Aorta ‎– Aorta


Versions (16)

Cat# Artist Title (Format) Label Cat# Country Year
CS 9785 Aorta Aorta(LP, Album, Ter) Columbia CS 9785 US 1969 Sell This Version
S 63690 Aorta Aorta(LP, Album, Gat) CBS S 63690 Germany 1968 Sell This Version
SONP 50119 Aorta Aorta(LP, Album, Promo) CBS/Sony SONP 50119 Japan 1968 Sell This Version
CS 9785 Aorta Aorta(LP, Album) Columbia CS 9785 US 1969 Sell This Version
DAS 2045 Aorta Aorta(LP, Album) Date DAS 2045 US 1969 Sell This Version
CS 9785 Aorta Aorta(LP, Album) Columbia CS 9785 Canada 1969 Sell This Version
CS 9785 Aorta Aorta(LP, Album, Pit) Columbia CS 9785 US 1969 Sell This Version
HC 1202 Aorta Aorta(Reel, 4tr Stereo, 7" Reel, Album) Columbia HC 1202 US 1969 Sell This Version
BOD 104 Aorta Aorta(CD, Album, RE) Buy Or Die Records (2) BOD 104 Germany 1994 Sell This Version
CS 9785 Aorta Aorta(LP, RE, Unofficial) Columbia (2) CS 9785 Europe 1999 Sell This Version
LPR LP 0815-1 Aorta Aorta(LP, Album, RE) Lucky Pigs Records LPR LP 0815-1 Germany 2013 Sell This Version
AL 0039 Aorta Aorta(CD, Album, Ltd, Unofficial) Alcinous Ltd AL 0039 Russia Unknown Sell This Version
AXCD 1003 Aorta Aorta(CD, Album, RE, RM, Unofficial) Axis (4) AXCD 1003 UK Unknown Sell This Version
S 7-63690 Aorta Aorta(LP, Album, Mono) CBS S 7-63690 France Unknown Sell This Version
CS 9785 Aorta Aorta(LP, Album, RE, Gat) Columbia CS 9785 US Unknown Sell This Version
CS 9785 Aorta Aorta(LP, Album, RP) Columbia CS 9785 US Unknown Sell This Version


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December 19, 2016
edited about 1 year ago
referencing Aorta, LP, Album, Ter, CS 9785
It also has to be pointed out that Robert Christgau gave an E- to this album, his very lowest rating, a rating he reserved for only one other album: Kim Fowley's I'm Bad. Basically, a rating this low, according to him is: "An organic masterpiece that repays repeated listens with a sense of horror in the face of the void. It is unlikely to be marred by one listenable cut." Although I always felt that Robert Christgau had been questionable in credibility, rating this album that poorly really blew it for me. I know the music wouldn't appeal to him, he could have at least gave it a C+, which he did for many other similar albums. For me, this is a great album, and quite varied. The only reason it was buried was the Chicago Transit Authority album came out around the same time (I probably also believe Robert Christgau's review didn't help matters any), the Aorta album sounded stuck in 1967/'68 (although some proto-prog elements show up), and CTA sounded contemporary for its time, if not more in tuned with the early '70s. Regardless, I didn't let the dated sound of Aorta put me off, this is a great album regardless what Robert Christgau would have you believe.


November 23, 2016
referencing Aorta, LP, Album, Ter, CS 9785

Hailing from Chicago and infused with band members from the Rotary Connection, HP Lovecraft, and New Colony Six, Aorta created a minor blip on the musical map in 1969, laying down an outing laced with ringing telephones, crying babies, heartbeats, along with a library full of effects, on an album where each song ran into the next, creating a sonically uninterrupted drift to carry the listener into a dimension where Aorta was free to play with their heads.

Without a doubt, most people are going to look to the trippy side of this release, perhaps not making the connection that Aorta where a psychedelic extension of Blood Sweat & Tear, with their jazzy art rock adventure, filled with arrangements that foreshadowed the coming of deeply heavy organ riffs, making way for bands such as Argent. Certainly the album jacket overshadowed anything held within, and perhaps indicated the band’s penchant for grandioseness, if not being downright self indulgence at times. But don’t write them off, though in retrospect, the music will sound very dated, very in the moment with its spooky dark psychedelic disembodied presentation, that to my way of thinking, would not have made for a very pleasant trip of any sorts. While considering all of that, it’s important to understand the step Aorta took at a time when music was still pop oriented, when record companies still demanded a single, and this band managed to incorporate elements of string and horn arrangements, mixed with fuzzed guitar, some studio wizardry and jazz rock that would lead to the opus know as progressive rock.

Without a dose of the lysergic that brightened every corner during those heady days, the album is nearly unlistenable, because it’s the interplay of an altered reality that makes this record work, and without it, you’re left with but a bit of studio fun that seems to lead nowhere.

Seriously, this album raised its head just as the psychedelic strobe lights where being dimmed across the world, meaning that had they brought this adventure out much sooner, they may have hitched themselves to a flaming comet, and burned more brightly … instead, as this album and their following were reaching for the stars, it would be a mere two years before Bruce Springsteen would end this musical chapter, and release his down to earth, light of day, fundamentally real and unfeathered “Greetings From Asbury Park.”

Every once in awhile I hear parts of this album, as if carried on the wind, where I turn, as if I’m going to come face to face with a half remembered etherial life I once lived, and I smile with a knowing recollection … but those days are hazy, filled with undefined memories, and nearly impossible for me to put a finger on.

Review by Jenell Kesler


July 22, 2014
referencing Aorta, LP, Album, Ter, CS 9785
As to the recording: Basic and vocal tracks recorded at Great Lakes Recording, Sparta, MI. Engineers: Dave Kalmbach and Bryce Roberson. Orchestra recorded at Universal Recording, Chicago. Engineer: Jerry DeClercq. Produced by Bill Traut and Jimmy Donlinger with aid from Skeet Bushor and Bryce Roberson


February 14, 2014
referencing Aorta, LP, Album, Ter, CS 9785
The first LP showcased one of the better slices of late-1960s major label psychedelia. Almost a concept piece, the individual numbers were strung together by a series of segues ("Main Vein" sections I through IV). Featuring largely original material (three of the four members contributing songs), the collection offered up a nice mélange of poppier numbers (The Buckinghams-styled "Magic Bed" and "Sleep Tight") and harder edged, more experimental efforts ( the psych-flavored "What's in My Mind's Eye" and "Catalyptic"). Columbia also chose to included a rerecorded version of "Strange" which b/w "Ode to Missy Mxyzosptik" was subsequently released as a single (Columbia catalog number 4-44870). Sure, it wasn't a major creative statement or something that would drastically change your life, but full of nice fuzz guitar, interesting melodies, and weird studio effects, it made for a solid player; every track worth hearing. Besides, when's the last time you heard such a glowing review? A minor chart success, the album peaked at # 167.