In May 1970 Twenty Sixty Six And Then met first time and decided to found a band. Day and Night rehearsed and filed on their sound in their residence in Mannheim. Another journalist at that time: “Dominating in their music is a dynamic, which is regulatoring the developing harmonies in the complex structured arrangements. When the musicians sometimes get lost in old hardrock stereotypes (mark of red.: It would be fascinating what were “old hardrock stereotypes” in 1972!), they kept enough distance to the sounds, to prove their intents with detailed inserted alienation". In a short way: the rediscovery of a krautrock original from the „Mannheim“-rockscene in the early 70ties…
"Sixty Six To Timbuktu" is a double disc set of 35 songs spanning the career of this seminal artist from 1966 to present. It features previously unreleased tracks, limited release tracks, and classics from Robert Plant as well as The Honeydrippers.
Essential: a masterpiece of progressive rock music
Disclaimer: First of all- If you haven't already, then you NEED TO HEAR THIS ALBUM ON VINYL. It is the best way to hear this type of music. CD's (and YouTube, especially) do not do it proper justice. Music-Lovers: There is no excuse, not even the moderately higher price, to justify not listening to this music the way it sounds best. An inexpensive turntable and reissue will blow you away. Trust me.
Moving forward…Why doesn't this album have more reviews? More importantly; why is this album so "underground", when radio BS gets incessantly crammed down every hole in our body? Are most people really that shallow and fickle? Anyway, on to the album review….
Leo Kottke's wide-release debut came about after he sent a cassette to John Fahey's Takoma label. Not surprisingly, it recalls Fahey's work in a number of respects: the synthesis of numerous influences from blues, pop, classical, and folk styles, the weirdly titled instrumentals, even the tongue-in-cheek liner notes. Kottke's brand of virtuosity, however, is more soothing and easy on the ear than Fahey's. It's far from sappy, though, the rich and resonant picking intimating some underlying restlessness, like peaceful open fields after a storm. Establishing much of the territory Kottke was to explore throughout his career, this release was also one of his most popular, eventually selling over 500,000 copies.
Here's the thing. Mike Gordon is the bass player from Phish. Even though he is also a singer, songwriter, multi-instrumentalist, filmmaker, and a whole lot of other things, and has several solo albums and other projects under his belt, the frame of reference for Gordon is always going to be Phish, in the same way that whatever Ringo Starr does is always backlit by the fact that he was the drummer for the Beatles. Helping this perception along, though, is Gordon's penchant for mixing the same elements into his solo albums as Phish always did, crafting songs that ride on thick grooves, always shifting and expanding, full of space and turns, and lyrics as whimsical and fleeting as rainbow smoke.