Friday, October 30, 2009

Mati Klarwein

From the official Mati Klarwein site:

Behind the world-famous painting 'Annunciation', used by Santana for the cover of their album Abraxas, hides the incredibly rich, but little known, universe of Mati Klarwein. Although Mati produced some of the most iconic images of the 60's and 70's, his name, and much of his work, remains unknown to many. Mati was a prolific artist whose range encompassed still life paintings, a great many portraits, and a wide variety of landscapes, both real and imagined, as well as the surreal and visionary art that he is most often associated with.

A true citizen of the world, Mati Klarwein did not have strong roots in any one country. Born of Jewish parentage in pre-war Germany, he escaped with his parents, to Palestine, when just two years old, where he later adopted the name Abdul as a gesture of empathy with his Arab neighbours. Growing up as a Westerner in what was then Palestine (later Israel), Mati was always something of an outsider and never knew the comfort of an unchallenged belief system. Perhaps no surprise then that in his work he likes to challenge our assumptions on everything from religion and sexuality to the perceiver and the perceived.

"Abdul Mati Klarwein is a visionary poet of the sublime. He is an artist of amazing technical virtuosity. He is also an enigma that an ever widening audience is trying to solve."

- Ronald A. Kuchta

Director, Everson Museum of Art, Syracuse, New YorkLiving, working and travelling at various times in Paris, New York, Spain, Italy, Greece, Turkey, India, Morocco, Niger, Haiti, Jamaica, Indonesia, Brazil, Mexico, Bahamas, Kenya, Senegal, Gambia, Cuba and Guatemala, Mati drew widely on these travels in his art, distilling this rich experience into an even richer visual imagery.

With artistic influences as diverse as his travels, Mati Klarwein's work combines a remarkable vision of the world about us, with a technical mastery of his craft that enables him to vividly communicate that vision.

From his early work, which already exhibited this technical mastery, through the psychedelic surrealism of the sixties and seventies, to the later landscapes of his beloved Mallorca, much of Mati's work displays an enhanced perception of beauty that most of us experience only occasionally in our lives.

Here is a sample of some of Mati Klarwein's work:

Thursday, October 29, 2009

Holographic Myth Language

...ancient legend tell us that one day, when the illusion of the SCREEN holds humanity on the brink of self destruction, a band of mystic meta-warriors will emerge wielding the ancient power of the HOLOGRAPHIC MYTH LANGUAGE. witness here, for the first time, as the epic legend unfolds before humanity's ears and the HOLOGRAPHIC MYTH LANGUAGE restores the thought forms of humanity to the long-forgotten harmonic wavelengths...

music has to be the key to the spaceship. words open universes. a gathering of tone-scientific boom-bap neopyramidic spaceship breakbeat sculptors and image-signal telekinetic transmitter navigation wordsmith warriors. the battlefield for the unlimitedness of the human potential is the playground of the imagination. the will of mighty magicians manifests poetic food for the ardent consciousness. who needs history when words appear in synchronization with the landscape of the moment? enter the myth as senses turn inward and life on the other side of the mirror of illusion blossoms in fountains of song.

HOLOGRAPHIC MYTH LANGUAGE is available to all, an open concept. the future of our race depends upon it... how much can YOU imagine to the music?!?

Tonescience by:

TOUCANSTARFLOWER - most of the raps, some beats; and all cuts, instruments, samples, editing, efx, etc

JACK "GORE" WILDER - some beats

DOLPHINBRAIN - some beats

MAJASKULEZ - some raps

OKERASUN - some raps

GILGAMORPH - some raps


TAWEE KIVA - some raps

INTHENI - some beats and some raps

SOPERIFFICK - some raps




Tuesday, October 27, 2009

Moon Turn The Tides...Gently Gently Away

Moon Turn The Tides...Gently Gently Away is a site dedicated to the vastly expansive world Jimi Hendrix created in the short time he was able to professionally record and gig around the world. In this website you will find rare archived material ranging from youtube clips, interviews, photos, concert and studio recording info and other various pieces of information scattered all through out the internet and in books. This is still a work in progress, so there is many more entries to come, please give a moment of your time to check this site out. It is a site that long time fans and new fans of Jimi Hendrix can enjoy. - Erik Otis

Monday, October 19, 2009

3 Hür-El

All Music Guide Biography by Vefik Karaege

3 Hur-El were one Turkey's most popular "Anatolian rock" bands. Comprised of three brothers, Onur (bass), Haldun (drums), and Feridun Hurel (guitar, saz, vocals), they followed the lead of Mogollar and performed some of the best examples of the genre. They wrote their own sometimes folk-driven Anatolian pop/rock, but they also paraphrased some classic folk songs with considerable ingenuity. Although their fame was short-lived, they helped improve the Turkish culture's stance toward rock music. All three brothers were born in Trabzon (Onur in 1948, Haldun in 1949, and Feridun in 1951), the largest city on the northern coast of Turkey. They moved to Istanbul due to their father's business; since they were members of a rather poor family, they were attentive to foreign musical developments but couldn't buy any instruments to play. But their desire to make music was soon realized when their father came home with an accordion, and the seeds of their later musical journey began to take root.

In 1966 they formed their first band, Yankilar, which was later renamed as Istanbul Dortlusu. They performed in small music halls and tried to make their own innovative synthesis of Turkish music and traditional rock forms. The brothers later formed a number of other bands, including Trio Istanbul, Oguzlar, and Biraderler, to name a few.As years went on, the brothers received good reviews from the underground magazine Diskotek and increased their popularity. They tried to live according to their musical philosophy, with long hair and hippie outfits — although they were still in high school. Feridun was even kicked out of school for his inappropriate behavior. After graduation from high school, they were ready to hit it big time, but Feridun chose to play and tour with the Selcuk Alagöz Orchestra. The other two brothers would later join the same band to gain experience and earn money to buy new equipment. In 1970 the brothers decided to embark on their own. They left the Selcuk Alagöz Orchestra and a busload of instruments behind to form 3 Hur-El. The name has always been problematic, as some people wrote the name as "3" and others spelled the number out with the Turkish "Uc."

Also, Hurel is their last name, but as they used it on some of their covers, when written as Hur-El it takes on the meaning "Free Hand" — signifying that the three brothers were now free to do whatever they wanted without any restrictions. Their first achievement was to invent an instrument that would combine an electric guitar and an electric baglama in the same body — the result formed the main ingredient of their signature sound and was dubbed the "double-neck saz-guitar." However, 3 Hur-El's innovations were not limited to this instrument: drummer Haldun Hurel combined traditional rock instruments with custom-made darbukas and other percussion instruments to create a synthesis of East and West.After their first single in 1970, "Ve Olum/Seytan Bunun Neresinde," they released more than ten singles in six years. Although "Madalyonun Ters Yuzu," "Ben Gecerim Gonul Gecmez," and "Seytan Bunun Neresinde" were considerable hits, their most popular song was "Sevenler Aglarmis," which had a rougher guitar tone than their other music to date. They also collected some of their previous singles on two LPs in 1973 and 1974; the initial LP won the first-ever gold status in Turkey. Apart from the band's singles, Feridun Hurel released a solo single, "Bir Sevmek Bin Defa Olmek Demekmis," which also became an instant hit.

In 1977, Haldun and Feridun left the band for mandatory military service, and during their period of service lost their mother in a traffic accident. Onur and Haldun immediately quit music; Feridun traveled to England to make a fresh start, but returned without any significant accomplishments and also decided to abandon his musical career. Subsequently, Onur became an instructor, Haldun started a business in ceramics and textiles, and Feridun chose advertising. However, in 1996 they returned with an album called Efsane... Yeniden (Legend... Again), and they released their latest effort, 1953 Hurel, in 1999. Both albums continued the sounds and song structures of their previous efforts, but they weren't welcomed enthusiastically by the new generation. 3 Hur-El have generally remained out of the spotlight since then, aside from occasional performances.

Tuesday, October 13, 2009

AstroNation Torrent Blog 93.

Jack Bruce & Friends
Live at The Lyceum Strand
London, England
Jan 25, 1970

Incomplete recording

If anyone has a more complete version - upload it!

"Jack Bruce & Friends" at the time were:
Jack Bruce, Larry Coryell, Mitch Mitchell and Mike Mandel


1 Intro
2 Tickets to Waterfalls
3 Theme For A Imaginary Western
4 Unknown
5 We're Going Wrong - incomplete - cuts off abruptly at 4:41 mins

The sound quality is good, but slightly under par for the times.
You probably have heard much much worse.

taken from hopboys Jack Bruce collection


Amazing show this one. Their second and last show in Spain. They were schedulled to play in san Sebastian too but it never happened. There is said to have been riots for the cancellation of the show...The video footage for this show was aired in one of the best music programmes ever in Spain, and was seeded here by the great Kigonjiro some time ago. The audio is pretty exceptional, too.

Hope you anjoy. Share, don't sell.



The Smiths
Paseo de Camoens, Madrid 1985 May 18th
San isidro Festivities

William, It was Really Nothing
Nowhere Fast
I want the One I Can't Have
What She Said
How Soon is Now
Handsome Devil
That Joke Isn't Funny Anymore
Shakespeare's Sister
Russholme Ruffians
The Headmaster Ritual
Hand In Glove
Still Ill
Meat Is Murder
Heaven Knows I'm Miserable Now
Miserable Lie
Barbarism Begins At Home
This Charming Man
You've Got Everything Now

Monday, October 12, 2009

Savath & Savalas

All Music Guide Biography by Marisa Brown

Started in 1998, Savath & Savalas was created as a way for left-field producer Scott Herren (best known for his work as Prefuse 73) to explore his more instrumental and acoustic tendencies. His first full-length, Folk Songs for Trains, Trees and Honey, an experimental, glitchy affair, came out in 2000, followed by the EP Rolls and Waves in 2002 and the much folkier Apropa't — which featured vocals from Catalan singer Eva Puyuelo, who Herren met when spending time in Spain — in 2004. In 2007 Golden Pollen, which included songs on which only the producer/instrumentalist sang, as well as appearances from artists like Mia Doi Todd and Jose Gonzalez, was released. Two years later, a proper follow-up to Apropa't appeared; La Llama included a new contributing member, Ecuadoran (by way of Florida) Roberto Carlos Lange.

Roy Harper

The biography on Roy Harper provided below comes from the Official Roy Harper site. This web page addition to the Pharaohs Den web library only includes biographical information up to the end of the 70's on Roy Harper, to read about his awards and other fascits of how his musical legacy evolved, follow the link below to get the full story on Roy Harper.

Roy Harper

Early Life

Harper was born in the Manchester suburb of Rusholme, England. Following the death of his mother a few weeks after his birth, he lived in Manchester for a few years before the family moved to Lytham St. Annes. He was raised by his father and step-mother, whose Jehovah's Witness beliefs eventually alienated him. Harper's anti-religious views would later become a familiar theme in his music. At the age of 10, he began playing skiffle music with his younger brother, David Harper, as well as being influenced by blues music, jazz and classical. Leaving school when he was 15, he joined the Royal Air Force only to reject its rigid discipline. He managed to feign madness in order to get a discharge. Harper then busked around Europe until 1964 when he returned to England and gained a residency at London's famous Les Cousins folk club in Soho.

The Sixties

His first album, 'The Sophisticated Beggar', was recorded in 1966 after Harper was spotted at the Les Cousins club and signed to Strike Records. It consisted of his sung poetry backed by acoustic guitar using an echoplex tape machine and other effects. CBS Records saw his potential and hired producer Shel Talmy to arrange 'Come out Fighting Genghis Smith', with the 11 minute track 'Circle', marking a widening of Harper's audience away from contemporary folk. Its intended cover was too controversial for CBS at the time, depicting a new born baby, complete with umbilical cord. Unknown to Harper, CBS changed it to a picture of their artwork director's baby, without including the birth scene Harper had intended. Harper and CBS parted company. The cover art was altered to Harper's satisfaction when he regained control of the recording.

Harper recorded 1968's Folkjokeopus with United Artists. Similar to the previous album, one song, on this occasion 'McGooghan's Blues' was 15 minutes long. In those days artists were required to write 3 minute songs with a chorus coming in no later than 30 seconds. At the time, this was the established requirement for radio play. From May, 1968, Harper was making regular appearances at free concerts in London's Hyde Park attracting a cult following of fans from the underground music scene. Harper's first tour of the United States followed the release of the album Flat Baroque and Berserk in 1969 which featured The Nice on one track called "Hell's Angels". Its ethereal sound was achieved by a wah-wah pedal attached to an acoustic guitar. Flat Baroque and Berserk also marks the beginning of Harper's relationship with EMI records, with 8 of his early albums recorded at the Abbey Road Studios and released on EMI's Harvest label. Harvest was formed in 1969 as a response to the growing emergence of 'underground' or 'progressive music'

The Seventies

After the Bath Festival of 1970, Led Zeppelin wrote a song titled 'Hats Off to (Roy) Harper', which appeared on the album Led Zeppelin III. According to Jimmy Page, the band admired the way Harper stood by his principles and did not sell out to commercial pressures. In a mutual appreciation of their work, Harper would often attend live performances by Led Zeppelin over the subsequent decade as well as contribute sleeve photography to the album Physical Graffiti. He also appears, uncredited, in the 1976 film, The Song Remains the Same.

Harper's 1970 critically acclaimed album was the four song epic, Stormcock, featuring Jimmy Page on guitar (credited as 'S. Flavius Mercurius') and David Bedford's orchestral arrangements. David Bedford would collaborate on future releases. In 1972, Harper made his acting debut playing Mike Preston alongside Carol White in the John Mackenzie film 'Made'. The soundtrack for this film appeared in the following year with the title 'Lifemask'. His next album 'Valentine', was released on Valentine's Day, 14 February 1974 and featured contributions from guitarist Jimmy Page. A concert to mark its release was held at London's Rainbow Theatre with Page, Bedford, Ronnie Lane on bass and Keith Moon on drums. The live album 'Flashes From The Archives Of Oblivion' soon followed.

Between 1975 and 1978, Harper spent considerable time in the United States. Pink Floyd's 1975 release 'Wish You Were' Here saw Harper as lead vocalist on the song 'Have a Cigar'. Floyd's David Gilmour returned the favour by appearing on Harper's next album, 'HQ', along with Harper's occasional backing band called Trigger (Chris Spedding on guitar, Dave Cochran on bass guitar, and Bill Bruford on drums) along with Led Zeppelin's John Paul Jones. The single 'When An Old Cricketer Leaves The Crease', taken from the album, is Harper's biggest selling and best known solo record to date. Harper also co-wrote the song, 'Short and Sweet' with Gilmour for Gilmour's first solo record released in 1978. He performed the song live with Gilmour at least once in the 80s singing the lead vocal.

Controversy followed the release of 1977's Bullinamingvase, with Watford Gap service station objecting to the lyrics in the song 'Watford Gap', which criticised their food ("Watford Gap, Watford Gap / A plate of grease and a load of crap..."). Harper was forced under duress to drop it from future UK copies of the album, though it reappeared on a later CD reissue and remained on the U.S. LP. Bullinamingvase also featured 'One of Those Days in England', with backing vocals by Paul McCartney and Linda McCartney, which became a Top 40 hit. 'Flat Baroque And Berserk', 'Lifemask', 'Valentine', 'Flashes from the Archives Of Oblivion', 'HQ' and 'Bullinamingvase' were all top 20 albums. For much of the seventies, Harper co-produced his records with Peter Jenner, who was also his manager

Ali Farka Touré

All Music Guide Biography by Richie Unterberger

One of the most internationally successful West African musicians of the '90s, Ali Farka Touré was described as "the African John Lee Hooker" so many times that it probably began to grate on both Touré's and Hooker's nerves. There is a lot of truth to the comparison, however, and it isn't exactly an insult. The guitarist, who also played other instruments such as calabash and bongos, shared with Hooker (and similar American bluesmen like Lightnin' Hopkins) a predilection for low-pitched vocals and midtempo, foot-stomping rhythms, often playing with minimal accompaniment.

Touré's delivery was less abrasive than Hooker's, and the general tone of his material somewhat sweeter. Widespread success on the order of Hooker was somewhat elusive, though, as Touré sang in several languages, and only occasionally in English. As he once told Option, his are songs "about education, work, love, and society." If he and Hooker sounded quite similar, it's probably not by conscious design, but due to the fact that both drew inspiration from African rhythmic and musical traditions that extend back many generations.

Touré was approaching the age of 50 when he came to the attention of the burgeoning world music community in the West via a self-titled album in the late '80s. In the following years he toured often in North America and Europe, and recorded frequently, sometimes with contributions from Taj Mahal and members of the Chieftains. In 1990, Touré retreated from music entirely to devote himself to his rice farm, but was convinced by his producer to again pick up the guitar to record 1994's Talking Timbuktu, on which he was joined by Ry Cooder. It was his most well-received effort to date, earning him a Grammy for Best World Music Album, but it was also proof that not all Third World-First World collaborations have to dilute their non-Western elements to achieve wide acceptance. However, Touré found the success to be draining and again retreated to tend his farm.

He didn't release a record on American shores for five years afterward; he finally broke the silence in 1999 with Niafunké, which discarded the collaborative approach in favor of a return to his musical roots. Then, once again, Touré stepped away from the limelight. In 2005, perhaps partly to keep his name familiar to music lovers, Nonesuch issued (for the first time on compact disc) Red & Green, two albums Touré recorded in the early '80s, packaged together as a two-disc set. In the Heart of the Moon was also released in 2005. Touré died on March 7, 2006, from the bone cancer that he had been battling for years; however, he was able to complete one last album before passing. His final album, Savane was released posthumously in July 2006


All Music Guide Biography by John Bush

Well after the death of new wave, Brainiac formed in 1992 with a sound that perfectly epitomized the uptight, herky-jerky tension of the early-'80s movement, as well as its warped sense of song structure and electronic breakdown. The band came together in Dayton, OH, originally the basement experiments of vocalist/keyboard player Tim Taylor and bassist Juan Monasterio. After recruiting guitarist Michelle Bodine and drummer Tyler Trent, Brainiac began playing around the Midwest and hooked up with Limited Potential Records, which released the single "Super Duper Seven" in September 1992. After another single, a split with Bratmobile on Dayton's 12X12 label, Brainiac signed with Grass Records. The group's debut album Smack Bunny Baby, produced by Girls Against Boys' Eli Janney, appeared in mid-1993. During 1994, Brainiac replaced Bodine with guitarist John Schmersal and released their second album, Bonsai Superstar. After a tour on Lollapalooza's second stage, a performance in Chicago impressed the indie label heavyweight Touch & Go, which signed the band and issued their third album, Hissing Prigs in Static Couture, in early 1996.

Brainiac released an EP, Electro-Shock for President, in April 1997, prior to entering the studio to record their fourth album. Over the course of 1996-1997, their profile had grown, and there were rumors that major labels like DreamWorks were interested in signing them after the new album was completed. As the group was recording during the summer, Tim Taylor was tragically killed in a one-car accident, driving home from the studio.


The biography provided below comes directly from the official site for progressive rock band Nektar.

Early Years 1970 to 1973..................

The story of Nektar is a remarkable one. A British rock band that found stardom and success in Germany and the USA, yet failed to make the significant breakthrough in their own country. With three gold albums under their belt (“Remember the Future”, “Down to Earth” and “Recycled”), Nektar produced some of the most original work of the seventies.

In virtuoso guitarist Roye Albrighton Nektar had a charismatic front man who had shared a stage with Jimi Hendrix, in Allan “Taff” Freeman a unique keyboard player, in Derek “Mo” Moore a bass playing powerhouse and in Ron Howden a fluidity rarely found in a drummer. Fifth member Mick Brockett was not a musician, but was responsible for one of the most stunning light and visual shows ever to grace the rock stage.

The roots of Nektar lay in Hamburg in 1970. The band Prophecy, (featuring Freeman, Moore and Howden), were performing in the legendary Star Club. It was here that Prophecy met an extremely talented guitarist Roye Albrighton, also playing the German club circuit. Disillusioned with his own outfit, Albrighton was approached by Prophecy to join them as a guitar player. Light technician Mick Brockett (who had worked with Pink Floyd in the late sixties), had been providing visual backdrops for Prophecy in Germany and was invited to become a permanent fixture in the new band. Opting for a name change, Nektar was born.

Signing to German label Bellaphon later that year, Nektar quickly made an impact with their space rock classic “Journey to the Centre of the Eye”. This was followed in 1972 by the conceptual album, “A Tab in the Ocean” which featured the songs “Desolation Valley” and “King of Twilight”, (later covered in 1984 by Iron Maiden), all of which were to become staples of Nektar’s live show over the next few years. 1973 saw the release of the double album “Sounds Like This”. Recorded “live” in the recording studio, (and described by Elton John as “an extraordinary album”), the set became the bands first release in Britain and resulted in two appearances on “The Old Grey Whistle Test” TV show.

Remember The Future 1973 to 1980..................

It was with the 1973 album “Remember the Future” that Nektar’s real breakthrough came. Another concept, the album became Nektar’s first American release and entered the Billboard album chart in 1974, attaining Gold status without the band ever having visited the USA! An American tour was swiftly booked, with Nektar becoming a major concert attraction.

For 1974’s “Down to Earth” the band enlisted the services of Hawkwind poet Robert Calvert to provide humorous links between songs for their Circus-style concept, earning another Gold disc. “Recycled”, released in 1975, was recorded in France and London and was engineered by ex-Beatles technician Geoff Emerick. The album featured a full choir and the guest appearance of American synthesiser whizz-kid Larry Fast, (from the group Synergy and later a member of Peter Gabriel’s band), and earned yet another Gold disc in Germany and the USA. By now Nektar were firmly established in America, undertaking a rigorous touring schedule, with the most impressive show yet-staged necessitating the hire of a Jumbo jet to transport the band's lighting and sound equipment.

Hectic touring and an increasingly busy schedule eventually took its toll however, leading to the departure of Roye Albrighton in December 1976. He was replaced briefly by American Dave Nelson, the new line up recording “Magic is a Child” (featuring a young Brooke Shields on the sleeve), in 1977.

This line-up was short lived, leaving a gap of two years before Nektar regrouped with Roye Albrighton and Taff Freeman at the helm. With musicians Carmine Rojas and David Prater the superb “Man in the Moon” (released on CD for the first time by Voiceprint Records) was released in Europe, with the band touring to great acclaim. By now though, Freeman had opted to remain in the USA and Albrighton went on to form the band Grand Alliance with ex-Climax Blues Band member Derek Holt.

The Nektar story finally appeared to be over by the birth of the 1980's.

Nektar Recycled 2000 to . . .

In 1999, following a potentially fatal liver infection, guitarist and Nektar front man Roye Albrighton was given only weeks to live. At the last minute he is given the precious gift of life when a suitable liver donor is found. The situation was touch and go for a while, but thanks to the expertise of medical staff he pulls through. Determined to live life to the full, Roye Albrighton resurrects the band that made him a household name in Germany and America. That band is Nektar and a new album; “The Prodigal Son” is released by Bellaphon records. So opened a new chapter for Albrighton and also for the Nektar legacy - a chapter that led to the triumphant reformation of this legendary band.

In 2000, following his health scare, Bellaphon records approached Albrighton to record a new Nektar album. Enlisting the services of Taff Freeman and drummer Ray Hardwick, “The Prodigal Son” (Bellaphon 9729520) was recorded in a matter of weeks. A worthy successor to the previous Nektar catalogue, TPS has received five star reviews in German and American magazines and heralds a new dawn for Nektar.

2002 saw the remastering of the Nektar classic album “Remember the Future” and the release of the entire London Roundhouse Concert from 1973 with previously unreleased bonus material, and amazingly, a full reunion of Albrighton, Freeman, Moore and Howden, along with Mick Brockett’s light show for a concert at the annual NearFest event at The Patriot’s Theater, Trenton, New Jersey on June 29th with guest musician Larry Fast, and a further triumphant live show at The Town Hall in New York City in October 2002 and two US shows in late May and early June 2003. This was followed in July 2003 by the first Nektar concert in London since 1976 and two German concerts (at the Herzberg Festival and at The Centralstation in Darmstadt). These European concerts were unqualified successes.

In October 2003 Nektar negotiated full rights for their back catalogue outside of Germany and have begun a full remastering campaign on their entire catalogue. April 2004 saw the release of the classic albums “Journey to the Centre of the Eye”, “A Tab in the Ocean”, and “Recycled” (all with previously unreleased bonus material). Also released that month was a special remixed CD Boxed set of the bands entire concert at The Academy of Music in New York City recorded in August 1974 on the bands own “Dream Nebula” imprint, part of UK label Eclectic Discs. All these, and future releases include remastering to the highest standard from the original tapes.

In October 2004, original bass player Derek “Mo” Moore announced his intention to leave Nektar. Citing other commitments, unable to tour on a large scale and generously not wishing to impede a revitalised Nektar, Mo stepped aside to welcome fellow Rickenbacker user Randy Dembo. A fan of Nektar since the 70’s, Randy has proved a worthy successor to Mo Moore. 2004 saw an extensive European tour including concerts in Germany, Switzerland, Belgium and the Netherlands - equally importantly it saw the release of a superb new studio album from the band, the magnificent “Evolution”. With stand out tracks such as “Camouflage to White”, “Phased by the Storm”, “Always” and “Child of Mine”, the album is regarded as a true return to form by critics in both Europe and the USA.

An American tour in September 2004 saw Taff Freeman depart the band for personal reasons with his successor, Hammond virtuoso Tom Hughes, instantly earning a place in the hearts of the Nektar faithful. With continued concert dates, along with the remastering of the remainder of the Nektar back catalogue on CD, this legendary band has become once more a proud force to be reckoned with in the world of Progressive music.

2005 saw management changes for NEKTAR and a shift towards the band taking greater control of its output - product and careers. Entering into uncharted territory the band toured Brazil to incredible audiences and critical acclaim.
They took to the stage headlining the superb BajaProg festival in Mexicali in March 2006.

Nektar wanted to embark on major global touring in 2006 as well as make significent product releases, but due to circumstances beyond the bands control (it was entirely in the hands of their then management) they nearly went under finanially. The loyalty of the fans was realised in late 2007 when Nektar truly took over their own management, procured their website ( as their own, entirely under thier control and went on tour (22 nights) of Germany. Joining Roye & Ron was Peter Pichl on 5 string bass and Klaus Henatsch on keys, these two new members from the Rock city of Hanover, Germany, seemed to gel from the outset and now Nektar looks set to make its mark once again.

In May 2009 the USA had the treat of Nektar headlining the Friday of the Rites of Spring Festival in Philadelphia. Accompanied by a short tour amonst which was a tiny celebration of their 40th anniversary in acoustic format for a select group of 250 fans.

Os Mutantes

All Music Guide Biography by John Bush

Though rarely heard outside their Brazilian homeland (especially during the first phase of their career), Os Mutantes were one of the most dynamic, talented, radical bands of the psychedelic era — quite an accomplishment during a period in which most rock bands spent quality time exploring the outer limits of pop music. A trio of brash musical experimentalists, the group fiddled with distortion, feedback, musique concrète, and studio tricks of all kinds to create a lighthearted, playful version of extreme Brazilian pop.

The band was formed by the two Baptista brothers, Arnaldo (bass, keyboards) and Sérgio (guitar), whose father was a celebrated São Paulo concert pianist. In 1964, the pair formed a teenage band named the Wooden Faces. After they met Rita Lee, the three played together in the Six Sided Rockers before graduation broke up the band. Yet another name change (to O Conjunto) preceded the formation of Os Mutantes in 1965, the final name coming from the science fiction novel O Planeta Dos Mutantes. With a third Baptista brother (Cláudio) helping out on electronics, the group played each week on the Brazilian TV show O Pequeno Mundo de Ronnie Von and became involved with the burgeoning tropicalia movement. Mutantes backed the tropicalista hero Gilberto Gil at the third annual Festival of Brazilian Music in 1967, then appeared on the watershed 1968 LP Tropicalia: Ou Panis et Circenses, a compilation of songs from the movement's major figures: Gil, Caetano Veloso, Gal Costa, Tom Zé, and Nara Leão.

By the end of 1968, Os Mutantes delivered their self-titled debut, a raucous, entertaining mess of a record featuring long passages of environmental sounds, tape music, and tortured guitar lines no self-respecting engineer would've allowed in the mix (especially at such a high volume). After time spent backing Veloso and recording a second LP of similarly crazed psychedelic pop, the band ventured to France and Europe for a few music conference shows. Upon returning to Brazil, they set up their own multimedia extravaganza — complete with film, actors, dancing, and audience participation. Despite distractions of all kinds, the group also managed to record LPs in 1970 (Divina Comedia Ou Ando Meio Desligado) and 1971 (Jardim Eletrico), both of which charted the band's shifting interests from psychedelic to blues and hard rock.

After 1972's E Seus Cometas No Pais Do Baurets, Rita Lee departed or was fired from the band (accounts vary), and resumed a solo career that ran concurrently with Os Mutantes (her debut, 1970's Build Up, had been co-produced by the Baptistas). Later Mutantes LPs displayed influences from prog rock, and after Arnaldo Baptista left the fold as well, the band's LPs included a succession of bandmembers — later-to-be-legendary producer Liminha, keyboard player Túlio, and drummer Rui Motta. Except for a 1976 live record, 1974's Tudo Foi Feito Pelo Sol was the band's final LP. Sérgio later moved to America, where he played with Phil Manzanera, among others. After recording a 1974 solo album, Arnaldo played with a new band (Space Patrol) during the late '70s and spent time in a psychiatric hospital before emerging for his second solo work, 1982's Singin' Alone. Meanwhile, though Rita Lee's solo career began sputtering near the end of the '80s, the band turned down a request for a 1993 reunion show by Nirvana's Kurt Cobain. Six years later, the Omplatten label reissued the first three Mutantes records, and David Byrne assembled the Everything Is Possible compilation through Luaka Bop.

In 2006, the band reunited for a performance in London. Both Rita Lee and Liminha sat the reunion out, however, and newcomer Zélia Duncan handled lead vocals. A year later, the band collaborated with DJ J.D. Twitch for Trocabrahma, a cultural exchange program, and 2008 found Os Mutantes releasing their first new song in three decades, "Mutantes Depois." A full album, Haih... Ou Amortecedor..., followed one year later.