)
7.Goin' Home(2:21)
8.Charlotte(2:16)
9.Carry Me Home(3:49)
10.One More Drink(0:39)

Total Time:40:15

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Electric Sox and All

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DADDY COOL-daddy who? daddy cool(Proto-Prog)Australia/1971

Daddy Cool is an Australian rock band formed in Melbourne in 1970 with the original line-up of Wayne Duncan (bass, Vocals), Ross Hannaford (lead guitar, bass, vocals), Ross Wilson (lead vocals, rhythm guitar, harmonica) and Gary Young (drums, vocals) . Their debut single "Eagle Rock" was released in May 1971 and stayed at number 1 on the Australian singles chart for ten weeks. Their debut July 1971 LP Daddy Who? Daddy Cool also reached number 1 and became the first Australian album to sell more than 100,000 copies. Their name comes from the 1957 song "Daddy Cool" by US rock group The Rays, Daddy Cool included their version on Daddy Who? Daddy Cool. Daddy Cool's music featured 1950s Doo-wop style rock cover versions and originals which were mostly written by Wilson. On stage they provided a danceable sound which was accessible and fun. Their second album was Sex, Dope, Rock'n'Roll: Teenage Heaven from January 1972 and reached the Top Ten. Breaking up in August 1972, Daddy Cool briefly reformed during 1974-1975 before disbanding again, they reformed with the band's original line-up in 2005.

Wayne Duncan/bass,vocals
Ross Hannaford/guitar,bass,vocals
Ross Wilson/vocals,guitar,harmonica
Gary Young/drums,vocals
Jeremy Noone(Jeremy Killock)/saxophone,keyboards

1.Daddy Cool(2:31)
2.School Days(Ring Goes The Bell)(3:03)
3.Come Back Again(4:51)
4.At The Rockhouse(3:42)
5.Guided Missiles(3:02)
6.Flip(2:26)
7.Eagle Rock(4:07)
8.Zoop Bop Gold Cadillac(3:55)
9.Blind Date(4:12)
10.Bom Bom(2:34)
11.Lollipop(1:36)
12.Just As Long As We're Together(2:32)

Total Time:35:31

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Zoop Bop Gold Cadillac

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