Vampire State Building (Vinyl)

SKU: LHC122LP
Label:
Long Hair Music
Category:
Jazz Rock
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Rare German jazzrock originally released on the Philips label in 1971. The music of Alcatraz is based around Klaus Nagurski's flute/alto sax trading off with the fuzz distorted guitarwork of Klaus Holst. Long jamming tracks remind me more of Traffic than "Miles Davis meets Deep Purple" as purported by the label. A great one either way.  Higly Recommended.

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  • his is one of their best releases. It was primarily composed by the band's keyboardist Jukka Gustavson. The jazzy undercurrents evoke a suble Canterbury/Caravan feel but some of vocal stylings of Pembroke and Gustavson remind one of Peter Gabriel on Selling England By The Pound."Considered by many as Wigwam's most ambitious work, Being was originally released in 1974. The album was partially remixed and remastered in 2001, and this latter version is considered superior by the group's mastermind behind the album concept, Jukka Gustavson.When we at Svart began planning the Being reissue, we were faced with the problem of whether to base the vinyl on the original version or the 2001 version, both somewhat different from each other. Eventually we decided to expand the album to a double vinyl, with the 1st LP being as close to the 1974 version as possible, and the 2nd LP presenting the 2001 edition on vinyl for the first time.The original vinyl release featured two booklets, one in English and the other in Finnish. Our version has the contents of both + unreleased photos + a new interview with Jukka Gustavson in one massive booklet."
    $28.00
  • In Hoc Signo is the blowtorch debut from this Italian band playing in the "Rock Progressivo Italiano" style.  Its a young band based out of Rome.  Their goal was to use vintage sounds and replicate the sounds of the 70s and they do it in spades.  Mellotron M400, Hammond B3 Organ, Mini Moog Voyager, Electric Piano, Elka Synthex - all the good keyboard stuff that will send chills down your spine.  Killer lead licks on violin and guitar fight for space with the keys.  I'm reminded of Quella Vecchia Locanda, PFM, King Crimson and Le Orme!  If this isn't enough the band added a couple of guests: Anglagard's Mattias Olsson plays on a track and helped with arrangements.  The legendary David Jackson plays sax and flute.  This one kills and it kills and it doesn't stop killing.  BUY OR DIE!
    $16.00
  • "Oh Wow!. That was my reaction and remains my reaction to this album every time I spool it up and listen to it. What surprises me here on PA is that the ratings for the Pendragon albums are as low as they are - 3.85 isn't low by any means however I would have expected to see average ratings in excess of 4 for many of the band's albums. For sheer musical beauty there is very little that equals these musicians in full flight. The lovers of two of the very favourite bands here being Genesis (up to Duke) and Marillion (Fish era) should be over the moon with Pendragon as this group of musicians encompass the feelings and musical emotions of those two iconic bands brilliantly. The melodies soar and the musicianship is top drawer. Nick Barrett's voice takes some getting used to at first but it by no means spoils the music and you do get used to it pretty quickly to the extent that you wouldn't want to hear anyone else on vocals with the band.This album soars with melodic brilliance and with emotion and all of the instruments go towards making up the sound - the highlights being Barrett's lead guitar and Nolan's keyboards which are backed by the brilliant drumming of Fudge Smith and the more than adequate bass of Peter Gee. I can't single out a single track which is out of place or doesn't belong - they are all huge. To discuss this album on a track by track basis would be futile and it is enough to say that the album is a full on adventure in melody - and how it is!" - ProgArchives
    $29.00
  • Second album from the Swedish quartet of Nicklas Barker (Anekdoten), Mathias Danielsson (Makajodama), Ronny Eriksson, and Tomas Eriksson. Like their first album, I Wash My Soul In The Stream Of Infinity is pure psychedelic bliss. The songs have their roots in jam sessions. Overall there is a very German underground/krautrock feel. These long jams vary in tempo - from the buzz saw opener "Fire! Fire!" on through the blissed out Yatha Sidhra-like acoustic "Pagan Moonbeam". Lethal guitar leads augmented by dollops of Mellotron and organ are the order of the day. All served up with phat analogue sound. If its possible to get high from a round aluminum disc this is the one that will do it for you. Highly recommended to those you seek to explore the innermost nooks and crannies of their brain.
    $15.00
  • Amazing how these guys are still able to bring it. A Night For Baku turns it up a notch and then kicks it into overdrive finding the boys from Cali unleashing their usual assortment of psych-tinged progressive mayhem. Somewhere...someplace...the Progressive Gods are looking down on us with a big grin on their faces...Djam Karet have delivered the real goods again.
    $15.00
  • New vinyl reissue of this US prog rarity.  Even the CD reissue from a decade ago is long out of print!  Considered by many to be one of the best examples of US prog."An overlookied US band, formed in early-70's and led by guitarist/keyboardist/sax player Robert Williams aka Roberts Owen (R.I.P.).The original line-up featured also multi-instrumentalist James Larner, keyboardist Mark Knox, drummer Jim Miller, bassist Paul Klotzbier and Jeff McMullen on lead vocals/guitars.Maelstrom had a private press LP out in Canada, recorded in 1973 at Fort Walton Beach in Florida and very rare nowadays, originally released under the title ''On the gulf''.Why this band is so overlooked remains a huge mystery to me, as Maelstrom had one of the most eclectic and intricate sounds back in the days.Every track shows a different amount of influences and musical approaches, always played under a very complicated yet well-structured musicianship, offering a huge and dramatic sound like a cross between ETHOS, CATHEDRAL and YEZDA URFA.There are strong amounts of melodies and acoustic passages in the vein of GENESIS, huge sax-based more improvised sections in the vein of VAN DER GRAAF GENERATOR and SOFT MACHINE, smooth electric parts with delicate vocal harmonies as tribute to CARAVAN, complex interplays as GENTLE GIANT first ever presented and YES-like adventurous symphonic orchestrations with a superb atmosphere.Heavy loads of Mellotron and organ, jazzy-flavored sax atmospheres, dramatic orchestrations with good electric parts, instrumental battles and endless changing climates can be detected constantly, leaving the most demanding proghead satisfied.In 1997 Black Moon Records re-issued the album in CD format under the title ''Maelstrom'' and this work contains a couple of extra tracks recorded live by Maelstrom in 1980 at the ''Three Rivers Festival'' in Indiana with only Owen and Klotzbier from the original line-up along with keyboardist Kent Overholser and Rollin Wood on drums.''Opus one'' has a strong E.L.P. vibe with organs leading the way along with some dramatic synth work in a classic Symphonic Rock track, while the longer ''Genesis to geneva'' is a bit more of a loose instrumental composition again in a Symphonic Rock path but surrounded with some more Avant-Garde/Fusion atmospheres, where synths, organ and electric guitars are on the forefront.A fantastic discovery for all fans of adventurous Classic Prog.Interesting combination of Symphonic Rock, Cantebury Prog and Jazz-Rock, where so much is going on.Definitely among the finest releases of the time in the USA/Canada and highly recommended." - Prog Archives
    $24.00
  • Limited mini-LP sleeve edition."Paul Chain is, apparently, a weirdo who came from the band Death SS, who I know nothing about and thus won’t bother trying to summarize. No, I think I have enough material here just talking about Paul Chain’s oddball solo debut Life and Death. It is an esoteric and individual beast without anything resembling trendiness or modernization, reaching back from its late 80s standing into the dark murkiness of the 70s at some parts, and at others into an entirely new dimension, unexplored by man before and since. People, I can’t come up with any more ways to say this is strange, so let’s just cut the middle man and start reviewing this sucker.Life and Death isn’t exactly a title that sends any warning signals to your brain, and neither the track names or the cover art does either, so I really had nothing to go on. I guess I was expecting some sort of dirty, minimalistic doomy affair with deep, grunted vocals and dirgey bass and occult themes, or something, but really I was completely unprepared for the airy strings, the clean, sluggish guitars that sometimes broke into melodious leads and the high-pitched warbling from the vocals that followed.Yes, Paul Chain as a vocalist is quite literally out of this world, as I can’t think of even one other singer I know to compare him to. His voice alone sounds a tiny bit like Jon Arch if he ever got a super-clean production job, but it’s the way he sings that is so different from anyone else. For one, a lot of the time he apparently isn’t even singing real words – he’s completely made up his own language. How fucked up is that? It’s actually really cool and lends to the alien mystical air this album was obviously trying to set up. And two, his vocal lines are just so idiosyncratic and so stylized that I doubt anyone could cover and not sound totally ridiculous even attempting. His voice dives and soars and croons and emotes a million different ways over the course of this album, and not once does he sound like he’s straining. His high, slightly breathy whine is layered over the music like a light morning mist.The music isn’t quite as weird, but it’s still pretty damned distinctive. The first track is a pretty useless intro without much to really make it worth hearing, but then “Antichrist” kicks in, with its crawling tempo and strange nuanced vocal lines, and this is a song that had to grow on me a little – it’s not one of the best on here, but it’s certainly good enough to introduce the listener to what’s going to come. This is music that succeeds when you just sit back and let it roll over you in waves – like on “Kill Me,” which rides a really simple, driving riff for the entire seven minute run-time, along with Chain’s moaning of the titular words for the chorus. But it works; it really works. It engulfs the listener in a chasm of melody so tight they might never be able to get out, and it’s probably the album standout at the end of the day. “Ancient Caravans” is a short, soft piece with some really delicate vocals and an atmosphere like the Middle East at nighttime, and then we kick into the other album highlight with “My Hills,” which explodes like a shooting star with happy island-style acoustics layered over colorful, blazing leads in what ends up being a mouthwatering affair. It’s not terribly metallic but it is a wonderful, engaging piece of music.The rest of the album remains curious, with the sliding guitar melodies of “Alleuia Song” and the muttered vocals and more traditional metal riff of “Spirits,” even though there are no songs as good as “My Hills.” “Cemetery” is 8 minutes of thumping bass-lines, grunted vocals and loopy, obscure guitar leads, and it comes together pretty well, never failing to entertain even if it isn’t really something that will blow you away. The album closes with “Oblivious,” which is an organ piece that leaves the listener feeling uncertain, staring at the night sky wondering what he or she has just experienced…I like it myself; it’s a good way to leave an impression. It’s like, what happened? I’d better listen to that again and inspect it more closely. And that’s always good.Life and Death is pretty much like that as a whole, really – it’s a curious affair, and no doubt inspired. With only seven tracks being actual songs it runs under 40 minutes of real music, and I think that hurts it a bit, as it really does fly by. And I don’t want to be mean to this album or anything, but a lot of these songs just don’t really catch fire. “Kill Me” and “My Hills” are about the only ones that do. Nothing else really comes up to that level, and it’s a little disappointing, as I know he has it in him to do a whole album like that. These songs are good, but most of them end up being just…curious, rather than spellbinding and arresting as those two mentioned songs can be. This feels like a warm-up album at the end of the day. Nothing wrong with that, and I can really dig this when it’s on, but I think the stars are telling me with this to go seek out Chain’s future exploits and find gold…" - Metal Archives 
    $17.00
  • Third album from this New Jersey symphonic rock band.  All of the band's albums are conceptual pieces based around literary works.  In fact the band's name is derived from a Ray Bradbury story.  On A Dark And Stormy Night is based on Madeleine L'Engle's fantasy novel of the same name.  The album is a wet dream for any fan of symphonic prog.  As I make my way through the album I'm frequently reminded of some similarities to Glass Hammer.  This is very keyboard driven music with a healthy amount of guitar leads.  There are even some nice Mellotron sounds popping up now and then.  These guys dream big and hit the mark.  Highly recommended.
    $11.00
  • "As suggested by its title, 'II' is the second album by multi-national band Corvus Stone. They continue with their merry blend of various musical influences, for an explosive cocktail of colours and sounds. Drummer Robert Wolff is now an official member of the band, while vocal duties were shared between several recording artists of Nick Katona's label, Melodic Revolution Records (later shortened in MRR). Sonia Mota, the biggest David Bowie fan on earth, was involved again for the artwork, as enchanting as on the first album.As announced in preamble of this review, this album is a festival of musical sounds, as diverse as the origin of the musicians involved. While music in general is in the field of progressive rock, it's easy to notice that the band doesn't care about labels. Progressive rock is a means to sublimate their influences rather than an end in itself. Therefore, you will hear pop (the baroque echoes of the harpsicord in the opener with beatlesque vocal harmonies, the pastoral accents of "Eternal universe"). Other popular forms of music are also represented. Let's start with blues-rock. First with the cover of Murky Red's "Boots for hire", where the virile voice is provided by none other than Murky Red's frontman, Stef Flaming, yet in a context slightly different from the original version, through its spacey keys and arabesques. Then, the blues influence is also obvious in the languid "Mystery man", with its eerie keys and reminiscences of The Beatles' "I want you (she's so heavy)" in the closing section. Rock'n'roll is there as well with the hellish "Purple stone" and a short wink to Deep Purple's "Highway star". Folk music, highlighted by the use of finnish in the lyrics ("Campfire"), has also its place in this monumental album. On the other hand, "Uncle Schunkle" with its groovy rhythms and its vintage hammond, recalls the golden age of jazz-funk. And obviously, since Corvus Stone are regarded as a progressive rock act, the instrumental "A stoned crow meets the rusty Wolff" is a piece that goes in this direction, with many rhythm changes and colourful keys. The title of the song is a pun on the drummer's name but might also be a reference to Happy The Man's humorous piece "Stumpy Meets the Firecracker in Stencil Forest". Besides those influences, some dances are honoured throughout the record: salsa ("Scandinavians in Mexico"), cha cha cha ("Mr Cha Cha"), waltz ("Early morning call" with echoes of Stranglers' "Golden Brown"), bolero ("Camelus bactrianus"), flamenco (Colin's guitar opening to some tracks). Moreover, some neo-classical interludes intersperse the album, be it in a mozartian way ("Lisa has a cigar"), or romantic fashion ("Dark Tower"). More surprising is the pastoral symphony in four movements "Moaning Lisa" (two movements in the tradition of british songs of the elisabethan era, separated by a mouth organ-lead boiling instrumental movement, and a final waltz closing the symphony).Besides the lack of interest for any specific label, the band deals with a lot of humour, never grotesque, always delivered with profesionalism. This is made possible thanks to a wide range of keyboard sounds and versatile guitar soloing, among other factors. In fact, keyboard sounds are very diverse, ubiquitous and tasty. While guitar gently weeps with touching short spastic licks, it can also turn aerial, fiery or even delve in a classical spanish realm as seen before. The presence of drummer Robert Wolff on all tracks is an improvement over the previous album. In fact, his play blends the elegance of Barriemore Barlow and the punch of John Bonham, and is instrumental in the support of the music's humorous and eclectic flavours. Vocals are diverse this time, as singers from several MRR acts were invited for the project. Blake Carpenter's high-pitch and sense of derision is tempered by more seriously delivered vocals from his mates of MRR, the whole adding to the versatility of the work.Corvus Stone are a band that don't take themselves seriously, and this aspect should be taken into account when reviewing their works. Thanks to their experience in music, a great musicianship and a sense of humour, they deliver a music that is heartfelt, not dictated by any trend of the moment, and that will put a smile on your face and certainly make your day." - ProgArchives
    $12.00
  • This is the release that kicked it off for the Finnish band.  A thirty-five minute release that seamlessly marries Scandinavian folk music with Ozric Tentacles influence space rock."This amazing space rock band from Finland has captured the attention of fans of the genre around the world, and even those who usually aren't that interested in it. Who would have thought the next band in the line of Gong and Ozric Tentacles would come from Finland? Well, why not?Purely instrumental excursions into psychedelic spaces, propelled by Tim Blake-like droning and burbling synths, Hillage-like guitar glisandos and arpeggios, pulsating bass lines, phasing sitars, and precise drumming with some occasional Ian Anderson-ish (vocalizing and blowing simultaneously) flute work to spice things up. They're like Gong without jazzy influences or vocals, and like the Ozrics without techno influences. Just pure, hypnotic, unadulterated space rock to float past the rings of Saturn with ... my favorite kind of prog." - New Gibraltar Encyclopedia Of Progressive Rock
    $13.00
  • Second album from this Norwegian band finds them climbing the ladder of melancholy prog bands. Short on complexity but long on atmosphere and melody, Airbag's new one packs an emotional wallop. The album has just enough spacey keyboards to draw comparisons to Pink Floyd and older Porcupine Tree. The album builds up to the 17 minute "Homesick I - III" which has enough references to Wish You Were Here that you'll be plowing through your Floyd collection afterwards. Lethal atmospheric prog that will annihilate the minds of any Anathema or Riverside fan. Highly recommended.
    $15.00
  • Brief Nocturnes is the band's 11th album.  It marks their return to Inside Out and quite frankly its the best album they have released in a very long time.  Chalk it up to Ted Leonard handling vocals or Neal Morse contributing writing to a couple of tunes?  Not sure.  I am definitely hearing more vitality and overt progginess in the compositions.  Ryo is going off his nut here - keys are whizzing all around - organ/'tron/the whole schmear - and Alan's guitar runs are matching him step for step.  Maybe I haven't been paying attention as closely as I should have for the past few years.  I do know that I'm enjoying the hell out of this.  Highly recommended.
    $14.00
  • The third album from Haken once again demonstrates why they are at the forefront of the progressive metal scene.  The first two albums Aquarius and Visions are quite different.  Aquarius is a much quirkier album - lots of twists and turns that kept you off balance through out.  It had more of a prog rock feel and some real oddball approaches that resulted in some reviewers referring to it as circus meteal.  Visions was quite different.  It was much more linear and clearly defined in terms of content.  It was a prog metal album and wonderful one at that.The Mountain is the first release for the band's new home at Inside Out.  The direction of the band takes a bit of a u-turn.  The music falls somewhere in between the first two.  There is a quirky, prog rock vibe but you get the heaviness and complexity of prog metal.  One particular track I keep going back to is "Cockroach King" which essentially pays homage to Gentle Giant's counterpoint vocals.  Regardless of which direction you preferred, The Mountain has enough diversity to go please everyone.If you want to keep track of where progressive metal is headed then climb the mountain - this is where its at.  Highly recommended.
    $14.00
  • "Are we being manipulated? Who would benefit from us, to follow pre-established rules? Careless. As sheeps. Political parties? Religious organisations? Commercial companies? TV networks? Beware of everything, even NEMO...NEMO is one of the leading Prog Rock bands in France, and after 13 years of existence they conquered the world community of Prog lovers with their previous albums (Si, Barbares, R€volu$ion…). Their 8th studio album is about every kind of manipulation. On 2 CDs, 12 songs, they warn you about everyone, even them! Musically you will hear a varied and strong blend of what Nemo is all about, featuring a big dose of experimentation and new exploration. Beware of this album, you will succumb to its charms! "CD1:01. Stipant Luporum 2.0102. Trojan (Le ver dans le fruit) 8.5303. Milgram, 1960 5.5904. Verset XV 7.5505. Un pied dans la tombe 7.1106. Neuro-Market 6.3407. Le fruit de la peur 9.43CD2:01. A la une 5.0802. Triste fable 7.4603. Allah Deus 5.0804. Opium 9.1005. Arma Diania 17.19
    $22.00