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NINE DAYS' WONDER

Crossover Prog • Germany


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Nine Days' Wonder biography
Formed as far back as 66, this group recorded their wild debut album (between Zappa, Soft Machine, Crimson and Purple, if you can picture that!!) as a fairly international quintet (4 different nationalities between the five of them) before breaking up the following year, with their sax player, John Earle joining Gnidrolog for their classic Lady Lake. Singer-drummer Seyffer then joined the group Medusa, which soon became the second line-up of NDW and by the start of 73, they were recording their We Never Lost Control, which was more conventional prog (Nektar comes to mind). NDW stayed a very unstable unit with their straight rock album Only The Dancer recorded as a quartet in England and on which VdGG's Jackson guests on a few tracks. The group's last album Sonnet To Billy Frost was a press-dismissed British-sounding rock opera.





Why this artist must be listed in www.progarchives.com :
stunning prog at times



Discography:
Nine Days' Wonder - 71
We Never Lost Control - 73
Only The Dancer - 75
Sonnet To Billy Frost - 76

Nine Days' Wonder official website

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NINE DAYS' WONDER discography


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NINE DAYS' WONDER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.80 | 24 ratings
Nine Days' Wonder
1971
3.93 | 10 ratings
We Never Lost Control
1973
2.30 | 8 ratings
Only The Dancer
1975
3.40 | 5 ratings
Sonnet To Billy Frost
1976

NINE DAYS' WONDER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

NINE DAYS' WONDER Videos (DVD, Blu-ray, VHS etc)

NINE DAYS' WONDER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 2 ratings
The Best Years Of Our Life?
2001

NINE DAYS' WONDER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

NINE DAYS' WONDER Reviews


Showing last 10 reviews only
 Nine Days' Wonder by NINE DAYS' WONDER album cover Studio Album, 1971
3.80 | 24 ratings

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Nine Days' Wonder
Nine Days' Wonder Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Manheim-based act Nine Days Wonder started in 1966 under the name The Graves, led by drummer and singer Walter Seyffer.They became Nine Days Wonder in 1970, when Seyffer gathered a multi-national line-up, consisting of British drummer Martin Roscoe, Austrian bassist Karl Mutschlechner, German guitarist Rolf Henning and Irish multi-instrumentalist John Earle.They were signed by Bacillus, which released their self-titled debut in 1971, released also on Harvest with a different cover only for the UK market.

Nine Days Wonder played very complex and jazzy Kraut Rock with unusual vocal sections and extreme musical ideas, aking to the hardest moments of VAN DER GRAAF GENERATOR or KRAAN.Maybe the most extreme is the opening, long ''Fermillion'', a unique mix of Kraut Rock with endless jams, Heavy Rock with strong guitar moves, Funk with sweet sax solos and Jazz Rock with measured, improvised passages, spoiled by the needless, ZAPPA-esque but hillarious vocals towards the end.''Moss Had Come'' is a short Psych/Hard rocker with a sudden acoustic break at the middle, featuring some impressive sax moves.''Apple Tree'' is possibly the best track of the album.Again a furious and complicated jazzy Kraut Rock with sax in evidence is nicely blended with a softer vocal moment and very good Hard Prog sound towards the end with intricate guitar work.The closing ''Drag Dilemma'' clock at over 12 minutes and continues in the same vein yet with a bit more flexibility.Lots of nice interplays with sax, flutes and guitar battling, also lots of different displays like Classical-influenced parts, Proto-Fusion solos and Hard Rock offerings to go along with very passionate vocals.

Definitely pioneers of the German Prog, but maybe a bit too dense for their own goods, Nine Days Wonder debuted with an interesting album, lacking melodies and emotion, but filled with passion, energy and impressive music.Recommended.

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 Nine Days' Wonder by NINE DAYS' WONDER album cover Studio Album, 1971
3.80 | 24 ratings

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Nine Days' Wonder
Nine Days' Wonder Crossover Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. I absolutely love this album. It's hard to pin down as far as what style of music it is but I agree with the RYM site that this should be in Krautrock. The band was formed in 1966 in Germany but didn't release an album (this one) until 1971. Only 2 of the 5 members here are actually German though and the lineup would change on the next record. Some of the guys who were in this band would go onto play in ZYMA, GNIDROLOG,TWENTY SIXTY SIX AND THEN, JUD'S GALLERY, AERA and others. This is such an interesting, inventive and entertaining album.

"Fermillion" opens with a heavy guitar chord then the flute and keys take over before the heaviness drops in like a bomb. Vocals join in and I love the raw guitar here. The guitar continues to light it up as the vocals come and go. It settles with sax and a heavy rhythm. A jazzy vibe too before it turns experimental before 5 minutes. The sax is back a minute later as the drums pound and the bass throbs. Nice. The guitar starts to rip it up trading off with the sax. A change 8 minutes in with vocals. It speeds up before 9 minutes then slows right down with spoken vocals. Cool. It then kicks in with sax and vocals as the drums pound away. A calm 11 minutes in. It's haunting as we hear laughter. Now i'm laughing as the guy talking speaks like a woman. This is hilarious much like Monty Python. A change 13 minutes in as vocals come in then it turns heavy.

"Moss Had Come" continues the heavy sound with vocals. A calm with strummed guitar before 1 1/2 minutes. Laid back vocals join in then it kicks back in before 3 minutes,sax too. "Apple Tree" has some intensity and humour in it. A calm with sax before a minute. The tempo picks up 2 minutes in and the vocals stop as they jam with the guitar out front. Vocals are back late.

"Drag Dilemma" has an impressive instrumental intro then the guitar starts to lead then the vocals join in. Amazing ! The vocals and guitar trade off 2 1/2 minutes in. It's like the guitar is talking back. It kicks back in after 3 minutes. So good ! Flute after 4 minutes then the vocals are back before 6 1/2 minutes. A groovy beat here. Sax after 8 minutes then vocals a minute later. It's almost spacey after 10 1/2 minutes then it kicks back in. He sounds like Peter Hammill 12 minutes in as he gets theatrical.

My kind of music.

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 Nine Days' Wonder by NINE DAYS' WONDER album cover Studio Album, 1971
3.80 | 24 ratings

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Nine Days' Wonder
Nine Days' Wonder Crossover Prog

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

4 stars A rare hybrid

What if Jethro Tull had decided to back up Frank Zappa in the start of the 70s, and then hired Tony Iommi to play lead guitar for this brand new band? I´m not sure all these musicians could have succumbed to the dictatorship of good ol´ Franky boy, but then again I´m only contemplating what could have been. This debut album by Nine Days´ Wonder does however make a fair bet, as to how this flammable cocktail would pan out. It works within those tricky and ludicrous plays on music that Zappa was pioneering back when his beard was black as the night, - that special music which had the tunes getting lost in a bewildering sonic labyrinth.

Just like the well orchestrated maze of Zappa that took the tracks beyond anything, we as the audience had heard before(at least in rock music), Nine Days´ Wonder challenge our sense of melody - as well as our preconceived notions of musical flow. This album turns on a dime, which in my book makes it all the more mind boggling - that the tunes often have a way of turning out like outright songs. Songs that you can sing! I know, I´m rambling again, but I actually find it pretty perplexing to hear music this fluctuating and challenging, to be so catchy and welcoming. It´s one of those things that Zappa was brilliant at too.

One other thing about this album, which I think is quite extraordinary, is the sheer spectrum of sound it permits, and that is without any organs, mellotrons or synthesizers. 3 of the prog heads most revered instruments are nowhere to be heard, but I honestly don´t miss them. The album is largely build up around the interplay between the wind instruments and the guitar. Sometimes you´ll be facing a distinct fusion fire that reminds me slightly of the feel Black Sabbath had back during tracks like Wicked World with that growling rocking jazz music - forcing you to tap your feet along to the bouncing beats. Other times the focus of these 2 instruments are somewhat divided, meaning that you get one echoing the other in a near jazz chase situation, albeit with a decisively heavier rock n´ roll touch. Both these trades are used wonderfully throughout the record, and then when the time is right - and the music has played itself out - the soprano sax is elegantly replaced by the Ian Anderson like flute and suddenly, without warning, the music has changed its skin. Welcome to an unrecognisable yet charming new face within the exact same song!

Although this band was playing out of Germany back in the day, the front singer here who also handles both wind instruments - is from Ireland. And with a bassist from Austria and a British drummer - what we have here is a multicultural melting pot. Maybe that is the catch! Maybe that´s why the music wound up this eclectic and varied? I frankly don´t know, but I do know how much I love dancing around to this little obscurity. It´s loads of fun, and again - pointing back at Zappa - these guys also exhibit a mad and slightly bizarre kind of humour, which really speaks to me. Many a times the front man sounds like he´s singing with an ice cube running down his back - you know that high-pitched, surprised and maniacal voice that almost tweets like some humanized stork running on hot coals. And you know how much I love my birds...

I think most prog fans will adore this album, and if you are into Zappa, Tull and Beardfish, or could imagine Gentle Giant without the medieval shadings all spliced up with a hefty dose of Led Zeppelin and Black Sabbath, then damn it boy: What are you waiting for??!!!

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 We Never Lost Control by NINE DAYS' WONDER album cover Studio Album, 1973
3.93 | 10 ratings

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We Never Lost Control
Nine Days' Wonder Crossover Prog

Review by Sean Trane
Special Collaborator Prog Folk

4 stars With a vastly different line-up, no doubt NDW's second album would be quite different and indeed it was the case. NDW had broken up a few months after their debut's release (71) and singer/drummer Seyffer had joined Medusa, and before they knew it the NDW was resurrected and by late 73 came this album recorded at the famous Dierks studios. Coming with a bland group "glam" picture for artwork (this time with no gimmick material) and a fairly dumb title, the group developed on this album a much more conventional prog rock (compared with their first album, anyway) where Seyffer was now dominating the creation process but sharing it with keyboardist/saxman Münster. The resulting organ-driven prog is quite pleasant, where percussions and drums cohabitation is a NDW trademark over Bundt's funky bass work and the odd sax with some cool guitar solos and the odd mellotron, the whole thing often presenting a frequent frantic mood.

From your organ-lead heavy prog to jazz-rock, the album swings through a certain range of climates with Andromeda Nomads being the opening side's best track, with its sudden mid-song interruption, only to start again slightly crazier. The opening Days In Bright Light and Great Game are both strong tracks as well.

On the flipside, it is obviously the unavoidable We Grasp Naked Meat (wonder what the do with it, once the killed it ;-) that will draw the proghead's attention and with very valid reasons: plenty of great interplay between the Hammond, the sax and the searing guitar, interrupted by harpsichord, mellotrons, hollowed-sounding vocals. The other two tracks are correct, with Armaranda sounding like a weird early-Genesis (FGTR-era) at first but sliding towards an intriguing ELP-Family ending.

NDW would never be a stable group and almost right after this album's release, more changes would occur with Rolf Henning entering the fold (he gets an indirect writing credit for the lengthy Naked Meat track) and by 74 and their next (mediocre) album, they were down to a quartet. But this second album is still quite good and it is a crying shame that it came in such a un-comitting package. Close to essential, IMHO, so I will round up its rating to the upper unit; but even if it won't have you crawling up the walls, it is worth the occasional spin, just for the sake f listening to something else than the eternal classics.

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 Only The Dancer by NINE DAYS' WONDER album cover Studio Album, 1975
2.30 | 8 ratings

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Only The Dancer
Nine Days' Wonder Crossover Prog

Review by Sean Trane
Special Collaborator Prog Folk

2 stars This third album is easily NDW's most deceiving even if the gatefold held some promises. Down to a quartet, but still lead by drummer/singer Seyffer, the album is mostly straight ahead rock, and if well executed, it can only deceived after their previous two albums even if Rolf Henning is back on guitar. It was recorded in England and boasted shorter tracks (except for the closing track), and has the curiosity of hosting VdGG's Dave Jackson on most tracks, Grobschnitt's Lupo (for the great humoresque interventions on the opening track) but Seyffer had left the drums/percussions (to an Indian) and much of his zaniness, even if he still dominates in the songwriting department.

Some tracks still hold quite a bit of interest, such as the opening Long Distance Line with its mid-section being drastically different than the verse-chorus parts) and the closing track , the lengthy Moments (where the group finally abandons a bit the classic song structure), but on the whole most of them are very average, such as the title track (with Audience/Gnidrolog vocals), Not My Fault, Hovercraft Queen and The Way I'm Living. One of the fun things is you recognize clearly Jackson's style of sax playing even if his parts are much more conventional (and much less electronically-trafficked) than in his Generator. Generally, the second side is better than the first but this is marginal.

But the few plusses of this album hardly offset the minuses and the vast majority of average. Best avoided unless you have all their other albums. While two stars may appear harsh (but outside the opening and closing tracks.) , compared to NDW's other albums, it really is not!!

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 Nine Days' Wonder by NINE DAYS' WONDER album cover Studio Album, 1971
3.80 | 24 ratings

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Nine Days' Wonder
Nine Days' Wonder Crossover Prog

Review by Sean Trane
Special Collaborator Prog Folk

4 stars This album must have one of the weirdest ever cover-texture (in its original German pressing) as it was a rubbery foam (not having aged well for the most part), but the music inside it was equally disturbed being a strange mix of what was the craziest music around. This very international group (saxman-flauter Earle is Irish, drummer Roscoe British, and the bassist is Austrian), NDW is one of those UFOs in terms of influences, and this album in its original version is worth a small fortune, and has been re-released with a different artwork too.

As much as I have been listening to this album, I always felt that it was rather impossible to describe the music succinctly without omitting a facet (or two, even three) of it, so would resume it as a bizarre cross of Beefheart's Zappa and a Crimson Machine with Purple Traffic. Only four tracks two of them multi-movement "suites", this is head-twisting dizzyingly-wild music, constantly changing with a few characters intervening here and there. All tracks and subsections are attributed to all the members and it hardly surprises once you heard it a few times.

As the group will fold soon after, John Earle left for England and eventually ended up in Gnidrolog, playing second sax on their classic Lady Lake.

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