e © AP6.0

ARZACHEL URIEL D.J. COPY 1969 RECORDED ENGLAND PSYC

A VERY SPECIAL FIND  D.J. COPY STAMPED ON BACK COVER

THE REAL L.P. IS PLAYING IN THE BACKGROUND

HOPE YOU LIKE IS.. STEPH

ARZACHEL  1969                    33 1/3 L.P.  WITH COVER

Psychedelic/Space Rock • United Kingdom

Initially released by the obscure Evolution label in 1969, the self titled album by Arzachel has long been regarded as one of the best lost gems of the British psychedelic and progressive rock scene. The album bombed when it first came out due to lack of promotion, and the surviving copies of the original LP can command ridiculous sums of money.

Confusingly enough, the Arzachel record was not recorded by a band called Arzachel at all. The grooves on this record were put down by Uriel, a group which contained guitar virtuoso Steve Hillage along with the three members of the progressive group The Egg: Dave Stewart on organ, Mont Campbell on bass and Clive Brooks on drums.

Uriel - Steve Hillage / Dave Stewart

Formed by Steve Hillage and Dave Stewart in 1967, Uriel were a straight psychedelic outfit with a summer residency on the Isle of Wight. When Hillage left for University in 1968, the remaining remembers stayed together and started playing original material. This subsequently led to a contract with Decca records and a change of name to The Egg.

Shortly after they had signed to Decca, they were offered a day in the studio to record a psychedelic album by Zackariya Enterprises. Since they were already under contract with Decca, Hillage was brought back and Uriel was reformed.

The album they recorded was later released in 1969 under the name of Azachel, and for contractual reasons all of the musicians on the album were given fake names and biographies in the notes.

Since there are extensive reviews here on the regular release of the Arzachel album, I won't address previously visited territory except to say that the sound quality on this new reissue is excellent, especially given the period (late 60s) and original recording circumstances (low budget). Obviously there has been much care given to providing a sonically upgraded version of the original album. The real bonuses are the extra 6 tracks (really 5, excluding the brief spoken memento of a young Mont Campbell) and extensive booklet, all previously unavailable and presented here for the first time courtesy of the band members' private archives. The booklet is a great and fun read, and the guys themselves tell us everything we want to know. It's the next best thing to having been there.

This was recorded in 1968, a year before the Arzachel sessions. Here we get more classic Arzachel we've never previously heard, with late 60s psychedelic/pre-prog excursions and eerie, doped-up freak outs, the best and most mind-bending example of this being heard in the wild Swooping Bill. We also get more of a glimpse of what Egg would fully hatch into. 'Egoman', a Campbell composition, is highlighted by lush & dreamy intro and outro segments featuring ethereal & ghostly organ from Stewart and beautiful French horn from Campbell; these bits sound like they could have ended up on the first Egg album, evoking comparisons with the otherworldly 'I Will Be Absorbed' from that record. The most direct link between the two bands is found in the bonus track Saturn, Bringer of Old Age. Based upon a movement from 'The Planets' by Holst, this track would become the Third Movement in 'Symphony #2 on Egg's debut album, although the section was removed before the record's release in 1970. (Only after a 35 year absence has it been re-inserted into the most recent CD reissue of the first EGG album) Here, Uriel attack the movement aggressively with Hillage; it is a dark, lurching & foreboding piece of music, the perfect soundtrack for a horror film. And it is a very progressive (yes, there's THE word) forward-thinking piece for a bunch of teenagers from the late 60s; Dave Stewart was 18, Hillage 17 when they recorded this.

For many, Egg and especially Uriel/Arzachel have always been somewhat mysterious entities who made their statements with little insight or explanation about what lay behind the dark curtain. There were hints here and there, and the cinematic & otherworldly moods found in some pieces seemed to suggest certain possibilities of influences. But there were never any direct revelations made as to what was informing the music and lyrics. After all these years, in the booklet Stewart breaks his silence on the matter and helps us to at least somewhat crack the code, offering that he and Mont Campbell as teenagers were interested in 'the supernatural and the unknown.' Stewart then tells us with detail and humour exactly how these interests showed up on the Arzachel album and in the band's real life experiences. It all makes for a great read to accompany the exotic sounds.

For Arzachel & psyche collectors and devout Egg fans alike, I say this is a two-thumbs up package. Best of all, it's nice to know that the band themselves have given us this gift and will now be able to benefit directly from our enjoyment of their creation. Thanks guys, it was well worth the wait.

History

Formed while Hillage, Campbell and Stewart were at the City of London School, they initially played covers of Cream, Jimi Hendrix, John Mayall & the Bluesbreakers and The Nice. After Hillage left in mid-1968 to attend university, the remaining trio began playing original material written by Campbell and Stewart. Bowing to pressure from their managers, they changed their name to Egg in early 1969. Shortly after Egg signed to Decca, a tiny company named Zackariya Enterprises gave the musicians an opportunity to record a psychedelic session for the burgeoning market. Since this was not "Egg material" (and besides, they were under contract now to Decca), Uriel re-united to produce their sole album in June 1969, a one-off psychedelic project under an assumed name Arzachel (named after a crater on the moon,itself named after a medieval spanish astronomer). The musicians also used pseudonyms on the album, although their biographies each contain some measure of truth:

• Simon Sasparella (Steve Hillage) - lead guitar and vocals. Sim was born in Seatoller, Cumberland in 1948, and has been playing guitar for 11 years. His dark Northern ruggedness is offset by the coolness of his manner. These two qualities are reflected in his playing – heavy, emotional work, and soft, subtle sounds. He believes that music is the only really physical art form – and is in a lifelong search for the ultimate musical power, on the same scale as the rocky Lake District crags from whence he came.
• Njerogi Gategaka(Mont Campbell) – bass guitar and vocals. Njerogi was born in Mzumi Springs, a small border town in the north of the Kenyan Rift Valley. He trained to be a Manjanga drummer for the local Kyuma dances, but came to England with family in 1962. He lived in Brighton for five years, then moved to London, where he formed Arzachel with Sim, Basil and Sam. He believes that music stems largely from the sexual urge, both of which have an integral part in rhythm, having been taught this as part of his drum training.
• Basil Dowling (Clive Brooks) – drums. Basil was born in Tottenham in 1947; as one would expect, he was an ardent Tottenham Hampton F.C. supporter in his younger days, but decided it would no longer be wise to go to football matches when his wiry bushy hair reached shoulder-length. He has been in seven groups, playing every conceivable style of music from dance band to skiffle. Basil is a heavy, violent drummer; he has been known to break fourteen sticks in as many bars. He believes that if it were not for Arzachel's music, his violence would still be expressed in seat-slashing and toilet-roll throwing.
• Sam Lee-Uff (Dave Stewart) – organ. Sam was born in Lewisham in 1949 – he could play the piano when only two years old, and began to take organ lessons at the age of seven. He was expelled from public school, and spent eight months living on crusts, playing a battered accordion on street corners. This he refers to as his "hang-up" period. When the Psychedelic scene began to blossom, Sam joined various unsuccessful groups. Arzachel was a result of meeting up with Sim and Njerogi. Sam's favourite artistes include Heinz; Mike Ratledge; Holst; P.J. Proby; Vincent Crane. He believes music to be an expression of one's inner being – this expression, he says, will lead to the ultimate spiritual liberation of one's personality.

The album Arzachel was recorded and mixed in a single session in London. The 'A' side has four songs, while the 'B' side consists of only two mind-bending psychedelic tracks, the longer of which is a 17-minute jam entitled 'Metempsychosis'. It was issued on the short-lived Evolution label (also home to the debut by Raw Material) and quickly became a collectors' item. A pirate version is thought to have circulated in the late 1970s, and it has been much bootlegged in more recent years. It was eventually released on CD by Demon Records in 1994.

 Track listing

1. "Garden of Earthly Delights" (Arzachel) – 2:45
2. "Azathoth" (Arzachel) – 4:21
3. "Queen St. Gang" (K. Mansfield) – 4:25
4. "Leg" (Arzachel) – 5:40
5. "Clean Innocent Fun" (Arzachel) – 10:23
6. "Metempsychosis" (Arzachel) – 16:38

About The  Reissue

The album was re-released on December 7th 2007 as Arzachel Collectors Edition by Uriel (2007, Egg Archive CD69-7201). This official band release features a re-mastered version of the original album plus four unreleased Uriel studio demos, a spoken-word message from the past and a live snippet recorded in 1968. Steve Hillage plays on two of these bonus tracks. The CD also contains a 20-page booklet telling the group's history in the musicians' own words, along with period photos and artwork.

Also available is a 26,000-word, 60-page companion booklet Copious Notes. Written by Dave Stewart, Mont Campbell and their close friend Antony Vinall, it tells the inside story of Uriel, Egg, Arzachel and the Ottawa Company from the formation of Uriel in early 1968 to the making of Egg's final album The Civil Surface in 1974. The text includes personal memoirs, anecdotes, short stories, random recollections, social observation, period details, musical analysis and song lyrics, as well as a priceless collection of archive photos taken by Terry Yetton and the musicians.

Read more: http://progressiverock.suite101.com/article.cfm/album_review_arzachel#ixzz0Unl0AzPM

Comprised of what was then the band Uriel, this was the earliest formation of Steve Hillage and Dave Stewart. the music is a head above most other psych rarities, and the four musicians later achieved marginal success within the '70s progressive rock "Canterbury scene".

The record itself featured some of the most explosive psychedelia by an English group. The sound of sustained keyboard and guitar passages are full blown drawn-out psychedelia of the highest order, think Egg, Gong, National Health, Caravan etc. Collectors of rare psychedelia recognize ARZACHEL's sole LP as being one of the most desired (and pricey) relics from the late '60s. (Prog Archives)

Other Songs on the album

1. Garden of Earthly Delights
2. Azathoth
3. Queen St. Gang
4. Leg
5. Clean Innocent Fun
6. Metempsychosis

Arzachel Discography

Arzachel Discography

Arzachel 
Release Date: 1969

A1 Garden of Earthly Delights 2:45 
A2 Azatoth 4:22 
A3 Queen St. Gang 4:24 
A4 Leg 5:45 
B1 Clean Innocent Fun 10:26 
B2 Metempsychosis 16:47 

genre: prog
country:

uk
quality : lossless (ape, cue, log, scans)
time: 44'14"
size: 247 mb
issue: 2002

The Tapestry of Delights:
This spacey psychedelic album is notable for the involvement of Steve Hillage. Musically it's at times a little over the top. But, the opening cut, Garden Of Earthly Delights is of interest and Azathoth has a rich 'church' organ backing. On side two Clean Innocent Fun previews Hillage's fine guitar work and Metempsychosis opens full of weirdness and sound effects (which recur at regular intervals throughout) before pursuing a similar vein. The latter track, in particular, begs comparison with Pink Floyd around the Saucerful Of Secrets era. Arzachel is a very keyboard-dominated album.
The group were known as Uriel until July 1968 when Hillage went off to college. The others formed Egg (July '68 - May '72) and the Arzachel album was recorded by Egg with help from Steve Hillage. When Hillage left college April '71 and returned to London he formed Khan.
(Vernon Joynson / Joe Rein / Jim McMaster / Gianpaolo Banelli)

1 Garden of Earthly Delights (2:40)
2 Azathoth (4:11)
3 Queen St.

Gang (4:20)
4 Leg (5:31)
5 Clean Innocent Fun (10:24)
6 Metempsychosis (16:19)

                     FROM A OWNER OF THIS L.P. FROM THE WEB BELOW

- Basil Dowling (Clive Brooks) / drums
- Njerogi Gategaka (Mont Campbell) / bass, vocals
- Sam Lee-Uff (Dave Stewart) / organ
- Simeon Sasparella (Steve Hillage) / guitar, vocals

Psychedelic Shark :

I have to admit I have only owned a copy of this classic album for a couple of years, and this review consists of information lifted directly from the CD notes plus my impressions from repeated listening. Before its reissue by Dropout records this album had been fiendishly hard to
find and collectors would pay ridiculous sums of money to secure a copy.
It’s not hard to see why, for several reasons: it was recorded early in the careers of Dave Stewart and Steve Hillage, who both went on to become giants of the British progressive and psychedelic scenes. What’s more, it has all the trappings of an underground classic: recorded and mixed in an afternoon, cover art done by Dave Stewart with a felt-tip pen, sleeve notes consisting of fake biographies of the band under assumed names (the reason for this was that Stewart, Campbell and Brooks were already under contract to Decca), and released in tiny quantities, later to become available on bootleg. Finally, It is a somewhat eclectic album, the opening tracks securely in the Caravan/Soft Machine mould of organ-led, lyrical progressive pop, moving on through Cream/Led Zeppelin inspired blues, ending up with a protracted psychedelic excursion on the final track.
Production? What production? Never mind, the rough edges add to the individuality and appeal of the album. Furthermore, the brilliance of the playing shines through. “Garden of Earthly Delights” has nice booming bass and jazzy drums providing the foundation for Stewart’s doomy organ sound. Campbell and Hillage’s vocals are somewhat trite, with the feel of an Elizabethan
sonnet, but not quite enough to make you cringe. Hillage’s superb solo, sounding like Cream-vintage Clapton, makes up for it, though. There’s doomy, progressive feel, reminiscent of early Nice or Procol Harum, on “Azathoth,” with Campbell’s distorted organ sound shrieking like a banshee. “Queen St. Gang” is an opportunity for Stewart to show off his jazz-influenced keyboard skills. It’s a gentle Caravan-styled interlude before the stomping blues excursion, “Leg.” This track starts out with jolly keyboard twiddlings and lightweight riffing from Hillage, and then suddenly explodes into a passionate rendering of “Rolling and Tumbling” with the band’s own lyrics substituting the originals. “Clean Innocent Fun” is ten minutes plus of heavy metal. Hillage plays guitar lines in unison with his wailing vocals and then lifts off on an extended blues-tinged solo. Back to the vocal and guitar unison playing for another verse and then a much more freeform extended solo with waves of echoey distorted organ from Stewart. A final verse, and the song ends as suddenly as it began. “Metempsychosis” is sixteen minutes plus of prime psychedelic freakout. It starts with freeform playing from everybody, in
the style of Floyd’s Saucerful of Secrets or Amon Duul II’s Phallus Dei, and then settles down into a one-chord, insistent riff, which forms the basis for improvisation through the rest of the piece. There’s a pause in the middle before disembodied floating voices drift in, with more
Floydian strangeness, and then it’s back to the beat. Campbell does a bass solo, and we’re back to extended freakiness again as the track careers on to a climax, staying on that one chord the whole time.
There’s precious little surviving material from the golden days of British psychedelia, and it’s usually pretty hard to sniff out. We’re lucky to have this shining example (reasonably) freely available again.
Take off your shoes, socks, turn off the lights, shut all windows and blinds and turn up your amplifier to 11...here comes some pure progressive psychedelia. Arzachel were in and out of the world of music for only a short period and have left behind this one and only little treasure of wonderful wierdness. Arzachel was really the young genius of Steve Hillage (Guitars) and Dave Stewart (Keyboards) and although never really intended for wide distribution has become one of the most collectible and trasured gems of this era. Arzachel contains classic Hillage acid guitar windouts and Dave Stewart's psychedelic keyboard drones and solos. Arzachel contains 2 longer length tracks (11 & 17 Mins) and 4 shorter numbers. The sound repro is as you might expect not in full digital, but does not detract from your listening enjoyment. The fine folks at Drop Out Records have included a nice little history and package about this band as well...

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