Obscure psychy rock with studio horns and a loungy vibe.
Related to "Alexander's Timeless Bloozband".

this could not be considered a 'release', this is not a record: it is only a game or a fake. i don't care if who published this record did it for passion or for business: nobody can decide to publish music that was created and belongs to other people without ask them an authorization. it's not a matter of 16 or 16.000 copies, it is a matter of respect for the pople that composed, recorded and released this tracks. the guys of small labels who repress some lost gem of passed music, spend a lot of time and money to contact the bands, the producers, the owners of the rights (if they are correct people). and very often they obtain the permission for free or in exchange with few copies: are they just stupid?

This is surely one of the most important records of the 70s, and at the same time one of the most underrated records of all times. The reason why at the time very few people really appreciated it is probably due to the fact that Aphrodite's Child was considered only a pop-beat band, and this album is so strangely different from the previous AC-sound that nobody really understood what '666' was: a great great great modern-psychedelic record.
Musically it belongs for sure more to psychedelia than to progressive. It is surprisingly various, despite the fact it is a concept album, conceived essentially as a unique suite fragmented in short or long 'songs', with several kaleidoscopic flavours sometimes in apparent contradiction: from the ethnic-psychedelia (Kaleidoscope and East Of Eden) to the dark kraut-psych-progressive (Amon Duul and Can, 'Yeti' and 'Tago Mago'), from the space-hard blues to the freaky-hippy anthems (Magma and 'Hair'). Every style is perfectly amalgamated in an unique and original blend by the author/producer, Vangelis. Every step of this post-hippy trip is full of musical surprises directly coming from the best psychedelic music of the '60s. The production is perfect and '666' still sounds really 'modern', as a lot of cotemporary psychedelia try to sound close to that period and production-style.
For a long time this album was considered as a 'Black rock mass', one of the prototypes of Satanist-esotheric-rock: and it is, of course (sometimes in a very impressive way). But this is just one of the keys to understanding the real cultural meaning of this masterpiece. In fact, through this musical interpretation of the John's Apocalypse, this 'black/white musical mass' tells us the end of the Peace-and-Love dream. One of the crucial songs of '666' is 'Altamont', the paradygm of the end of the hippies' short season: but all the record is full of slogans and calls like "Here and now!" or "We got the System to fuck the System" ("The day the world will turn upside down, we'll run together round and round screaming, shouting, singing, loud, loud, loud, loud"). Another incredible song is 'Infinity' (symbol), with a 5-minutes orgasmic exorcism wonderfully cryed-shouted-screamed-murmured by a possessed Irene Papas with a tribal percussion in the background: it comes from a 39-minutes free-session (that i'd really like to listen entirely...). In the end, this is a record difficult to leave on the shelf, once you have discovered it.

Brilliant american smooth psych album with influences from british psychedelia and Canterbury's sound.
Originally recorded in 1969, the lp was released in 2007.

This is really a wonderful psych album, quiet and hypnotic. The Darkside followed the steps of the '80's great bands of new psichedelia, especially the Rain Parade and the Dream Syndicate. Here you'll find sweet guitar loops, slow pulsating rhythmics and slow hipnotic-acid blues, together with a couple of brilliant pop-psych songs. If you loved Spaceman 3's albums (especially 'Recurring') and the Sonic Boom solo production, this is your album.