Group 1850

Reviews

Agemo's Trip To Mother Earth (1968)

Agemo's Trip To Mother Earth
(1968)

Clearly a parallel group to Pink Floyd, Agemo's Trip to Mother Earth is taken from the same cloth as Saucerful of Secrets. In retrospect, though, Group 1850's work is more creative which one may expect from a Continental band without any commercial restraints. Sure, there are some pure psych moments to be had - but just hearing the title track should put anyone in awe who can hear this is an historical perspective. There just flat out wasn't anything like this in 1968. The fuzz guitar, the trippy voices, the acid induced phased effects, and the drumming (oh - the drumming). It's a bona fide masterpiece in the field of psychedelic progressive music.

(Tom Hayes, 2001, Gnosis)

Group 1850 is a Dutch band playing 60s psychedelica with elements of West Coast acid rock and early Pink Floyd. Some parts are a bit dated, especially the central "trippy" and/or hilarious part in the 10 minute plus "ï Put My Hand on Your Shoulder". Lots of "Mother Earth" worshipping and "we should be all together" declamation in Dutch and terribly accented English and German! Nevertheless, this is quite an excellent album in the style mentioned above.

(Sjef Oellers, 2001, Gnosis)

If you buy just one late 60s psychedelic album, this would be a great start. I had a tape of it in the early 90's, and when I heard the CD came out with tons of bonus tracks, I was in heaven. It's worth the import price! Great melodies, b guitar work, and experimentation that works! If you like Pink Floyd, Psychedelic Music, or just good late 60s music, then this is the S@#T. You may also want to check out Bent Wind, Aguaturbia, Music Emporium, Morgen, Tomorrow, etc.

One of the greatest psychedelic albums ever released. I don't say that lightly, as I own around 1000 U.S. and import psychedelic releases from the late 60s and this one is in my top 20.

(Michael Soucy, Amazon)

I couldn't agree more with the reviewer from Woodland Hills that this is one of the all time best psychedelic albums ever! I too have heard quite a few psychedelic albums over the years, and I decided to buy this CD just based on reading the reviews here on Amazon, and wow, am I glad that I got this because it's a masterpiece! I've been playing guitar myself for over 44 1/2 years, and this has some of the most psychedelic and awesome fuzz-guitar playing you'll ever hear! Sure there's some pretty trippy, bizarre, and even strange things going on during the long track called "I Put My Hands On Your Shoulder," but the rest of this album, along with a ton of bonus tracks, makes this CD a great one to have in your collection if you dig 60's style psychedelic rock. I can't really say that this sounds like Pink Floyd or any other group, they really are a combination of so many different sounds and groups it's hard to categorize them, but I think when fans of Psych music hear this, they will be blown away, I sure was! Get this CD, it is a true classic and masterpiece!

(Strat Lvr, Amazon)

I bought the cheap "rotation edition" of 2002 and I'm completely fascinated with this unknown masterpiece of european psychedelic rock!!! I have a huge collection of psychedelic/prog-rock and I get this thinking that'll be another interesting cd for a couple of listenings, but...in the last week I give this a dozen of enjoyable listenings!!! It's not only the "Agemo" album, but also (and especially) the bonustracks...Well, "I Know", "Mother No-Head", "Ever Ever Green", "Zero", "Frozen Mind" and "We Love Life" are simply some of the best psychedelic (sometimes creepy!!!)songs of the late sixties, walking side by side with the masterpieces of Pink Floyd, Soft Machine and others!!! What GREAT basslines and peculiar percussion on "We Love Life"; "Ever Ever Green" is beautifully ornated with a terrifying chorus and vibes; "Zero" and "Frozen Mind" are tremendous songs, with that ufo-like atmosphere, again a full-blown bass lines, everything in a apocalyptic scenario!!! This tracks with the "Agemo" album are probably the best psychedelic music (so fresh today!) to be made in the Continental Europe in that time!!! Well done, Netherlands!!!!

(PortugueseMusicFan, Amazon)

Group 1850 formed in The Hague in 1964 as The Klits, but chose their new name in January 1965 when Hugo Gordijn became their manager. They signed a deal with Phonogram and soon they were ready for their first album and "Agemo's Trip" was the result. It just happens to be massively psychedelic, even though not very widely known. The original sleeve notes tell of a trip of a mythical being whose spiritual father sends him on a search for enlightenment. He goes to a place (Earth) where people follow organised religion without knowing why. He enlightens the people of the world and leads them to the place (and state of mind) that he came from.
It was released in 1968, sank without a trace, and gradually became an expensive collector's item.

There are echoes of Chocolate Watchband and Misunderstood on the opener (Steel Sings), which climaxes in a stunning Airplane-like guitar solo. 'Little Fly' compounds the influences even further, sounding a bit Canterburyish in places. 'I Put My Hand On Your Shoulder' is a 13-minute epic with tremendously heavy phasing, and insistent voices talking alternately in Dutch and English. The totally surreal vocals and the drum phasing getting deeper and deeper make the track extremely freaky, but there's a reassuring quality in the midst of all the psychedelic mayhem. This track really is a psychedelic classic that make "Agemo's Trip" a must for any collection of psychedelia.
'You Did It Too Hard,' is a bit of an oddity with spaced-out hippy improvised spoken bits at the end. The album continues in similar insane style on 'A Point In This Life' with harpsichord and sliding distorted guitar. Things calm down for 'Refound" and "Reborn" the final two tracks on the original album, with gentle flutes and female vocals asking us to "look inside and find the inner light", not to mention sitar-like guitar solos and twittering birds.

There are a dozen bonus tracks on the CD reissue, mostly singles. 'Misty Night,' their first single has a tremendous garagey feel, and on 'Mother No-Head' incredibly, there is an overdriven guitar playing 'Frere Jacques' Unexpected to say the least, but it really works! From the value-for-money standpoint, it's a good idea to include these songs; whether it works artistically to include them with the concept album is doubtful.

(Doctor Dark, Pooterland)

Agemo's Trip to Mother Earth was one of the most ambitious psychedelic albums to emerge from continental Europe in the late '60s. The LP's nominal concept was, like many early such endeavors, obscure, involving something like the journey of Agemo from a paradise-like planet to the more chaotic imperfection of Earth. Musically, the record owes a lot to late-'60s British psychedelia (particularly of the Pink Floyd school), with hints of the onset of progressive rock in its less-conventional passages. Although plenty of melodic shifts, celestial organ, wiggling distorted guitar, harmony vocals, Gregorian chant-like singing, Mothers of Invention-like horns, beatific respites (on "Reborn"), and general freakiness entertainingly convey the exploration of new psychic territory, it ultimately lacks the lyrical and musical cogency of, say, late-'60s Pink Floyd. At times the bold weirdness gets self-indulgent, throwing in phased drum soloing, solemnly intoned spoken female romantic exclamations, and multilingual murmuring. The album was reissued, in its original sequence and its entirety, as part of the Group 1850 CD compilation 1967-1968.

(Richie Unterberger, Allmusic)

Legit 1997 CD reissue of the fabulous Dutch pysch masterpiece from 1968, the group's first album, originally issued by Philips in Europe only. They would follow it up with an equally good 2nd album Paradise Now in 1969, but further live albums and the disappointing Polyandri from 1975 were more marginal. The original LP sleeve for Agemo's Trip featured a 3-D design and this CD miraculously replicates that effect (3D glasses included with each CD). The CD also adds 13 bonus tracks, mostly early singles tracks (rendering a prior bootleg singles CD comp rather redundant), plus a couple of previously unreleased tracks. Agemo's Trip is in simple terms, one of the monster concept album artifacts of the psychedelic era. Beautifully dated in terms of sound & vision, it features fragile flute/piano/organ-built folk-like tracks that extrapolate into explosive guitar psych revolutions. The ghost of Jorma Kaukonen seems prominent in the lead guitar sections and a certain Airplane/Floyd approximation seems to be the goal. A tremendous value all round.

(Forced exposure)

Exact reissue of one of the greatest psychedelic albums that has ever come out of Europe. Mystical, spaced out, music by this cosmic Dutch band, filled with many diverse psychedelic effects and fantastic songs. Melody and improvisation perfectly combined.  Certainly one of the greatest psychedelic albums that has ever come out of Europe. Mystical, spaced out, cosmic '60's Dutch psych filled with many diverse psychedelic effects and fantastic songs with an early Pink Floyd feel. Melody and improvisation perfectly combined. English vocals. A must!

(Freak Emporium)

Group 1850 had started with influences from the ugliest and most raw-edged rhythm'n'blues (Pretty Things and Q65). This, combined with The Mothers' Freak Out, Lennon's "Tomorrow Never Knows", Pink Floyd's Piper At The Gates Of Dawn, The Rolling Stones's Their Satanic Majesties Request, The Jimi Hendrix Experience and a whole summer of love, made Group 1850 eight miles higher than most. The four Philips singles saw them leaping from strength to strength, starting with the rather usual freakbeat psych of "I Want More", expanding their visions into the absurd and surrealistic with "Mother No-Head" (their first masterwork), entering 1968 with the ghostly hallucinogenic "Zero" and previewed their LP with their confident statement "We Love Live (Like We Love You)".

In late 1968 their first major opus Agemo's Trip To Mother Earth appeared, possibly the best psychedelic album from the whole continent! For those wanting to explore the ultimate hippie lore, I recommend you to read the story of Agemo, son of Dog, from Irotas visiting Earth to experience imperfection. The album deals with Agemo's experiences on   Earth, discovering the urban paranoia and depravity of modern life in "Steel Sings", astonishingly scored with harsh guitars so brutal you hardly would believe it was created in the sixties. Daniel van Bergen's omnipresent electric guitars hit you directly in your face, they sound derived from early Hendrix, but are more directly psychedelic with frequent use of tone bending, compressor and phasing. The album's central piece is Hans Wesseling's (from the group Woorden) proclamation of his "Mother Earth" poem, expressing the need for "more humanity and fellowfeeling". This is set to the strangest music imaginable, with phased, rambling drums and electronic noises. "You Did It Too Hard" predates the sound of "Radio Gnome"-period Gong. The album ends with Agemo revealing his secret, leading those who rediscover the truth to their own paradise with angelic female chanting. The album is more extreme than almost any Anglo-American album of this era with The Satanic Majesties Request the only one slightly comparable to it (but inferior). Doors open and close, thunderstorms pass away, men are blowing glass bottles in place of pan flutes! Many will find it too strange, as so many different ideas are compressed into only 37 minutes.

(Scented Gardens Of The Mind, D. E. Asbjørnsen)

It's finding rare gems like this that makes trudging through the dross in charity shop CD racks so addictive. I stumbled with fascination upon Agemo's Trip To Mother Earth with its blurry, greyish cover photo depicting a large group of hippie folk of various ages. At first I thought it was by some retro psych outfit from the 90s, but a little research online revealed Groep 1850 to be a genuine 1960s psychedelic rock band from the Netherlands. Originally founded in 1964 as R'n'B group the Klits – being an abbreviation of "Klitoris", meaning exactly what you think it means – they changed their name to Groep 1850 – "Groep" for "group", "1850" not explained – and, following several stylish freakbeat and psychedelic singles, released their debut album on Philips in 1968.

Lyrically based around the hippie-dippy saga of Agemo, son of Dog from the Nirvana-like planet Irotas, who visits Earth to experience the urban paranoia and depravity of modern life, the album's musical motifs draw shamelessly on Saucerful Of Secrets-era Pink Floyd but also evince a powerful West Coast acid rock influence. There is too a healthy dose of humour not present in either the Floyd's straightlaced presentation or the similarly unsmiling Californian product, exacerbated by the band's singing in bly accented English with occasional Dutch interjections; clearly evident is the combination of instrumental virtuosity and vocal weirdness that would produce commercial success for their compatriots Focus a few years later. Peter Sjardin's keyboard work is workmanlike and mostly mixed well back, but the lead guitar of Daniël van Bergen is unique and bly forefronted, with penchants for atonality and sustain. Beer Klaasse's trapwork is also excellent, being simultaneously duck's-arse-tight and jazzily freeform. The production by Hans van Hemert is splendidly sympathetic to the band's psychedelic direction, with heavily treated vocals, sound effects, found sounds, phasing, stereo panning and all the tricks of the studio wholeheartedly employed.

An introductory metallic racket gives way to the acid-pop of opener "Steel Sings" as hard guitar chords and flying-saucer electronic bleeps announce Agemo's arrival on Earth. "Little Fly" is heralded by the groan of an ancient door's hinges and a female voice intones a brief litany before thudding drums, oriental Hammond licks and coruscating guitar frame the song's stately harmony vocals. "You Did It Too Hard" is a brief nonsense item with a cheerful riff and honking saxes giving way to a gibberish dialogue by gnomish voices. The closing "Refound" and "Reborn" form a two-piece suite in a soft, hallucinogenic vein reminiscent of the Floyd's "Cirrus Minor" with acoustic guitars and flutes accompanying the dreamy harmonised voices. The undoubted high spot is the astonishing procession of sounds that makes up the thirteen-minute full-blown musical acid trip "I Put My Hands On Your Shoulder", including infinitely sustained guitar, crazy, reverbed harmonica, swooping keyboard expeditions and a disembodied, demented bilingual dialogue over a stuttering, heavily flanged drum solo before ending with a clap of thunder – a wigged-out mess that really works.

The album was released in Northern Europe and the UK (anglicised as Group 1850), but it barely sold at home and tanked totally everywhere else. Somehow they managed to cobble together a second studio collection, Paradise Now, more progressive and doomy but quality-wise as good as Agemo, plus a live set, but these sadly went the same way. Sjardin struggled on with different lineups until 1975, releasing a couple more albums in a jazz-rock vein before bowing to the inevitable. There's not a huge amount of information about Groep 1850 out in cyberspace but a good critical discography can be found here.

Belatedly recognised as a European psych landmark, Agemo has had three CD reissues, the latest a 2002 budget offering on the Rotation imprint which appears to be a legit license. As well as Agemo's seven songs this offers nine excellent pre-Agemo bonus tracks including the brilliantly absurd "Mother No-Head", built around the melody of "Frère Jacques" and provided with alternative English and French lyrics. Oh, and that blurry album cover? It was originally offered in 3-D, with a free pair of 3-D specs thrown in. Sadly the reissue doesn't reproduce that imaginative feature.

(Len, The Rising Storm)

Paradise Now (1969)

Paradise Now
(1969)

Paradise Now is possibly even better. Now they've managed to lose the trendy psychedelic trappings for a truly creative work. There is a more pervasive ethnic element this time around with wind instruments and hand percussion. It's amazing how timeless this music is 30+ years later. Just brilliant.

(Tom Hayes, 2001, Gnosis)

The group plays it spacier and lighter on their second album, with plenty of soaring guitars and keyboards and more diffuse compositions. The attractiveness of the ethereal sound almost obscures the fact that the songwriting lacks grist and cohesion.

(Richie Unterberger, Allmusic)

At first, Paradise Now, by the Dutch band Group 1850, had me quite impressed with how well they managed to evoke the sound of the 1960s -- until I realized that the album was recorded in 1969! For some reason I'd initially thought they were a contemporary act. Regardless, I like this album. It's the first one I've gotten in a while that's made me want to play it on repeat, not so much because any particular moment is especially addictive but simply because I very much enjoy the overall feel of it -- relaxed and loose, but not meandering, and recorded in a way that's pleasing to me. Considering that they get a fair number of Pink Floyd comparisons, that probably shouldn't come as a surprise -- though, then again, I've found that comparisons to Pink Floyd are almost always bullshit. Actually, though, when I listen to this disc, I find myself thinking of Jimi Hendrix (or even Black Sabbath) more than Pink Floyd. In the album's last track, a 11-minute jam called "Purple Sky", there's a moment, about 4:25 in, where the lead vocals sound uncannily like Hendrix -- if I didn't know better (and I don't) I'd have said it was Jimi himself. The track sounds a hell of a lot like "Voodoo Chile" as it is, given that it's in D minor and 6/8 and basically has the same chord changes and the same feel...actually, listening to it now, at times it borders on being a full-fledged ripoff of "Voodoo Chile", not that I have any objection to that.

Another thing: it's a really well-sequenced album. At 8 tracks and 36 minutes it may seem like it'd be hard to screw it up, but it'd also be tough to improve on it. The short little songs are placed just about perfectly, so that they break up any possibility of monotony without breaking up the flow of the album. "Purple Sky" is the album's longest track, and putting it at the end is just right, but it doesn't bog things down by being there, either.

You know, this is a damned good record! I don't know why I like this album so much, but something about it is really sitting well with me. It's a bit like a cross between Electric Ladyland, Pangaea, and some Dutch ancestor of the American Analog Set. It seems like it'd be the perfect disc for hanging out late at night with a few friends and a bottle of wine -- you can give it your full attention and find it completely rewarding, but it's also recorded and structured in a way so that it ought to be easy to have a conversation while it's playing, while still being able to feel it in the background. Given how good this disc is, I'm surprised that I've never heard of it before -- I just blundered upon it randomly, and thought I'd give it a try. (Actually, I snagged it nearly two months ago and only gave it my first listen within the past day or two.) Lately it seems like whenever I check out '60s stuff I haven't heard -- whether by bands I've never heard at all (Chocolate Watchband, 13th Floor Elevators), or by bands from whom I've only heard one or two songs (Small Faces, Zombies, Count Five) -- I end up disappointed, bored, or otherwise less than engaged: they're just not the kind of music I'm looking for. (I don't need to see their identification -- they can go about their business.) So it's nice for a change to dig up an album that has a lot of the qualities that I value most both in 1960s music in general, and in the albums I love from that time.

(Eyes That Can See in the Dark)

The 1969 second album by Group 1850, a Dutch heavy psychedelic group featuring (in addition to the usual bass, drums, and guitars) some freaky flute and droning organ, plus effects-laden vocals in accented English. Spaced-out-there in the Floyd realms for sure. Their first album, 1968's "Agemo's Trip To Mother Earth" is considered a sixties psych concept album classic, and this ain't too shabby either. Songs like "Purple Sky" and "Hunger" are quite stoned-sounding, and probably sound even better if you are.

(Aquarius records)

Raving, drooling psychedelia of the best and trippiest with haunting songs dripping from lysergic tongues of flame. One of the best psychedelic albums of any time (it's from 1969) and place (Holland) finally available again on CD, and it's about time, too. Eerie, long instrumental passages of hypnotic organ, and biting fuzzed out lead guitar, with touches of Hendrix blues and early Floyd spaciness.

(Eclipse records)

Phew ! What a mind blast ! The second album by Group 1850 and, although the first was pretty hard to beat, we reckon this is easily the best one. Grade "A" trippy dutch acid psych with wah wah guitars panning all over the place, hallucinatory keyboards, dreamy percussion and fried lyrics. "Thursday I am Friday and Friday I am freeeeee" Includes the classic title track as well as "Purple Sky" and other skunk classics....You need this....believe us....

(Freak Emporium)

Released by the Dutch Discofoon label, 1969's "Paradise Now" sports a sound that's quite different from the debut. Ditching the hippy-dippy, pop-psych sentiments of the first album, the sophomore album features a much tougher and darker sound complete with plenty of pounding guitar (courtesy of Duba). Musically the results aren't particularly focused, with the band thrashing around in a mixture of progressive, blues-rock and even Hendrix-inspired psych ('Purple Sky'). That said, the combination of heavily accented English vocals, totally nonsensical lyrics (check out ''Friday I'm Free') and the group's obvious enthusiasm for the material makes it kind of endearing and this one truly does grow on your the more you play it. While I don't have a large collection of Dutch music, I'll put this one in my top-5 list.

(?, Badcatrecords)

After the debut, the group disintegrated with Beer Klaasse joining Q65 and Ruud van Buuren the unknown Long Tall Ernie. Sjardin and van Bergen soon started all over again with a new record deal and a revamped Group 1850 with a second guitar player, Dave Duba, along with Dolf Geldof and the jazz drummer Martin van Duynhoven. Their new effort Paradise Now (1969) was bleak, heavy, slow and stark, on the whole remarkably different from its predecessor. With their universal message already proclaimed, Group 1850 now concentrated on long instrumental passages highlighting Sjardin's eerie, hypnotic organ tones contrasting with the biting lead guitarists (van Bergen versus Duba fighting their most powerful battle on "Hunger"). Obviously they were bly influenced by the less experimental parts of A Saucerful Of Secrets and (the hugely underrated) More by Pink Floyd, even down to the imitation of "Party Sequence" on the tablas-and-flute meditation "Martin En Peter". This inevitably leads into the spell-binding trance of "?!", with Sjardin overdoing Richard Wright's "turkish delight" organ style of 1968-69. Contrasting these instrumentals, the Hendrix influence was b on the extremely slow and heavy blues number "Purple Sky". On the whole, one feels that paradise is lost, rather than just found. The mumblings on "Lonelyness" and "Friday I'm Free" are not so far away from the secluded Barrett's dark world. This is another utterly brilliant album and timeless classic that will be coveted by any fan of the vintage Pink Floyd.

(Scented Gardens Of The Mind, D. E. Asbjørnsen)

Live (1974)

Live
(1974)

This is spacerock at it's best. They sound a lot more aggressive and heavy than on their studio albums. When you are looking at comparison, it reminds a lot like Hawkwind's Space Ritual (1973).

The album opens with the title track of their second album, Paradise now. A short track to set the tone. Next is the track Years in every day, which would later appear on the album Polyandri. A heavy rocker with some great guitarplay by Duba and some spacey organ and sax solos. The next track is also a new track. This is probably their best space-rocker. It is a long track with a pounding rhythm and again great organiser and guitar solos. The conga playing of Noya gives the track at times an ethnic atmosphere. Half way the track Sjardin sings just like Jimi Hendrix. If you are into space rock this is absolutely the best track of the album. It is followed by another tune from the Paradise now album, Purple sky. It sounds less bluesy than on the studio album and more spacey, great performance indeed. It is followed by the improvised Noyas congas. This one sounds a bit like Camel's God of light. The album ends with the track Verandering. This is a solo performance by Sjardin on his home made Organiser. It is an SF, psychedelic spacey soundscape where he demonstrates all the possibilities of this strange instrument.

All in all this is a great album and a great performance by Groep 1850. Anyone who like some good space rock should buy this album.

(Agemo, Dutch Progressive Rock of the Seventies)

Now we are talking ! Here at long last is the CD reissue of this rare album that collects together live performances by the mind bending dutch psych band at the peak of their career in the late '60's. Long drug fuelled tracks with a 15 minute version of "Verandering" and great versions of "Years In Every Day" "Purple Sky" and "Paradise Now" Spliff up Now.....

(Freak Emporium)

Polyandri (1975)

Polyandri
(1975)

One would expect that after 5 years, a band would have changed directions radically. Especially in an era when musical trends changed with the seasons. Perhaps a fusion album? Hard rock maybe? Pop? But not Group 1850. Still going after it with their unique brand of psychedelic progressive music. In fact, Polyandri is more refined and varied - being a primarily instrumental album. This album features an array of sounds from complex prog rock compositions to simple bluesy workouts onto trippy psych organ based excursions similar to their first 2 LP's. Wonderfully out of touch for 1974!

(Tom Hayes, 2001, Gnosis)

In 1974 Group 1850 finally recorded another album. A few tunes had already been worked out during live show, such Between eighty and fifty, which can be heard on the album Live. And also the track Thousand years before sounds familiar, since it is a reworking of Years in every day. A track that was also released on the album Live, recorded in 1969. So it is no surprise this sounds lovely out of date. This album contains some great, mainly instrumental space rock. Most tracks segue into each other.

(Agemo, Dutch Progressive Rock of the Seventies)

Group 1850 played a lot of festivals, but didn't get another studio album out before 1974. Polyandri is another ace album and again almost totally changed. This was in reality a Peter Sjardin solo album recorded with his various friends. Now elements from progressive jazz-rock had flown in, most audibly on "Russian Gossip" and "Avant Les Pericles" (most beautiful!), with contributions from the well-known sax player Hans Dulfer. There are only vocals on three of the eleven tracks, if one ignores the crazy Russian gossip! With this brightened, freaky jazz-mood, Group 1850 suddenly sound similar to Daevid Allen's Gong.

(Scented Gardens Of The Mind, D. E. Asbjørnsen)

Live On Tour (1976)

Live On Tour
(1976)

This is another great live album by Groep 1850. Unfortunately the album doesn't give any information on where or when it was recorded. The music is still heavy spacerock, but there are some changes when compared to the album Live (1974). During this performance they don't have a bass guitarist so the bass parts come from a synthesizer, this gives the overall sound an even more science fiction like sound. Also van Wageningen and Ebeling are more jazz musicians, so the sound is also more jazzy. But is is unmistakingly the spacey Groep 1850 sound.

The album opens with Aperitive, which is a synthesizer only track. It develops in the second track which reminds me of an Ozric Tentacles tune. The third track is probably their most jazzy, especially in the middle part. The fourth track starts with a lot of percussion but then becomes an old fashioned space rock piece, including some inspiring guitar and organiser solos. The album ends with another percussive jazzy track.

(Agemo, Dutch Progressive Rock of the Seventies)

Live album from 1973 when the band went in a jazzy space rock direction. If you like the Ozrics and a mug of mushie tea then this is definitely an album for you. Long synth, percussion and guitar tracks, - one at over 24 minutes long - filled with Jamming, tripped out n' stoned freak music from the good old days.

(Freak Emporium)