Miriodor ‎– Live 89 (2009, CD, Canada)

Arnaldo Graziosi E Il Complesso Strumentale I Panamera ‎– Supersonori... N. 2 (1975, LP, Italy)

Composed by Arnaldo Graziosi and Franco Bonfanti.

Released by Pinciana Record in 1975.

Banda Elastica ‎– Banda Elastica (1987, LP, Mexico)

SIDE A
A1. Infantes Terribles (5:44)
A2. Alto A La Caceria (3:48)
A3. Derrumbes En Almibar (4:12)
A4. Aun Pero (2:21)
SIDE B

B1. Salon Victoria (3:09)
B2. Pesadilla (3:50)
B3. Infrasapienz (5:08)
B4. Quepocalipsis (7:51)

Line-up / Musicians
Guillermo Gonzalez / Guitars
Rodolfo Nava / Drums, Percussion
Jose Navarro / Marimba, Percussion, Drums
Jose Luis Romero / Saxophones & Clarinets
Lucio Sanchez / Bass, Guitar
Rosino Serrano / Synthesizers, Piano, Organ

with

Cecilia Valdes / Flutes (A1, A3)
Rodrigo Miralda / Percussion (A1, B1)
Cox Gaytan / Viola (A3)
Enrique Gonzalez / Violin (A3)

PFM - Live In Concert (1991, CD, Italy)

Live in Concert

CD - Harlequin/ HCD 101 (USA, 1991)

BBC live concert, 1974/75 

Soundboard

Cyklus ‎– Planet Of Two Suns (1979, LP, Germany)

Cyklus is a very unknown and underrated ?70 jazz fusion band from Germany who has only one album in their pocket. The album was relesed at Erlkonig label in july 1979 and named Planet of two suns. The album they release is uniquie in his own way , because while more than half is towards ligher sound of jazz fusion not far from Passport or even in places Return to Forever, they have more rougher moments who can pleases every jazz rock listner or progressive fan in same time with complex and subtile arrangements. They never hit big time with their music maybe because they pay too much the year they began their career ? late ?70?s, when prog music was in decline . Well this band like many others from that period is like a kick in the face for those who said that prog/jazz music is dead and not intristing anymore. , 3 members from Cyklus were before this in another german jazz fusion band Aera: matz Steinke from bass, Achim Gieseler - keys and Wofgang Teske drums. (progarchives)

Atila ‎– The Beginning Of The End (El Principio Del Fin) (1975, LP, Spain)

A real top of the Spanish / Catalan prog scene,Atila were formed in 1973 as a trio by guitarist Eduardo Alvarez Niebla, keyboardist Paco Ortega and drummer Juan Panet,hailing from Girona. They were mostly famous for the two full-length albums they released, but before them it was the live recording 'The beginning of the end (El principie del fin)', which functioned as a demo presentation of the band.

This was just one track of 30 minutes length, but do not expect a structured superb epic to be heard. 'The beginning of the end' is more of a live jamming of the band, which additionally sounds a lot more than an early-70's than a mid-70's archive. This lengthy composition can be described as organ-driven heavy psychedelic/prog rock with a few classical adapted themes connected with plenty of guitar/organ solos and grooves, cut around its middle by a 3 min. drum solo. Surprisingly the track flaws easier than expected, as the band changes from smooth psychedelic to heavy organ-driven forms in constant moments.

The album ends up to be a cool archival release of this short-lived Spanish legend with some high but also a lot of low points, yet nowhere near their full-length releases, both in terms of music and production. Recommended mainly to fans of organ-based proto prog. (apps79)

Dubravko Detoni / John Keliehor / John Lewis ‎– Avantgarde (1974, LP, Croatia / England)

Trucking right along, here’s the 1974 second entrant from British library Studio G’s “Avant Garde” series, featuring a trilogy of pieces composed by none other than “Acezantez” head Dubravko Detoni - only his second LP release following the storied “Graphie I.II.III / Phonomorphia 1.2.3” LP for Philips’ Prospective 21e Siècle series from a few short years prior.

Laid out with familiar Library-lexicon panache - the three pieces are described as “Acoustics for Piano Effects and Cello,” “Piano Effects and Electronics,” and “For Orchestra and Electronics” - Detoni’s music here is concerned with dense Electro-Acoustic grapplings with small-group instrumental timbres rivaling his “Above-Board” work for Jugoton. In particular the piano-transform piece “Phonomorphia” is a fantastically dark Musique Concrète workout that calls to mind such canonic work as Raaijmakers’ “Pianoforte,” yet retaining Dubravko’s extended sense of space & dense tonal clusterings.

To round things out, there’s a piece by Studio G regulars - their pieces dot the tracklistings of both “Dramatic and Horror” volumes along with many Bruton & Standard Libraries - John Lewis & John Keliehor consisting of some very cinematic atonal organ & a-rhythmic marching-band figures that erupt into a big grisly blowout worthy of the closing credits of a Lucio Fulci film. (Soundohm)

Compost ‎– Life Is Round (1973, LP, Usa)

This album was released in 1973 on Columbia Records, this all-star band consists of Bob Moses, Harold Vick, Jumma Santos, Jack Gregg and Jack De Johnette, plus friends Roland Prince, Ed Finney, Jeanne Lee and Lou Courntey. The Compost ensemble was formed, to quote Jack DeJohnette, as a co-operative band comprised of a group of people who are all versatile and whose egos are directed into positive channels, thereby overcoming the old leadership-versus-sidemen problem. This mission produced only three albums. While the self-titled debut never achieves much of a trajectory, some of the grooves on Life Is Round are nicely refracted esp. the Harold Vick cuts, “Seventh Period” and “The Ripper”. Lou Courtney even makes an appearance, adding vocals to a tidy song about outer space. (search: web)

Scrooge ‎– Happy What Else (1995, CD, Austria)

Scrooge, baby, yes! What we have here is some rather obscure band from Vienna that made two albums in the mid 90s. Sadly, I had never heard of this band until now, despite the blindingly obvious fact that they are exactly what I love. In any case, they instantly entered my avant-rock canon.

It's a basic fact about the human brain that we perceive things in terms of our expectations and previous knowledge. Here's a case where I feel like I'm hearing a huge number of references to a variety of my favorite music. This is your basic rock-as-high-art music and every piece is a very distinctive compositional entity, not a variation on a consistent style, so there's a ton of information and references to consider.

First and foremost, there are Dog Faced Hermans vibes ALL OVER THE PLACE, and the jaunty, caustic smart punk flavor of the Dutch legends, particularly in the vocal style, is the first thing that made me hop on my pogo stick when this album burst forth from my speakers. There's something really special about this female vocal sound that really intoxicates me, and I don't have too many examples of it to cite, so I tend to get very excited when I hear it. I recently found an excellent example in the Italian duo Amavo, which is more on the straightforward punk side of things and not at the level of musical intrigue of Scrooge or DFH. "caustic" is the word I fall back on, but I wish had a better way of expressing it. Actually, Comus is a key example too. It's something about a slight acidity in the vocal timbres. There are plenty of differences between Scrooge and DFH though. There are lots of reasons why DFH is one of my all-time favorite bands, but the amazing lyrics and sizzling melodies have an incredible emotional resonance for me, and that's something I'm not getting from Scrooge in any significant way. Actually, I have no idea what they're singing about here. DFH wrote addictive pop nuggets with all the delicious edginess as icing on the cake, while Scrooge's songwriting is much more eccentric and varied. Someday I'd like to learn what kind of cross-pollination existed between these bands, since they are from the same region and era. Instead of trumpet, the lead instrumental voice here is violin, which is even better for my tastes. I melt into putty when I hear rock with bowed strings, especially the whole European avant-folk-rock post-RIO aesthetic that Scrooge is a stunning and prototypical example of.

Speaking of which, the next major evocation on hand is Tom Cora's cello in Skeleton Crew and Nimal, all those jagged rhythms and warm bittersweet melodies. These profoundly special favorites are fully evoked at times, which brings many layers of meaning and pleasure to me. Oh dear, how sad to think of this world without Mr. Cora, a man I never had the pleasure of knowing, but I feel I know him in some way through mutual friends. He has a beloved abstract presence in my life that will never fade and it's rare that much time passes without his musical legacy entering my thoughts. This album definitely gives me some misty-eyed thoughts of that whole post-RIO Step Across the Border universe that was so vital to my formative years as a music lover.

But of course there was the later period of Nimal without Cora, with accordion and electric guitar carrying the full weight of the magic, a combination that occurs here as well to similar effect! In fact, the spiky, playful electric guitar style by itself pops up too. There's also a lot of Frith in the guitar playing on this album.

With all this talk about violin, it bears noting that this group has a standard rock lineup, but the vocalist Regina Ausserwöger not only played violin, but so far as I can tell, the violin is multi-tracked in some parts, so it's quite a dominant part of the sound.

Some of the pungent rock moments with accordion and violin evoke P.E.S.T., the very obscure group that was also from Austria during the same period, so I'd also like to know what relationship might've existed between these groups. I absolutely adore this sound they share, well represented by "Milena Jesenka" or the accelerating passage in "Earthfake" on this album. Scrooge has some truly ferocious rock passages amidst their postmodern quirkyness, but they rarely kick ass in the customary manner of Dog Faced Hermans or The Ex.

Then there's the whole wacky ditty sound of Miriodor, Begnagrad, Debile Menthol, Cartoon, Samla, Stormy Six, etc in ample supply. They blow the roof off with "Polka". I could probably say a bit about Sleepytime Gorilla Museum and other Carla Kihlstedt matters, but I lack adequate familiarity with that topic. People into her stuff should take that as a recommendation. Likewise, I'm not sure what to say regarding some similarities with Charming Hostess, as I'm not a fan of that band in general or the vocals of Jewlia Eisenberg in particular, but the Scrooge singing sometimes seems closer to that sound than the Dog Faced Hermans sound I zeroed in on above. Instrumentally, vocally, compositionally and conceptually, Scrooge was a versatile and varied unit.

Moving on to the odd singularities in my Spot That Reference experience with Scrooge, I was amused to notice that "Earthfake" includes a clear blend of Dog Faced Hermans and Thrak-era King Crimson, but there's a lot of other things happening in this song I'm not able to put my finger on. Incredible vocals on that piece, among the moments where Iva Bittova comes to mind, but this song also has bits that sound like Bjork, whose music has never appealed to me other than the interesting voice. The whole Czech axis of Bittova, Tara Fuki, Rale, etc is definitely among my pleasurable associations while navigating the nooks and crannies of this fantastic album. The wild vocals in "Sad and Sick Waltz" sound like Bittova at her freakiest, the sort of thing that never fails to make me giddy. Back to the Crimsonian thoughts, I find the the delicious creamy liquid guitar part on the last track (the title track) to be strikingly similar to the classic early Anekdoten sound, or maybe it's Anglagard because my memory is lacking here. Wonders never cease. This album is truly loaded to the gills with creative, eccentric and compelling music.

And finally, to honor the insight of John Waters that "life without obsession is meaningless", not only is the opening cut "Hit the Pig" a real nugget worth some heavy replay, the high vocal line totally sounds to me like a song that I'm quite obsessed with, the opening cut "Men" from the very obscure sole release by Mad Curry from Belgium in 1970. What's especially fascinating about that song is how it sounds like it's from some late 70s post-punk art wave band, something that really can't be said for many things made in 1970.

I was so flipped out by this album I immediately listened to their second album, which is equally great, a whole nother pile of goodies! (review by herkyjerky)

Nivaldo Ornelas ‎– Nivaldo Ornelas (1978, LP, Brazil)

SIDE A
A1 As Minas de Morro Velho (Cid Ornelas - Nivaldo Ornelas)
A2 Portal dos anjos (Roberto Fabel - Nivaldo Ornelas)
A3 Arqueiro do rei (Nivaldo Ornelas)
A4 Ninfas (Nivaldo Ornelas)
SIDE B

B1 Querubins e Serafins (Nivaldo Ornelas)
B2 - Sorrisos de uma criança (Nivaldo Ornelas)
B3 Cidadela (Jairo Lara - Nivaldo Ornelas)
B4 O que há de mais sagrado (Nivaldo Ornelas)

Musicians

Acoustic Bass, Percussion – Luis Alves

Arranged By – Wagner Tiso (tracks: B1)

Cello – Watson Clis

Congas, Violin – José Alves

Cornett, Flugelhorn, Mellophone – Marcio Montarroyos

Drums – Paulinho Braga (tracks: A1, A2), Robertinho Silva (tracks: B3, B4)

Drums, Timpani – Pascoal Meirelles

Flute – Cacau, Mauro Senise, Raul Mascarenhas, Ricardo Pontes, Zé Carlos

Flute, Acoustic Guitar – Jairo Lara

Guitar [Violao], Guitar – Toninho Horta

Percussion – Chacal, Chico Batera, Pascoal, Paulinho Braga, Robertinho Silva, Ubiratan

Piano, Organ – Helvius Vilela, Wagner Tiso (tracks: B1 to B4)

Tenor Saxophone, Flute, 

Twelve-String Guitar, Electric Bass – Jamil Joanes

Viola – Frederick

Violin [Violino] – Aizik

Arranged By – Nivaldo Ornelas

Choir [Female] – Carla, Nana, Niuza, Suzana

Choir [Male] – Edson Bastos, Jamil, Max, Waldir

Choir [Participacion especial] – Coral De Pro Arte

Choir [Youth] – Carla, Flavinho, Nana, Tata

Conductor [Pro Arte Choir] – Jaques Morelenbaum

Série MPBC Musica Popular Brasileira Contemporanea

Crypto ‎– Crypto (1975, LP, Netherlands)

CRYPTO was a short lived jazz rock band from Zandvoort formed in 1973 and disbanded in 1975. It was led by Peter SCHON who had writting and production duties and played an array of keyboards and synths which shine on the record. They were comparable to funky fusion of PLACEBO while they lasted, and some of the members along with SCHON would work in another similar band called PUMPKIN. (progarchives)

Odyssee ‎– White Swan (1978, LP, Germany) Repost!

Sadly obscure, almost anonymous yet proudly in-style progressive, this late-70s German quintet called ODYSSEE deserves its mention in any prog rock comprehensive chronicle. There's no real telling how well their one-off effort (White Swan, released in 1978) was received, or if ever fully acquainted. Clearer is their independent activity: a private pressing release, on vinyl LP, gone rare and never reissued afterwards, plus no contact with the musical scene, except the strong influences from the prog masters.

Forming this ensemble were vocalist and guitarist Rainer Schön, bassist Silvio Dalla Torre, Volker Franke on drums and percussion, pianist Werner Kiente and keyboardist (organs & synthesizers) Friedhelm Wolff. Dalla Torre, now an established double bass player, as well as a composer, teacher and critic, remembers how ODYSSEE was the mature extension of a young school band, and how White Swan came "after years of hard practice".

The album is a balance treat of both simple, fast-paced songs and the extended, copiously symphonic title track. The strong if overt influences, the solid instrumentation and the band skills reshape the whole musicality. Throughout the seldom mentions, ODYSSEE is mainly pinned down as a symphonic band, with a clear summon of the GENESIS trademark sound, but also building momentums based on YES, CAMEL or NEUSCHWANSTEIN. Just as obvious, the jazz enrichment, leaning on an open stream of fusion or based on groovier tones, can be a pleasant surprise. (Progarchives)

Delirium ‎– III (Viaggio Negli Arcipelaghi Del Tempo) (1974, CD, Italy)

Songs
1. Il Dono (4:17)
2. Viaggio Negli Arcipelaghi Del Tempo (4:45)
3. Fuga N.1 (7:40)
4. Dio Del Silenzio (2:55)
5. La Battaglia Degli Eterni Piani (6:42)
6. Un Uomo (2:06)
7. Viaggio N.2 (4:33)
8. Ancora Un'alba (2:33)

Musicians
Mimmo Di Martino / guitars, vocals
Ettore Vigo / piano, organ, Mellotron, Moog, vibes, vocals
Martin Grice / saxes, flute, keyboards, vocals
Marcello Reale / bass, vocals
Peppino Di Santo / drums, percussion, vocals
With:
Romano Farinatti / strings conductor

Delirium ‎– Lo Scemo E Il Villaggio (1972, CD, Italy)

Songs
1. Villagio (5:14)
2. Tremori Antichi (2:23)
3. Gioia, Disordine, Risentimento (7:20)
4. La Mia Pazzia (3:28)
5. Sogno (5:48)
6. Dimentione Uomo (4:37)
7. Culto Disarmonico (3:45)
8. Pensiero Per Un Abbandono (4:37)

Musicians
Mimmo Di Martino / acoustic guitar, vocals (4,6,8)
Ettore Vigo / piano, organ, vocals
Martin Grice / saxes, flutes, vocals
Marcello Reale / bass, double bass, vocals
Peppino Di Santo / drums, percussion, gong

Delirium ‎– Dolce Acqua (1971, CD, Italy)

Songs
1. Preludio (Paura) (3:39)
2. Movimento I (Egoismo) (4:31)
3. Movimento II (Dubbio) (3:26)
4. To Satchmo, Bird and Other Unforgettable Friends (Dolore) (5:38)
5. Sequenza I e II (Ipocrisia - Verità ) (3:36)
6. Johnnie Sayre (Il perdono) (4:48)
7. Favola o storia del Lago di Kriss (Libertà) (4:22)
8. Dolce acqua (Speranza) (5:49)
Bonus track:
9. Jesahel (4:05)

Musicians
Ivano Fossati / lead vocals, acoustic & electric flutes, acoustic guitar, recorder, harmonica
Mimmo Di Martino / acoustic guitar, vocals (3)
Ettore Vigo / piano, organ, electric piano, celesta, vibraphone, harpsichord, prepared piano, harmonium, vocals
Marcello Reale / bass, vocals
Peppino Di Santo / drums, percussion, timpani, vocals (1)
With:
Giancarlo Chiaramello / strings conductor

Unisono Quartet ‎– Jazz-Liisa 1 (2016, LP, Finland)

Songs
1. Long Tandem (10:13)

2. Specially For (10:01)

3. Totuuden Aarreaitta - Treasures Of The Truth (11:38)

4. Incarnation (10:12)

Line-up

Reino Laine / drums

Make Lievonen / electric bass

Olli Ahvenlahti / piano, electric piano

Paroni Paakkunainen / soprano saxophone, alto saxophone, baritone saxophone, flute

Recorded live at Liisankatu Studios, Helsinki.

Live broadcast on Channel 2, Wednesday September 26th, 1973

Limited to 200 on CLEAR VINYL. The 'Pop-Liisa' and 'Jazz-Liisa' broadcast session series presents previously unreleased and forgotten gems, recorded by the biggest names of Finnish 1970s prog and jazz. Never bootlegged and so far only known to a few faithful servants (and largely thought to have been lost for ever), these sessions offer a hitherto unrivalled look into the state of Finnish jazz and progressive rock in the period 1972-1977.

Jupu Group ‎– Jazz Liisa 05 (2016, LP, Finland)

Songs
1. Tasot (4:29)
2. Ahmoo (10:48)
3. Ennystymätön (7:15)
4. Cybele (11:08)
5. Lokki (7:39)

Line-up
Juhani Poutanen / violin
Jukka Linkola / piano, electric piano, organ
Sakari Kukko / soprano saxophone, flute, talking drum
Janne Louhivuori / guitar
Ilkka Hanski / bass
Upi Sorvali / drums, percussion

Releases information
LP: Svart Records, SRE 025
Recorded live in October 2nd, 1974, in Liisankatu Studios, Helsinki

Univers Zero - Present - Aranis - Once Upon A Time In Belgium (2011, Live, France)

Rock in Opposition Festival
Cap'Découverte, Le Garric (Carmaux) - France

Disc 1

11 tracks (total time: 62:10)

Disc 2

4 Tracks (total time: 33:33)

Line Up
Daniel Denis - percussion, drums
Roger Trigaux - keyboard
Joris Vanvinckenroye - double bass
Reginald Trigaux - electric guitar
Jana Arns - flute
Dave Kerman - drums, percussion
Kurt Bude - clarinet
Michel Berckmans - bassoon, oboe
Dimitri Evers - electric bass
Stijn Denys - acoustic guitar
Pierre Chevalier - keyboards
Marjolein Cools - accordion
Pierre Desassis - soprano saxophone
Lisbeth Lambrecht - violin
Martin Lauwers - violin
Keith Macksoud - electric bass
Iris Thissen - cello
time: 95:19

PS. digital audience master recorded from the sweet spot above the soundboard

Carlo Rustichelli / Francesco De Masi ‎– In Nome Del Popolo Italiano / Ettore Lo Fusto (1972, LP, Italy)

LATO A (In Nome Del Popolo Italiano)
1. Orchestra Diretta Da Gianfranco Plenizio: Fiesta Time (3:09)
2. Orchestra Diretta Da Gianfranco Plenizio: Emozioni (2:25)
3. Orchestra Diretta Da Gianfranco Plenizio: Fly 747 (2:28)
4. Orchestra Diretta Da Gianfranco Plenizio: Emozioni (2:50)
5. Orchestra Diretta Da Gianfranco Plenizio Emozioni (2:34)
A. Orchestra Diretta Da Gianfranco Plenizio: Non Dovrei (3:00)
LATO B (Ettore Lo Fusto)
1. Complesso "Il Punto" Con L'Orchestra Di F. De Masi: Ettore Lo Fusto (2:24)
2. Complesso "Il Punto" Con L'Orchestra Di F. De Masi: Il Tallone Di Achille (2:12)
3. Complesso "Il Punto" Con L'Orchestra Di F. De Masi: Elena (2:45)
4. Complesso "Il Punto" Con L'Orchestra Di F. De Masi: Doppio Punto (2:54)
5. Complesso "Il Punto" Con L'Orchestra Di F. De Masi: Menelao Shake (2:50)

Double Soundtrack set collected in this Rare 1st press LP featuring the original Score of the films "ETTORE LO FUSTO", an Italian comedy inspired by Omer Iliad and starring Enzo Castellari and "IN NOME DEL POPOLO ITALIANO" starring Vittorio Gassman and Ugo Tognazzi. First Score sees the Orchestra directed by Francesco De Masi who also arranged the music performed here by the Italian Prog combo IL PUNTO, making this Soundtrack also noted for Italian Prog fans. Stunning Prog artwork by international illustrator Renato Casaro in pure Symeoni style.
Just great and amazing jam on the ETTORE LO FUSTO side with the Complesso Il Punto performing some Killer Prog-Funk grooves with loads of Psychedelic riffs, pressing and owerpowering rhythms and a vein of Funky. Full side is Progressive trip with stoned flutes, great drums and lovely groovy Score themes.

Ciccada ‎– A Child In The Mirror (2010, CD, Greece)

Songs / Tracks Listing
1. Ciccada (4:38)
2. Isabella Sunset (6:09)
3. Ένα παιδί στον καθρέφτη - A Child In The Mirror (6:00)
4. A Storyteller's Dream (7:08)
5. Raindrops (4:16)
6. An Endless Sea (5:27)
7. Epirus - A Mountain Song (4:58)
8. Elisabeth (7:08)
9. Η Στιγμή - The Moment (3:14)
10. A Garden Of Delights (8:23)

Line-up / Musicians
Evangelia Kozoni / vocals, accordion (2), tambourine (4)
Yorgos Mouchos / acoustic & electric guitars, vocals (7)
Nikolas Nikolopoulos / flute, recorder, organ, Mellotron, Strings, glockenspiel (10), tambourine (9), vocals (7)
Omiros Komninos / bass, programming (11-14)

With:
Valerio Cipollone / clarinet (1,4,5,7,9)
Napoleon Savanis / alto sax (2)
Vassilis Lykos / cello (2,6,9,10)
Hryssoula Georgaki / clarinet (2,3,8,10)
Panayotis Yiannakakis / piano (2,3,8,10), electric piano (6,7)
Spyros Laskarides / trumpet (2,3,7,10)
Mattia Signò / glockenspiel (4,5)
Pietro Cavedon / piano (4,9)
Paolo Botta / Fender Rhodes electric piano (5)
Anna Böhmig / French horn (10)
George Kazianis / clarinet (11,12)
Fotis Mylonas / bass (12)
Alberto De Grantis / drums

The music of CICCADA is heavily rooted in folk music; it's complex, compelling, borowing influneces from many other spheres of progressive rock or more. If you're intrigued by fusing the most complex moments of GRYPHON and GENTLE GIANT, this band is highly recommended. (Progarchives)

Ciccada ‎– The Finest Of Miracles (2015, CD, Greece)

Songs / Tracks Listing
1. A Night Ride (6:26)
2. Eternal (8:02)
3. At the Death of Winter (4:04)
4. Around the Fire (9:16)
5. Lemnos (Lover's Dancer) (0:47)
- The Finest of Miracles:
6. Birth of the Lights (1:52)
7. Wandering (6:42)
8. Sirens' Call (1:38)
9. As Fall the Leaves (3:09)
10. Song for an Island (4:47)

Line-up / Musicians
Evangelia Kozoni / vocals
Yorgos Mouchos / acoustic, Classical & electric guitars, backing vocals
Nikolas Nikolopoulos / flute, recorder, tenor sax, organ, Mellotron, piano, electric piano, synth, glockenspiel
Yiannis Iliakis / drums, percussion, marimba

With:
John Kosmidis "Jargon" / vocals (4)
Savvas Paraskevas / acoustic & electric piano (1)
Panayiotis Sioras / clarinet & bass clarinet (2,4-10)
Spyros Kakos / French horn (10)
Panayotis Zafiropoulos / trombone (10)
Yannis Moraitis / trumpet (2,5,10)
Dionysis Agalianos / trumpet (10)
Sakis Myronis / tuba
Lydia Boudouni / violin (1,2,4,6-10)
Marianna Vassou / cello (2,4)
Yorgos Lambadis / bass (1)
Johan Brand / bass (2)
Omiros Komninos / bass (3,4,6-10)

Saïno ‎– Bitume Rouge (1984, LP, France)

SIDE A
A1. Le Rat (3:12)
A2. Bitume Rouge (3:59)
A3. Pagan (3:45)
A4. Le Survivant De La Terreur (6:02)
SIDE B

B1. Joe Spencer (3:43)
B2. Le Flic (4:45)
B3. L'oeil Du Viellard (3:30)
B4. Ville Endormie (4:10)

Line-up / Musicians
Remi Bouchaud / rhythm guitar
Philippe Laine / lead guitar
Didier Laine / bass
Andre Griffon / drums
Jean-Yves Bouchaud / vocals
Pierre Ortion / keyboards
Robert Carpentier / mixing, engineer

Saïno second one is vocal, halfway between a powerful jazz-rock and a certain French rock tradition represented by groups such as Mona Lisa, Atoll, with in addition a little influence from some French "rock" singers (Thiefaine, Lavilliers).

Saïno ‎– Saïno (1982, LP, France)

SIDE A
A1. Saino (6:37)
A2. Alost (7:27)
A3. Styx (6:33)
SIDE B
B1. Horizons Imaginaires (4:18)
B2. Opus 444 (4:48)
B3. Amalgame Synthetique (4:50)
B4. Atlantide (3:55)

Line-up / Musicians
Remi Bouchaud / composition, rhythm guitar
Henri Chenuet / recording
Saino / producer
Philippe Laine / composition, lead guitar
Didier Laine / bass
Dominique Herisse / cover
Andre Griffon / drums
Pierre Ortion / keyboards

Far superior to most instrumental fusion albums coming from Europe during this time, Saino provides much more firepower than expected, plus the melodic content is very high - keeping this from a cold technical academic exercise. Five piece group that employs both a lead and rhythm guitar, which seems to be the magic formula that propels Saino's music forward. (ashratom RYM)

Nelson Ayres ‎– Nelson Ayres (1979, LP, Brazil)

SIDE A
A1 Mientras (7:10)
A2 Veranico De Maio (4:39)
A3 Fanfarra E Farra (6:47)
SIDE B
B1 Dois Tempos (4:31)
B2 Projeto De Jingle (3:10)
B3 Muito Tempo (4:41)
B4 Cidade Encantada (3:42)

Musicians
Alto Saxophone, Tenor Saxophone, Flute – Roberto Sion
Bass – Claudio Bertrami
Drums – William Caram
Guitar – Luís Carlos Maluly
Keyboards, Arranged By – Nelson Ayres
Percussion – Ubiraci De Olivera
Tenor Saxophone – Hector Costita
Trumpet – Odésio Jericó
Vocals – Maria de Fatima

Série MPBC Musica Popular Brasileira Contemporanea