TDATS 33 Heftig Melodien GERMAN 60s-70s Obscure Hard Rock [TRACKS MISSING, GET COMPLETE ON THE BLOG]

Описание: Get while set here: https://aftersabbath.blogspot.com/201...
TRACKS:
00:00 Sameti - Get Up (1972)
03:30 Baumstam - On Tour (1976)
06:49 Ash Ra Tempel - Der Vierte Kuss (1970)
13:08 Second Life - Raiders Of Night (1971)
18:09 Excalibur - Don't Look Backwards (1971)
23:10 Proud Flesh - Devil Flight (1971)
26:26 Proud Flesh - All In Vain (1971)
29:52 P205 - Major God (1976)

Volume 33 of The Day After The Sabbath is a collection of German heavies (with the exception of Novak's Kapell who were Austrian). It differs from Volume 19: "Kraut Rockin" in that it's not specifically intended to include bands that are linked with the 'Krautrock' movement, just great bands! After recording Amon Duul II’s “Yeti”, Dieter Serfas and Christian Shart split to form their own project called Sameti in Munich in 1971, we start with their catchy 'Get Up'. Second track 'Hypodermic Needle / Smile Please' is the AB sides of a great single from a band that had no albums until much later in their career, which is a shame as Novak's Kapelle showed talent with their super-heavy psych. Baumstam are up next, employing great fuzz guitar.

Ash Ra Temple are one of the 'Krautrock' bands here, this track is quite a straight-forward rocking jam compared to their more experimental stuff, and could quite easily be from a stoner rock band of today. Second Life was the original band that members went on from to form 'Tiger B. Smith', who have featured previously here. New Lords seem to have been a short-lived off-shoot from 60s group 'The Lords', another example of a pop band jumping on the early 70s hard rock bandwagon and coming up with something surprisingly good! Proud Flesh are another short-lived albumless band that's hard to find info on, but they certainly produced a few great cuts, heavy for their time.

Finally we have P205, with one of my favourite tracks here. It's long and roughly recorded, but ultimately this gives it an other-worldly and amateurishly endearing charm. It takes you on a doom-laden journey, with emotive touches including a wonderfully forlorn guitar solo around the half-way mark, and some discreetly effective keyboard touches.

Cheers!
Rich