.jpg "Odin (photo 01)")
HISTÓRIA
PRIMEIRO ATO
O tecladista Jeff Beer, da Bavária, conhece o guitarrista Rob Terstall, da Holanda. Jeff Beer, que acabou de completar 18 anos, mudou-se de sua casa na Bavária Oriental para Regensburg, a fim de obter seu diploma de segundo grau na escola profissionalizante superior. Jeff, um organista, se envolve imediatamente na cena de Regensburg. Com sua nova banda, o grupo de 3 homens Elastic Grasp, ele ganha o Golden Guitar, o prêmio de jazz e rock tradicional em Regensburg. Jeff chegou à música progressiva relativamente tarde - em suas primeiras bandas como guitarrista ele tocou suas próprias canções e particularmente se preocupou com os solos de Hendrix e Clapton. Aos 16 anos, ele muda para o grande órgão Hammond e logo chama a atenção das pessoas com suas interpretações de Nice e Jimmy Smith. Bela Bartok, Igor Strawinsky e Frank Zappa são seus modelos na época. Para ele, improvisações são tão importantes quanto peças minuciosamente compostas, e ele sonha com um estudo musical abrangente.
Rob Terstall, oito anos mais velho de Jeff, recebeu educação clássica e estudou violão por 3 anos em Amsterdã. Ele já tem muita experiência com bandas, mas na época ele passa a ficar com amigos em Regensburg por algum tempo, ele não é membro de nenhum grupo em particular. Os dois músicos começam a falar um com o outro, e Jeff oferece a Rob para se juntar a Elastic Grasp. No entanto, a formação dura pouco tempo, uma vez que os interesses dos outros músicos, todos eles puros amadores, já se distanciaram tanto que uma separação é inevitável. No verão de 1971, Jeff e Rob decidem formar uma nova banda, e tem que ser uma banda profissional.
SEGUNDO ATO
Jeff e Rob conhecem os músicos ingleses Ray Brown (baixo) e Stuart Fordham (bateria). Ray e Stuart já são uma equipe bem ensaiada quando se alinham com Rob para formar a Honest Truth. A carreira de Ray como músico começou na década de 1960, em uma das inúmeras bandas de soul branco. Stuart é um conhecido baterista de estúdio e de sessão em Londres e já fez turnê com a The Walker Brothers e outras. Honest Truth, a banda onde Rob tocou junto com Ray e Stuart e sobre cujas lendárias performances de Jeff foi contada por outros músicos, se desfez após uma onda de azar (o organista morre, o equipamento é roubado). Ray e Stuart voltam para casa na Inglaterra, enquanto Rob e Jeff seguem para Londres. Rob vinha trocando cartas com Ray e Stuart anteriormente e conseguiu motivá-los a trabalhar em uma nova banda (novamente na Alemanha) junto com o jovem organista Jeff Beer.
Após uma fase inicial de testes bem-sucedida em Schweinfurt, os quatro músicos se preparam para seu novo começo e fixam residência no campo, na pequena vila de Gaukönigshofen perto de Würzburg, onde Jeff, após passar no exame de admissão para o conservatório estadual, estuda composição, piano e percussão.
TERCEIRO ATO
Em nenhum momento os quatro músicos se sintonizam tanto musicalmente quanto pessoalmente, tocando freneticamente e sabendo que podem fazer isso com sua música. Suas primeiras apresentações são muito promissoras, de fato. O grupo tem cada vez mais a chance de provar seu talento em vários clubes dentro e fora da região. O entusiasmo gerado leva a banda a apresentações conjuntas com Brian Auger's Oblivion Express, Beggars Opera, Manfred Mann's Earth Band e Atomic Rooster, para citar alguns. De acordo com reportagens da imprensa daquela época, Odin não só consegue acompanhar essas bandas internacionalmente famosas, mas goza de um status igual, pelo menos. O destaque indiscutível de sua "carreira ao vivo" como músicos é sua apresentação durante o festival pop em Würzburg em 8 e 9 de julho de 1972, (com, entre outros, Joe Cocker, Jeff Beck Group, Hardin & York, Alexis Korner, Nazareth, Juicy Lucy, Golden Earring), bem como o festival de rock em Scheeßel em 8 e 9 de setembro de 1973, (com, entre outras, Chicago, King Crimson, Soft Machine, Lou Reed, Buddy Miles, Chuck Berry, Ten Years After, Nucleus), onde tocam muitos encores para um público de mais de 35.000 pessoas.
Who or what is Odin? This question does not lead us to northern mythology or into the world of Germanic gods. No, we are in fact talking about one of the most capable but at the same time most mysterious rock bands in Germany in the early 1970ies. Who can tell the story of this extraordinary band? Information given in the relevant works on progressive rock and/or Krautrock ("Tapestry of delight", "Cosmic dreams at play", "A crack in the cosmic egg") are often incomplete and even wrong at times. A correct classification of the band is difficult, and it is even quite impossible to say which country the band really belongs to. This is an attempt to shed some light into the darkness:
HISTORY
FIRST ACT
Keyboarder Jeff Beer, Bavaria, meets guitarist Rob Terstall, Netherlands. Jeff Beer, just turned 18, has moved to Regensburg from his Eastern Bavarian home, in order to obtain his high school diploma at the upper vocational school. Jeff, an organist, gets involved in the Regensburg scene right away. With his new band, the 3-man group Elastic Grasp, he wins the Golden Guitar, the traditional jazz and rock prize in Regensburg, first go. Jeff has come to progressive music comparatively late - in his first bands as a guitarist he had played his own songs and particularly concerned himself with Hendrix and Clapton solos. At the age of 16 he changes for the large Hammond organ and soon enough catches people’s attention with his Nice and Jimmy Smith interpretations. Bela Bartok, Igor Strawinsky and Frank Zappa are his role models at that time. For him, improvisations are just as important as thoroughly composed pieces, and he dreams of a comprehensive music study.
Rob Terstall, Jeff's senior by eight years, has received a classical education and has studied the guitar for 3 years in Amsterdam. He already has plenty of experience with bands, but at the time he happens to stay with friends in Regensburg for some time he isn’t a member of any particular group. The two musicians get to talk to each other, and Jeff offers Rob to join Elastic Grasp. How-ever, the formation only survives for a short time, since the interests of the other musicians, all of whom pure amateurs, has already drifted apart to such an extent that a split up is unavoidable. In the summer of 1971 Jeff and Rob decide to form a new band, and a professional band it has to be.
SECOND ACT
Jeff and Rob meet the English musicians Ray Brown (bass) and Stuart Fordham (drums). Ray and Stuart are already a well-rehearsed team when they line up with Rob to form Honest Truth. Ray's career as a musician started in the 1960ies, in one of the numerous white soul bands. Stuart is a well-known studio and session drummer in London, and has toured with The Walker Brothers and others. Honest Truth, the band where Rob played together with Ray and Stuart and about whose legendary performances Jeff has been told by other musicians, disbanded after a run of bad luck (the organist dies, the equipment is stolen). Ray and Stuart return home to England, while Rob and Jeff head for London. Rob had been exchanging letters with Ray and Stuart beforehand and had been able to motivate them to work in a new band (again in Germany) together with the young organist Jeff Beer.
After an initial and successful test phase in Schweinfurt the four musicians get ready for their new start and take up residence in the countryside, in the small village of Gaukönigshofen near Würzburg, where Jeff, after passing the admission examination to the state conservatory, studies composition, piano and percussion.
THIRD ACT
In no time the four musicians attune to one another both musically and personally, playing frantically and knowing that they can make it with their music. Their first performances are very promising, indeed. The group increasingly gets the chance to prove their talent in numerous clubs within and outside the region. The enthusiasm stirred up carries the band to joint performances with Brian Auger's Oblivion Express, Beggars Opera, Manfred Mann's Earth Band and Atomic Rooster, to mention a few. According to press reports from that time, Odin is not only able to keep up with these internationally famous bands, but enjoys an equal status at least. Undisputed highlight of their "live career" as musicians is their performance during the pop-festival in Würzburg on July 8th and 9th, 1972, (with, among others, Joe Cocker, Jeff Beck Group, Hardin & York, Alexis Korner, Nazareth, Juicy Lucy, Golden Earring), as well as the rock festival in Scheeßel on September 8th and 9th, 1973, (with, among others, Chicago, King Crimson, Soft Machine, Lou Reed, Buddy Miles, Chuck Berry, Ten Years After, Nucleus), where they play many encores in front of an audience of more than 35000 people.
The band's live qualities are so excellent that the label managers of several record companies eventually become aware of the band. Those familiar with the scene will never forget their gigs in the Zoom in Frankfurt, where the foundation for their future record contract was laid in the presence of Phonogram label manager Jimmy Boyks, who had already listened to demo tapes of Odin and had been flown into Frankfurt specially for this purpose.
Eventually the band signs a record contract with the label Vertigo/Phonogram in Hamburg and starts recording their one and only LP in the Windrose-Dumont-Time studio in Hamburg. It is released in early 1973. In spite of good press reviews, for example in the magazines Sounds (5/73) and Musikexpress (4/73) sales are rather modest. The recordings done on February 2, 1973 in the Südwestfunk studio U1 in Baden-Baden fur-ther increase their reputation. Odin records 4 titles, all of which are broadcast on the radio. Artistic production manager was Roland Schaeffer, who had worked as a producer for the SWF and has proven his musical abilities as a band member of Fashion Pink, Brainstorm and, since 1976, of Guru Guru.
.jpg "Odin (photo 02)")
.jpg "Odin - Odin - 1972 (front)")
.jpg "Odin - SWF session 1973 - 2007 (front)")
.jpg "Odin - Live at the Maxim - 2007 (front)")
01. Oh, no!
PRIMEIRO ATO
O tecladista Jeff Beer, da Bavária, conhece o guitarrista Rob Terstall, da Holanda. Jeff Beer, que acabou de completar 18 anos, mudou-se de sua casa na Bavária Oriental para Regensburg, a fim de obter seu diploma de segundo grau na escola profissionalizante superior. Jeff, um organista, se envolve imediatamente na cena de Regensburg. Com sua nova banda, o grupo de 3 homens Elastic Grasp, ele ganha o Golden Guitar, o prêmio de jazz e rock tradicional em Regensburg. Jeff chegou à música progressiva relativamente tarde - em suas primeiras bandas como guitarrista ele tocou suas próprias canções e particularmente se preocupou com os solos de Hendrix e Clapton. Aos 16 anos, ele muda para o grande órgão Hammond e logo chama a atenção das pessoas com suas interpretações de Nice e Jimmy Smith. Bela Bartok, Igor Strawinsky e Frank Zappa são seus modelos na época. Para ele, improvisações são tão importantes quanto peças minuciosamente compostas, e ele sonha com um estudo musical abrangente.
Rob Terstall, oito anos mais velho de Jeff, recebeu educação clássica e estudou violão por 3 anos em Amsterdã. Ele já tem muita experiência com bandas, mas na época ele passa a ficar com amigos em Regensburg por algum tempo, ele não é membro de nenhum grupo em particular. Os dois músicos começam a falar um com o outro, e Jeff oferece a Rob para se juntar a Elastic Grasp. No entanto, a formação dura pouco tempo, uma vez que os interesses dos outros músicos, todos eles puros amadores, já se distanciaram tanto que uma separação é inevitável. No verão de 1971, Jeff e Rob decidem formar uma nova banda, e tem que ser uma banda profissional.
SEGUNDO ATO
Jeff e Rob conhecem os músicos ingleses Ray Brown (baixo) e Stuart Fordham (bateria). Ray e Stuart já são uma equipe bem ensaiada quando se alinham com Rob para formar a Honest Truth. A carreira de Ray como músico começou na década de 1960, em uma das inúmeras bandas de soul branco. Stuart é um conhecido baterista de estúdio e de sessão em Londres e já fez turnê com a The Walker Brothers e outras. Honest Truth, a banda onde Rob tocou junto com Ray e Stuart e sobre cujas lendárias performances de Jeff foi contada por outros músicos, se desfez após uma onda de azar (o organista morre, o equipamento é roubado). Ray e Stuart voltam para casa na Inglaterra, enquanto Rob e Jeff seguem para Londres. Rob vinha trocando cartas com Ray e Stuart anteriormente e conseguiu motivá-los a trabalhar em uma nova banda (novamente na Alemanha) junto com o jovem organista Jeff Beer.
Após uma fase inicial de testes bem-sucedida em Schweinfurt, os quatro músicos se preparam para seu novo começo e fixam residência no campo, na pequena vila de Gaukönigshofen perto de Würzburg, onde Jeff, após passar no exame de admissão para o conservatório estadual, estuda composição, piano e percussão.
TERCEIRO ATO
Em nenhum momento os quatro músicos se sintonizam tanto musicalmente quanto pessoalmente, tocando freneticamente e sabendo que podem fazer isso com sua música. Suas primeiras apresentações são muito promissoras, de fato. O grupo tem cada vez mais a chance de provar seu talento em vários clubes dentro e fora da região. O entusiasmo gerado leva a banda a apresentações conjuntas com Brian Auger's Oblivion Express, Beggars Opera, Manfred Mann's Earth Band e Atomic Rooster, para citar alguns. De acordo com reportagens da imprensa daquela época, Odin não só consegue acompanhar essas bandas internacionalmente famosas, mas goza de um status igual, pelo menos. O destaque indiscutível de sua "carreira ao vivo" como músicos é sua apresentação durante o festival pop em Würzburg em 8 e 9 de julho de 1972, (com, entre outros, Joe Cocker, Jeff Beck Group, Hardin & York, Alexis Korner, Nazareth, Juicy Lucy, Golden Earring), bem como o festival de rock em Scheeßel em 8 e 9 de setembro de 1973, (com, entre outras, Chicago, King Crimson, Soft Machine, Lou Reed, Buddy Miles, Chuck Berry, Ten Years After, Nucleus), onde tocam muitos encores para um público de mais de 35.000 pessoas.
As qualidades ao vivo da banda são tão excelentes que os gerentes de várias gravadoras eventualmente ficam sabendo da banda. Aqueles familiarizados com a cena nunca esquecerão seus shows no Zoom em Frankfurt, onde a base para seu futuro contrato de gravação foi lançada na presença do gerente da gravadora Phonogram, Jimmy Boyks, que já havia ouvido fitas demo da Odin e tinha voado para Frankfurt especialmente para este fim.
Eventualmente, a banda assina um contrato de gravação com o selo Vertigo/Phonogram em Hamburgo e começa a gravar seu único LP no estúdio Windrose-Dumont-Time, em Hamburgo. É lançado no início de 1973. Apesar das boas críticas da imprensa, por exemplo nas revistas Sounds (5/73) e Musikexpress (4/73), as vendas são bastante modestas. As gravações feitas em 2 de fevereiro de 1973 no estúdio Südwestfunk U1 em Baden-Baden aumentaram ainda mais sua reputação. Odin grava 4 títulos, todos transmitidos no rádio. O gerente de produção artística foi Roland Schaeffer, que havia trabalhado como produtor para o SWF e provou suas habilidades musicais como integrante da banda Fashion Pink, Brainstorm e, desde 1976, da Guru Guru.
1973 será um ano crucial para Odin e decidirá sobre o futuro da banda. Fatores importantes são o sucesso do álbum e a quantidade de shows ao vivo, já que garantem a sobrevivência. A Phonogram inglesa também está muito interessada na música da Odin e pretende levar a banda em uma turnê pela Inglaterra, que na época é extremamente importante. A notícia, comunicada pela Phonogram de Hamburgo, causa um grande impacto. Jeff Beer é convidado para a Inglaterra para discussões duas vezes e negocia tanto com os gerentes executivos da Phonogram inglesa quanto com uma gerência adicional fornecida pela Phonogram.
Durante um encontro em Londres, eles visitam o lendário Marquee-Club, que já havia sido agendado como um local de apresentação para a turnê planejada. Parece que um passo muito importante para tornar a banda conhecida tanto local quanto internacionalmente está prestes a ser dado. O interesse inesperado por parte da Inglaterra dá à banda um enorme impulso. No entanto, pouco antes do final das negociações em 1973, a crise energética atrapalha. Tendo em vista a proibição oficial de dirigir e uma série de outras dificuldades que parecem surgir do nada, a Phonogram inglesa decidiu adiar a turnê, por enquanto. Inesperadamente, a Phonogram de Hamburgo reagiu com igual reserva, apesar das extensas negociações que a banda já havia conduzido em relação ao seu segundo álbum, no qual eles estavam trabalhando intensamente - na verdade, um golpe muito pesado para a banda.
É difícil dizer, mesmo em retrospecto, por que uma banda de tão alta qualidade musical não atingiu o grande momento afinal. Uma das razões pode ser as estratégias de marketing insuficientes da gravadora, ou possivelmente a ignorância do público alemão, um público que pode facilmente ser atraído para o local de shows para ver qualquer grupo anunciado de forma ruidosa, mas que dificilmente dá a essas bandas que são pouco conhecidas uma chance! O fato de seu show na fábrica de Hamburgo atrair apenas um público de apenas cem pessoas, apesar do LP ter aparecido em uma gravadora famosa (Vertigo/Fonograma) e influente em círculos especializados, mostra a falta de ressonância com um público externo aos clubes regionais. A crescente desilusão da banda depois de tantas experiências negativas não é surpreendente. Logo a ruína financeira segue o exemplo e Odin acabou se separando em maio de 1974.
⭐⭐⭐⭐⭐
Who or what is Odin? This question does not lead us to northern mythology or into the world of Germanic gods. No, we are in fact talking about one of the most capable but at the same time most mysterious rock bands in Germany in the early 1970ies. Who can tell the story of this extraordinary band? Information given in the relevant works on progressive rock and/or Krautrock ("Tapestry of delight", "Cosmic dreams at play", "A crack in the cosmic egg") are often incomplete and even wrong at times. A correct classification of the band is difficult, and it is even quite impossible to say which country the band really belongs to. This is an attempt to shed some light into the darkness:
HISTORY
FIRST ACT
Keyboarder Jeff Beer, Bavaria, meets guitarist Rob Terstall, Netherlands. Jeff Beer, just turned 18, has moved to Regensburg from his Eastern Bavarian home, in order to obtain his high school diploma at the upper vocational school. Jeff, an organist, gets involved in the Regensburg scene right away. With his new band, the 3-man group Elastic Grasp, he wins the Golden Guitar, the traditional jazz and rock prize in Regensburg, first go. Jeff has come to progressive music comparatively late - in his first bands as a guitarist he had played his own songs and particularly concerned himself with Hendrix and Clapton solos. At the age of 16 he changes for the large Hammond organ and soon enough catches people’s attention with his Nice and Jimmy Smith interpretations. Bela Bartok, Igor Strawinsky and Frank Zappa are his role models at that time. For him, improvisations are just as important as thoroughly composed pieces, and he dreams of a comprehensive music study.
Rob Terstall, Jeff's senior by eight years, has received a classical education and has studied the guitar for 3 years in Amsterdam. He already has plenty of experience with bands, but at the time he happens to stay with friends in Regensburg for some time he isn’t a member of any particular group. The two musicians get to talk to each other, and Jeff offers Rob to join Elastic Grasp. How-ever, the formation only survives for a short time, since the interests of the other musicians, all of whom pure amateurs, has already drifted apart to such an extent that a split up is unavoidable. In the summer of 1971 Jeff and Rob decide to form a new band, and a professional band it has to be.
SECOND ACT
Jeff and Rob meet the English musicians Ray Brown (bass) and Stuart Fordham (drums). Ray and Stuart are already a well-rehearsed team when they line up with Rob to form Honest Truth. Ray's career as a musician started in the 1960ies, in one of the numerous white soul bands. Stuart is a well-known studio and session drummer in London, and has toured with The Walker Brothers and others. Honest Truth, the band where Rob played together with Ray and Stuart and about whose legendary performances Jeff has been told by other musicians, disbanded after a run of bad luck (the organist dies, the equipment is stolen). Ray and Stuart return home to England, while Rob and Jeff head for London. Rob had been exchanging letters with Ray and Stuart beforehand and had been able to motivate them to work in a new band (again in Germany) together with the young organist Jeff Beer.
After an initial and successful test phase in Schweinfurt the four musicians get ready for their new start and take up residence in the countryside, in the small village of Gaukönigshofen near Würzburg, where Jeff, after passing the admission examination to the state conservatory, studies composition, piano and percussion.
THIRD ACT
In no time the four musicians attune to one another both musically and personally, playing frantically and knowing that they can make it with their music. Their first performances are very promising, indeed. The group increasingly gets the chance to prove their talent in numerous clubs within and outside the region. The enthusiasm stirred up carries the band to joint performances with Brian Auger's Oblivion Express, Beggars Opera, Manfred Mann's Earth Band and Atomic Rooster, to mention a few. According to press reports from that time, Odin is not only able to keep up with these internationally famous bands, but enjoys an equal status at least. Undisputed highlight of their "live career" as musicians is their performance during the pop-festival in Würzburg on July 8th and 9th, 1972, (with, among others, Joe Cocker, Jeff Beck Group, Hardin & York, Alexis Korner, Nazareth, Juicy Lucy, Golden Earring), as well as the rock festival in Scheeßel on September 8th and 9th, 1973, (with, among others, Chicago, King Crimson, Soft Machine, Lou Reed, Buddy Miles, Chuck Berry, Ten Years After, Nucleus), where they play many encores in front of an audience of more than 35000 people.
The band's live qualities are so excellent that the label managers of several record companies eventually become aware of the band. Those familiar with the scene will never forget their gigs in the Zoom in Frankfurt, where the foundation for their future record contract was laid in the presence of Phonogram label manager Jimmy Boyks, who had already listened to demo tapes of Odin and had been flown into Frankfurt specially for this purpose.
Eventually the band signs a record contract with the label Vertigo/Phonogram in Hamburg and starts recording their one and only LP in the Windrose-Dumont-Time studio in Hamburg. It is released in early 1973. In spite of good press reviews, for example in the magazines Sounds (5/73) and Musikexpress (4/73) sales are rather modest. The recordings done on February 2, 1973 in the Südwestfunk studio U1 in Baden-Baden fur-ther increase their reputation. Odin records 4 titles, all of which are broadcast on the radio. Artistic production manager was Roland Schaeffer, who had worked as a producer for the SWF and has proven his musical abilities as a band member of Fashion Pink, Brainstorm and, since 1976, of Guru Guru.
1973 is going to be a crucial year for Odin and will decide on the band’s future. Important factors are the album's success and the number of live acts, since they guarantee survival. Phonogram England are also very interested in Odin's music and intend to take the band on a tour of England, which at that time is immensely important. The piece of news, communicated by Phonogram Hamburg, makes quite an impact. Jeff Beer is invited to England for discussions twice and negotiates both with Phonogram England's executive managers and an additional management provided by Phonogram.
During an appointment in London they visit the legendary Marquee-Club which had already been scheduled as a place of performance for the planned tour. It seems that a highly important step towards making the band known both locally and internationally is about to be taken. The unexpected interest on the part of England gives the band an enormous boost. However, just before the end of the negotiations in 1973 the energy crisis gets in the way. In view of the official ban on driving and a great deal of other difficulties that seem to appear from nowhere Phonogram England decide to put the tour on hold for the moment. Quite unexpectedly, Phonogram Hamburg react with equal reserve, in spite of the extensive negotiations the band had already conducted concerning their 2nd album, which they had been working on intensively - indeed a very heavy blow for the band.
It is hard to say, even in retrospect, why a band of such high musical quality did not hit the big time after all. One reason might be the record company's insufficient marketing strategies, or possibly the ignorance of the German audience, an audience that can easily be drawn into the showground to see any group boisterously announced, but that hardly gives those bands a chance that are little known! The fact that their gig in the factory in Hamburg only draws an audience of just one hundred people in spite of the LP's appearing on a label (Vertigo/Phonogram) that was famous and influential in specialist circles shows the lack of resonance with an audience outside the regional clubs. The band's growing disillusionment after so many negative experiences is not surprising. Soon enough financial ruin follows suit and Odin eventually split up in May 1974.
During an appointment in London they visit the legendary Marquee-Club which had already been scheduled as a place of performance for the planned tour. It seems that a highly important step towards making the band known both locally and internationally is about to be taken. The unexpected interest on the part of England gives the band an enormous boost. However, just before the end of the negotiations in 1973 the energy crisis gets in the way. In view of the official ban on driving and a great deal of other difficulties that seem to appear from nowhere Phonogram England decide to put the tour on hold for the moment. Quite unexpectedly, Phonogram Hamburg react with equal reserve, in spite of the extensive negotiations the band had already conducted concerning their 2nd album, which they had been working on intensively - indeed a very heavy blow for the band.
It is hard to say, even in retrospect, why a band of such high musical quality did not hit the big time after all. One reason might be the record company's insufficient marketing strategies, or possibly the ignorance of the German audience, an audience that can easily be drawn into the showground to see any group boisterously announced, but that hardly gives those bands a chance that are little known! The fact that their gig in the factory in Hamburg only draws an audience of just one hundred people in spite of the LP's appearing on a label (Vertigo/Phonogram) that was famous and influential in specialist circles shows the lack of resonance with an audience outside the regional clubs. The band's growing disillusionment after so many negative experiences is not surprising. Soon enough financial ruin follows suit and Odin eventually split up in May 1974.
Membros
Jeff Beer - teclados,
vibrafone, percussão, voz
Rob Terstall - guitarra, voz
Ray Brown - baixo, voz
Stuart Fordham - bateria,
percussão, saxes,
flautas, apitos
.jpg "Odin (photo 02)")
ALBUMS
Odin (1972)
.jpg "Odin - Odin - 1972 (front)")
01. Life is only
02. Tribute to Frank
03. Turnpike lane
04. Be the
man you are
05. Gemini
06. Eucalyptus
07. Clown
08. Oh, no!
(live, bonus)
Mp3 320kbps and full artworks: enjoy!
SWF session 1973 (2007)
.jpg "Odin - SWF session 1973 - 2007 (front)")
01. Turnpike lane
02. Life is only
03. King Kong
04. Oh, no!
05. Make up
your mind
Mp3 320kbps and full artworks: enjoy!
Live at the Maxim (2007)
.jpg "Odin - Live at the Maxim - 2007 (front)")
02. Man
of reason
03. Ohio
04. Silver dollar
05. My guitar wants
to kill your mama
06. Gemini
07. Cinnamon girl
08. Little house
09. Peaches en regalia
10. 21th century
schizoid man
Mp3 320kbps and artworks: enjoy!
Link para o download dos 3 álbuns: enjoy!
Odin - Gemini - 1972
Odin - Eucalyptus - 1972
Many thanks
ResponderExcluirHello Plastic Guitar! Thanks for always being here. A big hug and good health to you and your family!
Excluir