Size: 78.9 MB
Ripped by: ChrisGoesRock
Source: Japan SHM-CD Remaster
Jürgen Krutszch formed TIBET in 1972, having been inspired by the Eastern experimentation of groups such as the BEATLES and THIRD EAR BAND. Krutszch had spent the latter part of the sixties in cover bands (FINE ART, NOSTRADAMUS), and was interested in putting together a group that played native Tibetan instruments such as the tabla, violin, zither, and flute. He quickly abandoned this idea after recruiting former band mates Karl-Heinz Hamann (FINE ART, TESKE) and Dieter Kumpakischkis (NOSTRADAMUS), as well as drummer Fred Teske and vocalist Kalus Werthmann, but the band did retain a certain pseudo-mystic feel to their music during their nine year existence.
The band toured extensively throughout the seventies, opening occasionally for fellow countrymen and friends of the band KRAAN, but managed to release only a single album, their self-titled 1979 studio release. The tracks for the album were recorded in three separate sessions dating from December 1976 to September 1978,
The band's sound was a complex fusion of astral rock, jazz, classical music and Tibetan sounds, heavily keyboard-driven (Hammond, mellotron) and compared to the likes of ELOY, AMENOPHIS, and even URIAH HEEP, although most of their studio release consists of tracks that are similar in style but more reserved than any of those bands. Lyrics (when present) were primarily in sung English, but the band was known to play longer instrumentals in concert, and three such tracks appear on their studio release.
Rumor has it that when Musea Records decided to release the album on CD in 1994, the original master tapes were nowhere to be found, so the label arranged for the entire album to be re-recorded. It is unclear whether the original band members were the actual musicians who recorded the CD version of the album. The original vinyl release sold somewhere between 5,000 and 15,000 copies and is no longer available.
As an interesting side-note, Garden of Delight Records released a series of sampler recordings of early psychedelic and symphonic bands around the turn of this century, and volume 5 of that collection features two songs credited to TIBET. While the core membership of the band is the same as that one their 1979 studio release, the singer is listed as a 16 year-old girl known simply as Maggie. These tracks were believed to have been recorded by the band very early in their career, and prior to signing Werthmann as their permanent singer. Nothing else is known of the girl.
Having failed to make a commercial impression with their one record, TIBET decided to call it quits and disbanded following their final concert appearance on March 22, 1980.
TIBET deserves recognition for having been a small part of the progressive music scene with their extensive live performance history throughout the seventies, and for the eclectic and ambitious style of music for which they were known by their small but persistent fan base.
Another great and forgotten German band, Tibet made a heavier symphonic sound with very creative and well-crafted melodies.
Instruments such as Hammond and Mellotron have a beautiful featured throughout on its course. Two essential instrumental tracks are worth this gem, "White Ships And Icebergs" and "Eagles", these tracks remind me clearly the good old days of Eloy and also the german Minotaurs.
The vocals in English also have much quality and promote more energy to the record. A pity that some German bands have not earned much highlighted back in the 70´s and being discovered only now a days by the collectors and Progressive Rock researchers.
Those "one shot" bands from Germany had a suffered and frustranting career, they used to record their albuns at small home studios and played live in local festivals opening concerts for great bands such as Eloy, TD, Grobschnitt and many others.
The record companies and producers were not interested in those bands, which are nowadays, very rare and quite panned by true lovers and researchers from German Progressive Rock.
♣ Kalus Werthmann / lead vocals
♣ Deff Ballin / keyboards, percussion
♣ Dieter Kumpakischkis / keyboards
♣ Karl Heinz Hamann / bass, percussion
♣ Fred Teske / drums
♣ Jürgen Grutzsch / guitars, percussion
01. Fight Back (4:59)
02. City By The Sea (4:24)
03. White Ships And Icebergs (6:15)
04. Seaside Evening (4:13)
05. Take What's Yours (7:23)
06. Eagles (6:05)
07. No More Time (5:30)
Size: 209 MB
Found in OuterSpace
Dedicated To Roy Buchanan and his, 1953 Fender® Telecaster® "Nancy"
Roy Buchanan was one of America's true geniuses of the electric guitar. Even posthumously, he commands the ardent respect of his fellow guitarists and a devoted army of fans. The Buchanan sound is unique: heartbreaking, searing solos, trademark shimmering tone, gorgeous melodies and a mixture of lightning quickness and technical creativity that mark him as a wizard of the instrument. He was a pioneer in the use of controlled harmonics, and although this technique has been used by the likes of Jeff Beck, Robbie Robertson and ZZ Top's Billy Gibbons, all acknowledge Buchanan as the master.
Raised in the small town of Pixley, California, Roy's musical fire was sparked at an early age. His father was a sharecropper and Pentecostal preacher and Roy's first musical memories were of the racially-mixed revival meetings his family would attend. Surrounded by gospel, R&B and country influences, it wasn't long before Roy expressed interest in playing an instrument. His parents sent him to the local lap steel guitar teacher, Mrs. Pressure, who had Roy picking out the Hit Parade favorites by the time he was seven years old. Six years later, Roy moved on to a Fender Telecaster. "I liked the tone," he said, "it sounded a lot like steel guitar." Soon thereafter, drawn to the blossoming R&B scene in Los Angeles, Roy ran away from home and headed for the big city. At only 15 years of age, he was taken under the wing of famed bandleader/producer/writer/arranger/impresario Johnny Otis. The young Roy studied the blues mastery of guitarists such as Jimmy Nolen (later with James Brown), Pete Lewis and Johnny 'Guitar' Watson.
The late fifties and early sixties found Roy playing for and cutting a number of sessions with musicians as diverse as pop idol Freddie Cannon, rockabilly legend Dale Hawkins, and even Ronnie Hawkins (whose band, the Hawks, would later gain fame as the Band). During his stint with Ronnie Hawkins, Roy played guitar mentor to the group's then bass player, Robbie Robertson. Then, in 1962, Roy's trademark harmonics were introduced on Potato Peeler, his groundbreaking single with drummer Bobby Gregg. In the mid-sixties, exhausted by life on the road, Roy settled down in the Washington, D.C. area, started his own group, The Snakestretchers, and began a residency at the Crossroads Club in Blades Burg, Maryland.
In 1971, already riding on word-of-mouth reputation that included accolades from Eric Clapton, Merle Haggard, the Rolling Stones and John Lennon (who made a personal pilgrimage to see Roy at the Crossroads Club), Roy "broke" nationally as the result of an hour-long National Public Television documentary. Entitled The Best Unknown Guitarist In The World, the show won Roy a contract with Polydor and began a decade of national and international touring. He cut five albums for Polydor (one went gold) and three for Atlantic (one gold), while playing virtually every major rock concert hall and festival. The major labels gave him fame and fortune, but no artistic freedom. Finally, disgusted with the over-production forced on his music, Roy quit recording in 1981, vowing never to enter a studio again unless he could record his own music his way.
Four years later, Roy was coaxed back into the studio by Alligator Records. His first album for Alligator, When A Guitar Plays The Blues, was released in the spring of 1985. It was the first time he was given total artistic freedom in the studio; it was also his first true blues album. Fans quickly responded, and the album entered Billboard's pop charts with a bullet and remained on the charts for 13 weeks. Music critics, as well as fans applauded Roy's efforts with accolades and plenty of four-star reviews. His second Alligator LP, Dancing On The Edge, was released in the fall of 1986. The album won the College Media Journal (CMJ) Award for Best Blues Album of 1986.
One year later, Buchanan released Hot Wires, his third Alligator LP and the twelfth of his career. It was hailed by the Chicago Tribune as "his best album ever." By this time, Roy's illustrious career had taken him from underground club gigs in the sixties, to international recognition and gold record sales in the seventies and worldwide tours in the eighties with the likes of the Allman Brothers. He even performed to a sold-out Carnegie Hall with label-mates Albert Collins and Lonnie Mack. Roy was thoroughly enjoying the creative freedom he received from Alligator. "Since coming to Alligator," Roy once commented, "I'm finally making the records that I've always wanted to make."
Buchanan's skill, soul and technical innovations were nothing less than marvels to his contemporaries and admirers. Without his inventiveness, the landscape of modern guitar playing would be completely different. Buchanan died in Virginia in 1988. He was 48 years old.
Roy Buchanan was born Leroy Buchanan in Ozark, Arkansas on 23 September, 1939.
Roy's father became a farmworker when the family moved to Pixley, California. Roy claimed his father was a pentecostal preacher although Roy's brother JD has said 'If my father ever went into a church, the roof’d fall in on him!'. His family would attend racially-mixed revival meetings and late R 'n' B radio shows were where he developed his love of music. 'Gospel,' Roy recalled, 'that's how I first got into black music.'
At the age of nine, Roy took his first steps onto the bumpy road that was his impressive but ultimately troubled career. It was at this time he first showed interest in the guitar, so his parents bought him a lap steel. They also set him up with a travelling teacher, called Mrs Presher (Roy performed a track called 'Mrs Pressure' so its possible this is the correct name). However, despite three years of tuition, Roy learned to play by ear and never learned to read music.
At the age of 13 Roy first bought a guitar of the type that would be associated with him for the rest of his career. For $120 he got a Fender Telecaster.
A year later he dropped out of school in favour of furthering his passion for the six-stringed instrument. Staying with his older brother and sister in Los Angeles, he met Johnny Otis who took him under his wing - but soon he found himself leading a band called The Heartbeats (nothing to do with Nick Berry). It was in the Heartbeats that he had a brief appearance in a small film of the time called Rock, Pretty Baby. Unfortunately, the agent of the band, Bill Orwig, left the band stranded and Roy had to move on.
Roy took a job playing guitar for Oklahoma Bandstand in Tulsa - but when Dale Hawkins came into town, Roy joined his band and enjoyed three years' touring with him. It was with Dale that Roy made his first record appearance playing the solo on Hawkins's 'My Babe.'
He switched from Dale's to Ronnie Hawkins's (Hawkins was Dale's cousin) band and moved to Canada. During this period Roy taught guitar to the bass player, Robbie Robertson. Robertson and other members of Ronnie Hawkins's band The Hawks later became known as The Band. Later, however, in 1961, 'the Hawk' arranged a 'showdown' between the two guitarists. Here, Arkansan Levon Helm continues the narrative: 'Robbie had actually learned a lot from Roy, whose technical accomplishments as a blues guitarist were without peer back then. Once I asked him where he learned to play so good and he said in all seriousness he was half wolf.'
Later that year, in the summer of 1961, Roy married Judy Owens and the couple settled down in Washington. Roy played local gigs whenever and wherever he could find them, but it wasn't paying enough so he enrolled at barber college. However, by 1970 he was back on the club scene. He started his own band, Buch and The Snake Stretchers, in which he made his debut as frontman, and they started to build up an underground following. With this band he did a gig with singer Danny Denver at the Crossroads bar (odd how crossroads keep on appearing in blues history). It was during this gig that Roy Buchanan was be 'discovered' by the media.
Articles in the Washington Star, then the Washington Post (written by Tom Zito) led to a Rolling Stone reprint of the Post article. John Adams, a producer for WNET in New York, saw the article in Rolling Stone, and, after confirming that Roy was the real thing, he arranged to make a documentary about him. It was called The Best Unknown Guitarist in the World, and he was said to have been among those considered to join the Rolling Stones when Brian Jones left (he claimed to have turned them down). Adams arranged to have Roy play with musicians who had influenced him - this included a set with Merle Haggard and his Strangers (featuring Roy Nichols on Telecaster, as well as with Johnny Otis (with Margie Evans singing) and jazzman Mundell Lowe. The resulting film - interspersed with a live broadcast of rocker Nils Lofgren from WNET’s New York studio - was broadcast on 8 November, 1971, and got rave reviews.
The show won Roy a contract with Polydor (then a fledgling company) and began a decade of national and international touring. He was assigned to agent Charlie Daniels. However despite the fact Roy worked on and off on the album (The Prophet) for several months it wasn't released. The way Charlie remembers it, a critic from Baltimore heard the tapes and said it was rubbish. Between the time The Prophet was recorded and the time it was released, Roy had sold out Carnegie Hall (he was probably the only act without a record on the market to do so).
In the years that followed he recorded Buch and the Snakestretchers, Roy Buchanan, and Second Album. Buch and the Snakestretchers was Roy's first ever release, recorded live in 1971 at the Crossroads, where his was the house band. Roy wanted to capture what he was doing nightly and this result, recorded on two-track quarter-inch reel to reel, is really a snapshot of that moment.
The first album to appear on Polydor (named simply Roy Buchanan) was recorded in July, 1972 and released in the September. It sold 200,000 copies. Roy cut five albums for Polydor overall (one went gold) and three for Atlantic (one gold), while playing virtually every major rock concert hall and festival. The major labels gave him fame and fortune, but no artistic freedom. 'They kept trying to make me into some sort of pop star.' Finally, disgusted with the over-production forced on his music, Roy quit recording in 1981, vowing never to enter a studio again unless he could record his own music his own way.
Four years later, Roy was coaxed back into the studio by Alligator. His first album for Alligator, When A Guitar Plays The Blues, was released in the spring of 1985. It was the first time Buchanan was given total artistic freedom in the studio, on what was also his first true blues album. Fans quickly responded, and the album entered Billboard's pop charts with a bullet, remaining on the charts for 13 weeks. Music critics, as well as fans, applauded Roy's efforts with accolades and plenty of four-star reviews. He enjoyed his time with Alligator and released another two albums.
Fate was to deal him a cruel blow though. On the night of 14 August, 1988, Roy was arrested for public intoxication (drunk and disorderly) and taken to the Fairfax County Virginia Adult Detention Center. Official accounts say that Roy hanged himself in his cell by his shirt. He was the father of seven children and had five grandchildren. Some of his family and friends believe that the official account doesn't tell the whole story. Roy seemed to be very happy with Alligator Records and his home life. Also, Roy had seemed at pains over the remaining years that he was free of an alcohol and drug problem that had previously plagued him. Jerry Hentman was a man in the cell opposite and his report of the events has been published on the web.
Roy developed an impressive unique style. He had a clear trebly tone, which could be either hypnotic, or cut through with urgency. He pioneered techniques like pinched harmonics, overtones, feedback, and in particular use of the volume/tone controls. With the volume control he could make a note come out of silence and increase to a crescendo - without any sound of the pick. It was this, in conjunction with the tone control, that made him popularise use of the wah wah pedal. However, he wasn't just a pretty-sounding single note player.
He was also capable of stringing together a fast finger picking technique, that made his hand seem like a blur. Despite these obvious abilities Roy always said he felt one note in the right place could be more important than several put in for the sake of it.
People he impressed, or inspired include Steve Vai, Gary Moore, Jerry Garcia, Les Paul, Billy Gibbons, Jeff Beck (which explains why he has sometimes been coined as The Guitarist's Guitarist's Guitarist) John Lennon, Eric Clapton, Jimmy Page, Pete Townshend, Kim Simmonds, Merle Haggard, Nils Lofgren, Danny Gatton, Charlie Byrd, Barney Kessell, Mundell Lowe and of course Robbie Robertson.
Roy Buchanan builds whirlwind solos with brilliant technique and flat-out blues feeling. A master technician and simply one heckuva guitarist.
- Guitar Player
A master of his instrument.
- Guitar Magazine
I believe Roy Buchanan to be the best blues guitarist ever. No one before or since has been able to capture emotion in the same way. Neither has anyone been able to play the guitar with such finesse as if it was surgically attached to them from birth, in the context of blues or soul. Do yourself a favour, if you haven't heard any Roy go out now and buy one of his records. Your ears will thank you (well not literally that would be silly).
- Guitar World
Roy Buchanan 1974-02-23
Armadillo World Headquarters, Austin, TX
• Roy Buchanan: 1953 Fender Telecaster Guitar (Nancy), vocals
• Billy Price: Vocals
• John Harrison: Bass, vocals
• Ron 'Byrd' Foster: Drums, vocals
• Malcolm Lukens: Keyboards
• Buch and The Snake Stretchers - 1971
• Roy Buchanan - 1972
• Second album - 18 January, 1973
• That's What I Am Here For - 1973
• Rescue Me - 1974
• In the Beginning - 1974
• Live Stock - 1974
• A Street Called Straight - 1976
• Loading Zone - 1977 (featuring Steve Cropper)
• You're ot Alone - 1978
• My Babe - 1981
• When a Guitar Plays the Blues - July, 1985
• Live in USA and Holland 1977-85
• Live in Japan - 1977
• Live - Charly Blues Legend Volume Nine - 1985-87
• Dancing on the Edge - 1986
• Hot wires - 7 July, 1987
01. ...Too Many Drivers
02. Roy´s Bluz
03. Rodney's Song
04. Sweet Dreams
05. My Baby Says She´s Gonna Leave Me
06. Hey Joe
07. Johnny B. Goode
08. Bitter Memories
09. Tribute To Elmore
10. Treat Her Right
01. Green Onions
02. Further On Up The Road
03. C.C. Ryder
04. That´s What I´m Here For
05. Please Don't Turn Me Away
06. I Hear You Knockin´
07. Whole Lotta Shakin´ Goin´ On
08. The Messiah Will Come Again
09. Don't Call Me ...
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