Tuesday, October 30, 2007
01 - Cross My Heart
02 - Flower Lady
03 - Outside Of A Small Circle Of Friends
04 - I've Had Her
05 - Miranda
06 - The Party
07 - Pleasures Of The Harbor
08 - The Crucifixion
Monday, October 29, 2007
2 The Music Scene
3 Sorry For Yourself
4 Glass Chandelier
5 Tomorrow's Girl
6 Suzie Cryin'
7 Mr Clock
8 Gone To Pot
9 No Retreat
10 Too Many Heartbreaks
11 When I Get Home
12 Super Market
bonus cd tracks
13 The War
14 Yes, I Love You
15 Run Baby Run
Fapardokly were Merrell Fankhauser guitar, Bill Dodd lead guitar, John Oliver bass, and Dick Lee drums. The odd name being a combination of their surnames - or rather three of them plus that of Don Parrish, the original bass player.
But even odder is the fact that this band only plays on 3 out of the 12 tracks on the original album, 3 (maybe 4) tracks are by Aldridge, Fankhauser & Lotspeich, and 5 tracks are by Merrell & The Exiles or variants of that band.
The album is therefore a combination of various styles from early 60s beat to soft psychedelia to folk-rock recorded between 1964 and 1967 - Merrell Fankhauser being the only common element linking all the tracks. Despite this the original vinyl album has become an extremely collectable item - a psychedelic classic (apparently only 1000 copies were pressed and not many sold – hence it has become a real collectors’ item. I’ve seen an original sealed copy offered for sale at $500 !!).
The Aldridge, Fankhauser & Lotspeich tracks have a naïve psychedelic charm to them, while a couple of the Fapardokly cuts are harder edged – one (Gone To Pot) being an instrumental sibling of Eight Miles High.
The CD reissue includes three bonus tracks not released before - one, The War, by the Fapardokly band, another, Run Baby Run, by Merrell & the Exiles and a third, Yes I Love You which Merrell and Don Aldridge put together
Jeff is listed as playing on Sorry For Yourself, Suzie Cryin and Too Many Heartbreaks, all of which were released as singles by Merrell & the Exiles in 1964 and 1965. He is also credited as guitarist on the AFL tracks too although Don Aldridge and Gary Lotspeich do not recall him taking part in those sessions.
The cover of the CD reissue is the same as the original vinyl and the 1967 back cover is also included along with its' ill-advised photograph of the band wrapped in blankets! The CD also includes some sleevenotes by Merrell.
Get it here
Saturday, October 27, 2007
I hope you enjoy it as much as I do...
For more Info Visit the Marmalade Skies original page about "Toytown"
1. Excerpt from a Teenage Opera - Keith West
2. Sir Geoffrey Saved the World - Bee Gees
3. The Bitter Thoughts Of Little Jane - Timon
4. I Like My Toys - The Idle Race
5. Flowerman - Syn
6. Peter’s Birthday - World of Oz
7. Auntie Mary's Dress Shop - Tomorrow
8. Toyland - Alan Bown
9. Tales of Flossie Fillett - Turquoise
10. A Prologue to A Magic World - Ruperts People
11. Leave Me Here - The 23rd Turnoff
12. Ye Olde Toffee Shoppe - The Hollies
13. Mr. Small the Watch Repair Man - Kaleidoscope
14. Our Fairy Tale - The Herd
15. Glass House Green, Splinter Red - Kinsmen
16. Gilbert Green - Gerry Marsden
17. Baked Jam Roll in Your Eye - Timebox
18. (Here We Go Round) the Lemon Tree - The Move
19. William Chalker's Time Machine - The Lemon Tree
20. My Name is Jack - Manfred Mann
21. Melody Fayre - John Bromley
22. Uncle Joe, the Ice Cream Man - The Mindbenders
23. Tin Soldier Man - The Kinks
24. Little Bombardier - David Bowie
1. After Tea - Spencer Davis Group
2. Dance 'Round the Maypole - Acid Gallery
3. Toffee Apple Sunday - Toby Twirl
4. Mr. Moody's Garden - Gilbert O'Sullivan
5. Sam - Keith West
6. The Sky Children - Kaleidoscope
7. Colonel Brown - Tomorrow
8. Laughing Man - John Carter & Russ Alquist
9. Alice - Jon Plum
10. Little Girl Lost and Found - Peter & the Wolves
11. Equestrian Statue - The Bonzo Dog Doo - Dah Band
12. (He's Our Dear Old) Weatherman - Mark Wirtz
13. See the Little People - Mike d'Abo
14. Jumbo - Bee Gees
15. Phenomenal Cat - The Kinks
16. Craise Finton Kirk Royal Academy Of Arts - Bee Gees
17. The Sound of the Candy Man’s Trumpet - Tony Hazzard
18. The Muffin Man - World of Oz
19. Town of Tuxley Toymaker - Billy J Kramer
20. Phoebe's Flower Shoppe - The Cortinas
21. The Cooks of Cake and Kindness - Californians
22. Victor Henry's Cool Book - The Smoke
23. Man in a Shop - Marmalade
1. Skeleton and the Roundabout - The Idle Race
2. Jenny Artichoke - Kaleidoscope
3. Uncle Arthur - David Bowie
4. Spare a Shilling - The Bunch
5. Easy Street - Eddy Howell
6. Love and the Brass Band – Dave Christie
7. Harry the Earwig - Pete Dello & Friends
8. Fairyland - Pop Workshop
9. Looking Glass - The Bunch
10. Broken Toys - Broken Toys
11. Ice Cream Man - Kidrock
12. I Lied to Auntie May - The Neat Change
13. Goodbye Thimble Mill Lane - Peter Lee Stirling
14. When I'm Five - Beatstalkers
15. Three Jolly Little Dwarfs - Tomorrow
16. Dogs In Baskets - Geranium Pond
17. Weatherman - John Bromley
18. Cherrywood Green - Just William
19. Gingerbread Man - Mirror
20. Mandy Ann - World of Oz
21. Geraldine - Zion de Gallier
22. Mr. Poem - Mike Batt
23. Sadie and Her Magic Mr. Galahad - A New Generation
24. Mrs. Ward - The Idle Race
1. Persimmons Peculiar Shades - Watchmaker
2. Uncle Hartington - Peter & Gordon
3. Sandman - Neat Change
4. One Man Band - Pinkerton's Colours
5. Birmingham Brass Band - Bullring
6. Joe Organ & Co. - Barnaby Rudge
7. Room at the Top of the Stairs - Timothy Blue
8. Colour Sergeant Lillywhite - Consortium
9. Happy Castle - Crocheted Doughnut Ring
10. A Little Train Number - Kenny Everett
11. Mr. Jewel Went Away - Julian Starr
12. Sydney Gill - The Smoke
13. Harry the Keeper - Buggy
14. Princess And The Soldier - Richard Barnes
15. Mr. Nice Guy - Dragonmilk
16. Zebedy Zak - Cardboard Orchestra
17. Brother Jack - Barry Wigley
18. As For Marionettes - The Marianne
19. Zobo (1871-1892) - Marty Wilde
20. Little Lesley - Alan Bown Set
21. A Little Smile on Christmas Morning - The Annie Rocket Band
22. Christmas Will Be Around Again - Two and a Half
23. Hey Mr. Organ Grinder - Vehicle
24. Lydia - Blue Yogurt
1. Broken Hearts Brigade - Hammond Hazlewood
2. Rainbow Rocking Chair - Majority One
3. Morning Morgantown - Jude
4. Pegasus - The Hollies
5. Chocolate Buster Dan - Pandamonium
6. Admiral Sheer - Chris White
7. Trip on a Orange Bicycle - Orange Bicycle
8. Laughing Boy from Nowhere - Simon Dupree and the Big Sound
9. Flowers for My Friends - Joyce’s Angels
10. Barefoot And Tiptoe - Sweetshop
11. I Want to Go to the Overworld - Freddie & The Dreamers
12. Shine a Little Light into My Room - Jason Paul
13. Railway Jimmy - Barnaby Rudge
14. Good Old Sam - Vaughan Thomas
15. Shepherd Boy – Neil Holland
16. Annies Place - Gene Latter
17. Smoke, Smoke - Sgt Smiley Raggs
18. Constable Jones - The Decision
19. Miss Pinkerton - Cuppa T
20. Penelope - Smiley
21. Piccolo Man - The Flower Pot Men
22. Bric A Brac Man - Bill Nile & His Good Time Band
23. Threepence a Tune - The Laurels
24. Elephant Rider - The Hush
Thanks i. m. he (M.K.) for compiling,
uploading and let us make this compilation available to you !!!
Harvey Mandel became the original guitarist with Charlie Musselwhite, releasing the debut album Stand Back! in 1966. As a result of heavy airplay in San Francisco, they were invited to play The Fillmore by Bill Graham. Mandel moved to the Bay Area, regularly performing at the infamous club "The Matrix", where local favorites like Jerry Garcia, Elvin Bishop and Jefferson Airplane would sit in and jam.
On meeting the record producer Abe Kesh, Mandel was able to release his first solo album for Mercury Records entitled, Cristo Redentor in 1968, which included his version of "Wade in the Water."
In July 1969 he replaced Henry Vestine as lead guitarist in the blues band Canned Heat. Harvey remained with Canned Heat for nine months (until April 1970) with slide guitarist/vocalist Alan Wilson and singer Bob "The Bear" Hite. The custom of Canned Heat suggested that each member of the band acquired a nickname upon joining the band. Harvey's nickname, "The Snake," was given to him years before by keyboardist Barry Goldberg in Chicago (attributed to his cracked leather jacket and "snake-like guitar licks"). After several tours and three albums, including Future Blues, he was recruited by British bluesman John Mayall to be a member of the Bluesbreakers, recording the album, entitled USA Union together.
The band featured Mandel with Canned Heat bassist Larry "The Mole" Taylor, and violinist Don "Sugarcane" Harris. Mandel also appeared on another significant Mayall album, Back To The Roots, on which Eric Clapton and Mick Taylor also guested. He also toured with Taylor and Harris under the name "Pure Food and Drug Act" and released one album before Harris was assaulted, effectively ending his career.
He resumed his solo career, releasing several more albums for Janus Records in the 1970s including Baby Batter, The Snake, and Shangrenade, the record where Harvey employed 2-handed fretboard tapping. Mandel was one of the first rock guitarists to utilize this technique, years before Eddie Van Halen and Stanley Jordan.
One of Mandel's most significant session credits was his participation on Black and Blue, the 1976 album by The Rolling Stones.
Following his stint with the Stones, he became a busy session player, with groups such as Love and The Ventures, and opened for Jeff Beck on his Canadian tour as a power trio with Jimmy Haslip, bassist for The Yellowjackets. He relocated to Chicago in the late 1970s and continued to tour extensively, as well as supporting groups such as Roxy Music. In 1980, Mandel relocated to Florida as a member of the house band at Ron Wood's Miami nightclub, "Woody's," with Rolling Stones attendant saxophonist, Bobby Keys.
~BlackCatBone - Standin' At The Crossroads diary magazine
In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don "Sugarcane" Harris (from the '50s R&B duo Don & Dewey), which made several albums. In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai.
~Richie Unterberger, All Music Guide
Harvey Mandel - 1968 - Live At The Matrix 1968
Wednesday, October 24, 2007
Exotic was run by a musician named Arthur Braun, who is credited as both producer and engineer of Whitewood as well as writer of the songs that fill the album's other side. Braun ran his company on such a shoestring that he didn't even bother printing record covers -- not even stock covers. The cover to Rockadelic's version (as seen to the right) was created especially for this reissue.
Whitewood is a pretty nutso album. The music is a crude psych-garage thud common to the period, its players even less proficient than the typical local rock outfit of the day. The Braun side features a brilliantly unept drums/harmonica workout. Lurking amidst the murky drang of the notes themselves lie tape glitches, crude splices and spoken interludes. The lyrics seem to represent a middle-aged man's clueless notion of what a young, hep garage band should be singing. If you wanted to give the lyricist the benefit of the doubt, you could think of his songs as parodies of pseudo-insightful heavy-rock, but frankly if you did I think you would be being overly generous. A few samples of his poetry:
Volcanic ... the rumbling sound of many evil
Volcanic ... creates the Eve that ate the apple
Your charm is like charisma
Your love is like charisma ...
The power that we all have
Is a fear of power ending ...
World of tomorrow, world of yesterday
World of his evil, world of dismay.
Strangely, the pipe-smoker who wrote those words was disappointed enough by the low quality of Braun's interpretation of them that he agreed to be "compensated" by having several more of his songs included on a future Exotic album. That album, The Arthur Braun Expedition, also includes songs by other song-poets, as well as more material by Braun and what seem to be a couple of traditional song-poem recordings. The Arthur Braun Expedition is a howler of the first order -- among other ridiculosities, the pronunciation of the title phrase of the song "Avant Garde" is so badly mangled that it wasn't until I finally checked the song titles that I came to realize that it was about something other than Ava Gardner!
Rockadelic's edition of Whitewood was pressed in a strictly limited quantity of 500 copies. Alas. their version is itself now believed to be out of print. (song poem music)
2) Volcanic Eruption
5) An Enduring Love
6) Let My Soul Free
7) New World
9) Hoo Ah Polka
10) Victim Of My Mind
11) Marlene's Blues
12) Another Second Chance [For The Victims]
Tuesday, October 23, 2007
01 - I Ain't Marching Anymore
02 - In The Heat Of The Summer
03 - Draft Dodger Rag
04 - That's What I Want To Hear
05 - That Was The President
06 - Iron Lady
07 - The Highway Man
08 - Links On The Chain
09 - Hills Of West Virginia
10 - The Men Behind The Guns
11 - Talking Birmingham Jam
12 - Ballad Of The Carpenter
13 - Days Of Decision
14 - Here's To The State Of Mississippi
Second try [VBR]
01. Nights in White Satin
02. Right Track
03. Dream On
04. Lark in the Morning
05. Free Ride
06. Standing Together
08. Night Train
Bermuda Triangle Band's wild psychedelic or delicately nuanced electric autoharp and transcendental vocals grew out of the late '60s Folk Rock scene.With an independent attitude,eccentric style and highly unusual instrument lineup,the group was unprecedented.Psychedelic Rock Autoharp was unknown, and there were very very few women playing bass guitar. The members are Roger Penney and Wendy Penney...
Ambitious late hippie folkpsych LP with lounge aspects, transcendental female vocals and elaborate keyboard arrangements/production, not bad at all for those into eclectic 1970s sounds. Unexpected covers of Aerosmith and Circus Maximus are a plus while the Moody Blues track could have been left off. Fine originals. Would make a neat double bill with Jade Stone & Luv. The second LP has been described as a less effective dreamy keyboard rock effort. Ex-Roger & Wendy. [PL]
Truly bizarre folk-psych album that's more enjoyable than a lot of "better" records. Two of the first three songs are weird loungy covers of "Nights In White Satin" and Aerosmith's "Dream On," neither of which sound like anything else on the album. For surprise value alone, "Dream On" works the better of the two, since the Moody Blues tune was dangerously close to lounge to begin with. Most of the other songs are full of fiddle-style violin and autoharp, the latter of which is often treated with phasing, flanging and other effects. It feels like the songs are at a normal speed but the backing tracks are sped up. Some of the melodies are pretty speedy too. Spastic, cymbal-heavy drumming adds another layer of intrigue. One song sounds like a twisted take on funk, another like a hoedown. Both the male and female vocals are agreeable and work well in the context of these strange songs. The closing "Wind" (the Circus Maximus song) is another total departure, again not resembling anything else on the album, and sounding uncannily like a Linda Perhacs outtake. This album is kind of a shock on first listen, because at least to these jaded ears it's not often I discover something so original and bizarre.
Monday, October 22, 2007
"Riffs, Riffs, and more Riffs. Can't get enough of these damn fine riffs! It's punchy, it's hard, it swings, it's catchy, and it'll leave you hummin' these tunes for days. "Sonic Sally", is a totally ferocious, dancing can o' whoop ass. You need this, don't even think about throwing your next party without it. You'll thank me...honest!" - Dr. Xavier Nefarious
01. Steppin' Around
02. Leave It Alone
03. Fun,Fun,Fun...My Ass
04. When Yer Not Doin' Me
05. Not 21
06. Just That Way
07. Sonic Sally
08. She No Good
09. Yeah You'll Be Mine
10. Had Had You
11. The Mike Gunn Room
12. Let's Go To The Beach
"This Houston, Texas five-piece growls and roars with timeless, rebellious "we won't be kept down" rock and roll energy, kicking out the jams with one rollicking two-minute three-chord skuzz-rock anthem after another. Sugar Shack's not-quite-controlled chaos marries the sound of pre-punk '60s garage rock -- especially the acid-influenced dementia of Texas acts like the 13th Floor Elevators and the Moving Sidewalks -- with the angry, thunderous bite of early '80s Los Angeles punk outfits like the Misfits. Singer Mark Lockridge's raspy yelp is second to none, and guitarists Andy Wright and Kyle Otis's fuzzy guitar attack skips and dances frenetically. The stellar rhythm section -- comprised of Johnny Gibson's big bass boom and Stefanie Paige Friedman's high-speed snare drum pounding -- provides the stage for the rest of the band's circus antics." - Jesse Ashlock
"Recorded on April Fool's Day 1994, a tight, stompin' mix of punky garage rock is cooked up for you by Sugar Shack on their second album. Mark Lochridge adds a sneering Iggy/Stiv Bators vocal to the raucous, moving rock & roll thrown down by the rest of the band. The Stooges' influence is polished up and displayed front and center on Sugar Shack's adaptation of the Larry & the Loafers' classic, "Let's Go to the Beach." That track has the requisites of plenty of guitar, handclaps, and whacked-out/far-gone vocals, with a touch of Screamin' Jay Hawkins thrown in. Garage rock in the '60s had different eras, and this album draws not on the psychedelia that eventually appeared, but on the angry teenage groups of the earlier period. This band is a perfect fit for the Estrus label, which, by good fortune, they finally wound up on several years later. A celebration of the good rockin' life, even seen through the haze of a damaged memory (see "Not 21"), is the order of the day." - Jeremy Salmon
Mark Lockridge - vocals
Andy Wright - guitar
Kyle Otis - guitar
Johnny Gibson - bass
Stefanie Paige Friedman - drums
Sunday, October 21, 2007
01 - Seashore
02 - About You
03 - Deborah
04 - Whitch
05 - Venetia II
06 - You
07 - Fly
08 - Ladyfriend
09 - Are You Seeing
10 - Emma's Saga
11 - The Morning After The Night Before
12 - The Seagull And The Sailor
13 - Seashore
14 - No More Love
15 - Pomme
16 - Deborah
17 - It Was An Easy Legend
18 - Fly
19 - Thank God
- MARK BARAKAN gtr
- JULIAN DIGGLE drms
- JAMIE RUBENSTEIN vcls, acoustic gtr
- ROBIN SYLVESTER bs, keyb's, gtr
- CHLOE WALTERS gtr
- JON WEISS ld gtr
Wah Wah Records is proud to announce the reissue of the recorded works by this amazing folk-with-popsike-jazz-and-even-bossa UK band! Originally released on the Tangerine label, the Ora LP was also issued in the German Metronome label as "Knick Knacks", but gets its first vinyl reissue since it first came out on this 2LP set. Record 1 will feature the original Ora LP as it was first issued back in 1969, while record 2 is made up of previously unreleased in vinyl format top quality material by the band and will include tracks never issued before in any format that original band member James Rubinstein had in his personal archive. 25 must-have songs for anyone interested in UK folk/pop/psych ! !
It is an album of incredible beauty, recorded by some talented young artists, Here is an extract from the original 1969 press release:
Jamie Rubinstein, 18, leader, lead vocalist and guitarist with the group called ORA, wrote all the songs on their new LP. He arranged most of them. While making the album Jamie was studing for his GCE A Levels. This is the group's first release, a single is being planned.
Jamie and Robin Sylvester, 18, who plays bass guitar, piano, organ, and is co-arranger, are the main-stays of the four-piece group. The others, lead guitarist Jon Weiss and drummer Julian Diggle, are "floating" members. Jamie, Robin, and Julian had met at UCS (University College School) in Hampstead.
The Wah Wah edition will be housed in a gatefold sleeve that will respect the original artwork concept, graphically adapted to this new issue following the directions of Ora leader James Rubinstein. James himself signs the inner notes so you get an accurate first person told history of the band who would later become the legendary progressive rock group Byzantium.
This sensational band performed a most unique mixture of folk, jazz and pop sounds and recorded one of the most beautiful LPs coming from the UK in 1969. The original Tangerine issue was valued with four circles on Hans Pokora's "1001 Record Collector Dreams" book and an R3 "extremely rare" qualification on Vernon Joyston's "The Tapestry Of Delights", which means the Wah Wah 2LP set is definetely a very good chance to get the great recordings of this fab band into your vinyl collection and yet save some money for the university of your children! But you'll have to hurry for your copy since only 900 numbered copies are on sale and we do believe these should sell like hot bread! Otherwise expect To pay 500 sterling for an original UK Mint copy without the pressing defect (some original copies have a pressing defect on one song)
Get it here @192
Buy it here (Wah-Wah records)
Saturday, October 20, 2007
1. Peace Loving Man 4:50
2. Kiss of Confusion 4:37
3. Listen to the Silence 3:42
4. Love Bomb 8:34
1. Billy Boo the Gunman 7:02
2. Indian Summer 5:50
3. Just Above my Hobby Horse's Head 2:50
4. Wait a Minute 5:38
After the delightful debut "We Are Ever So Clean", the Blossom Toes changed their naive-side and became a remarkable underground act with tighter arrangements...The avant-garde experimentalism is still intact and the lyrics reflecting the social buried-dream of the sixties coda are so perfectly eclectic like little else in psychedelic-rock, yet not inaccessible...The magnificent spooky intro of "Peace Loving Man" and the linked "Kiss of Confusion" is so enduring in my memory as the first time I heard this, always discovering new things (new sounds) in these well-crafted songs; the fine "Listen To The Silence", an answer to Paul Simon's "Sound of Silence" delicacy (?) and the stunning couple of extended tracks, "Love Bomb" and "billy Boo The Gunman" or the sitar-driven joy of "Just Above My Hobby Horse's Head"... A CLASSIC!!! To everyone with an appetite for psychedelic music, this is a MUST (a nice pair!!! With "We Are Ever So Clean"!!!).
The music recalls Captain Beefheart , Wishbone Ash , Frank Zappa, and even early Led Zeppelin to these ears but tracks like "Just Above My Hobby Horses Head" evokes the Beatles with it's plangent sitar courtesy of US folkie Shawn Phillips. Poli Palmer adds flute ,percussion and that sixties staple vibes on several tracks. It's certainly complex music , with intricate interwoven guitar lines and like I said it can be a little too fussy at times but on tracks like "Peace Loving Man" , "Wait A Minute" and "Listen To The Silence " it all gels very nicely and the lyrics about the usual late sixties things- social unrest, anti war bluster, and why cant we all just live together nicely aren't too toe curling.
This edition is expanded with a informative booklet and extra tracks. The single "Postcard" pre-dated this album and is infinitely poppier -like that debut album and is a bit of a relief after all the convoluted material on the album proper." Everyone's Leaving me Now" -a B side -is a tremendous jazz inflected number but "Ever Since A Memory" and "Nobody But" are demo's and should have remained so. Un-released single "New Day" featuring label mate Julie Driscoll and Reggie King on vocals is a tad overwrought with multi-banked voices and some hideous caterwauling yet I still quite like it.
This album was a much sought after rarity and it's easy to see how certain people would find it an intoxicating work but overall it falls short of classic status for me. The playing is exemplary , particularly the guitar work ,but the song writing is patchy and it does sound rather dated at times. If Only For A Moment is an easy album to admire but a much harder one to love .You should hear it but is more likely to have you nodding sagely than gushing like a overheated chocolate fondue.
This was the second album by Blossom Toes, a band signed to ex-Yardbirds manager Giorgio Gomelsky's Marmalade label. Stable mates there included Julie Driscoll, Brian Auger and the Trinity, John McLaughlin, and two songwriters (Graham Gouldman and Kevin Godley) who had written hits for The Hollies and Herman' Hermits and later formed 10CC.
Blossom Toes' first album, "We Are Ever So Clean" was a delightful slice of British pop psychedelia, but for their second album they went "heavy" and "progressive" (although those terms weren't really being used yet in that sense). A four-piece, with three lead singers and twin lead guitars, I like to think that they predated Wishbone Ash and their ilk.
The first track on the album, "Peace Loving Man", is a raucous anti-war bombast that hasn't really aged very well but the remainder of the album is subtle, imaginative and I still play it today. I finally managed to find it on CD as a Japanese , so I've retired both my vinyl copies - it was a pretty rare LP at the best of times, and a few years later I bought a spare copy secondhand in case anything happened to my original.
They broke up after this album although they formed the nucleus of a band called "B B Blunder" who made one really rotten album ("Workers Playtime", with a cover parodying the Radio Times) and then split. Jim Cregan later joined Family, and then went on to play lead guitar for Linda Lewis (remember her?) and Rod Stewart. I think he's still with him. Brian Godding became a jazzer, playing with Centipede and various Keith Tippets outfits, and I don't know what happened to Brian Belshaw or Barry Reeves. Finally, they reformed briefly to provide the backing to one of the standout tracks on Julie Driscoll's "1969" album (that's it's title, not the year of release), "Break Out".
Get it here
3. Six — 19:29
1. Lawton — 7:48
Hampton's vocals sound like he might be channeling the good Captain. The lyrics are usually stream-of-consciousness, often taken from found sources. For example, to come up with lyrics for the first track, the band opened an encyclopedia at random and hit the entry on Halifax, which inspired the title and lyrics about six thousand miles of graded roads, radar stations and the cleanliness of the air. The opening lyrics of "Hendon" come from the warning label on a can of spraypaint. Hampton's delivery resembles Beefheart's gruff style, but whereas the Captain sounds like an old blues singer, Bruce sounds like a lunatic. He definitely adds color to the music.
The album was originally going to be made up of just the three 20 minute tracks, but the record company asked for some shorter songs, hoping for something a little more radio-friendly. The closest they got was "Hey Old Lady/Bert's Song" and "Maria". The former is an upbeat rocker with lyrics about bag ladies, life and death, the latter is a catchy little number about young Spanish kids in love. But even those were too weird for singles, (not to mention "Maria" containing phrases like "wish that she would touch my bone"), so the existing tracks were just released as a double album and marketed as a comedy record.
As bizarre as it is, this album contains a ton of good music and I keep finding myself listening to it over everything else I've bought recently. But this definitely isn't an album for everyone. Fans of Zappa, Beefheart and the jazzier end of prog (particularly Canterbury) will probably enjoy it, if they can get past the, um, "unique" vocals."
Friday, October 19, 2007
1. Spin, Spin, Spin (3:27)
3. Blue Jack of Diamonds (3:13)
4. Electrallentando (6:39)
5. At the Mountains of Madness (5:02)
6. Mobius Trip (2:48)
7. High Flying Bird (3:27)
10. Anyway That You Want Me (Bonus) (2:46)
11. It's All Over For You (Bonus) (2:36)
- George Edwards / rhythm guitar, lead guitar, bass, lead vocals
- David Michaels / keyboards, clarinet, recorder, lead vocals
- Jerry McGeorge / bass, vocals
- Tony Cavallari / lead guitar, vocals
- Michael Tegza / drums, vocals
H.P. Lovecraft was an American psychedelic rock group of the 1960s and 1970s named for the famous horror writer. Originally formed in Chicago, Illinois in 1967, they relocated to San Francisco, California the following year.
Their self-titled 1967 LP was an impressive debut, featuring strong originals and covers of early compositions by Randy Newman and Fred Neil, as well as one of the first underground FM radio favorites, "White Ship." Their second album, H.P. Lovecraft II, was a much more sprawling and unfocused work, despite some strong moments. A spin-off group, Lovecraft, released a couple LPs in the '70s that bore little relation to the first incarnation of the band.
RapidShare or SendSpace
Thursday, October 18, 2007
The original vinyl version (released by Page One Records) is now extremely hard to find. A reissue by Repertoire Records was released in 1994, which included several bonus songs (those being early mono versions of some of the album's tracks) [Wikipedia]
I don’t have the bonus tracks but only the 12 originally tracks from the LP…
01.Let's Take A Trip Down The Rhine
05.The Mayville Line
06.Queen Of Hearts Blues
07.Rock Me Baby
12.Pretty Girl Love You
Outstanding lp, long time since I heard a release that balances so neatly between tradition and experiment, and creates something new under the sun.
Wednesday, October 17, 2007
Tuesday, October 16, 2007
Circus Days #1 & 2
Pop-Sike Obscurities, vol.1 1966-1970
Pop-Sike Obscurities, vol.2 1967-1970
Circus Days #3
UK Psychedelic Obscurities, vol.3 1966-1970
Circus Days #4 & 5
UK Psychedelic Obscurities, vol.4 1967-1972
More Obscure Pop-Sike, vol.5 1966-1970
Circus Days #6
Psychedelic Obscurities, vol.6 1966-1972
Click on titles for tracklists
Download Links :
Set One (for Free users)
Set Two (for Premium users)
A Small Request to premium users :
Please Do Not download the Direct Links set...as the Direct Downloads Traffic is limited...
You don't need it after all.
Leave this traffic for the free users.
Monday, October 15, 2007
01 you hit me over my head
02 cyclops nuclear submarine captain
03 south american eye
05 ferris wheel
07 silkworm exploding
08 window fall down
10 love bomb
11 revolution of the homeless
12 flying saucer over mongolia
13 beautiful trailor park
14 apple mary
15 flower garden bed
16 carnival in the swamp
17 so painful
18 cyclops N.S.C. (reprise)
19 shopping mall
Got released several albums but this one, at my humble opinion, is far away his best.
Cyclops Nuclear Submarine Captain is an album of bizarre love songs. Strange lyrics play over a backdrop of clarinet solos and melody. Dogbowl spares no one in making music that is incredible challenging and very likable at the same time. The core of the songs are pop love songs, but he approaches them with such strange imagery that the music comes alive more than any straightforward ballad could ever. It is really pop music that has mutated into a similar but different entity. The melodies are sweet, but the lyrics and sound are so far removed from anything the average music fan is familiar with.
Dogbowl writes good songs outside any kind of standard convention. Actually I am not the appropriate person to judge this one, cause is one of my fav's ever !
But hey, grab this one, you definitely won't regret it.
Dogbowl - Cyclops Nuclear Submarine Captain (1991).rar
Sunday, October 14, 2007
Here's a solid album for fans of the British Invasion genre, with an infectious raw and garagy sentiment that makes it such an endearing listen.
Killer tracks like "Wonderful" and Outside".I discovered it recently but can not find much information or review.
The Texas rock outfit Blackwell released four singles in two years on the interstellar Astro label, but the band's star never got much beyond regional gazing. John "Rabbit" Bundrick, a keyboard noodler, is the one member of the band to mingle with international rock stardom as a member of Free and part of the Who's outer circle of musical accomplices. Vocalist Glenn Gibson, not to be confused with a well-worn songwriting pseudonym of the '50s, had an extremely appealing voice, one of the main reasons the group's first single, "Wonderful," got heavy airplay in Texas and other numbers such as the 1969 "Outside" have gotten small transfusions from later compilations with far-out titles such as Acid Visions: The Complete Collection, Vol. 1 and '69 Love-In
Grab it cause it is very difficult to be found.
Get it here
Saturday, October 13, 2007
Cohen's earliest songs (many of which appeared on the 1968 album Songs of Leonard Cohen) were rooted in European folk music melodies and instrumentation, sung in a high baritone. The 1970s were a musically restless period in which his influences broadened to encompass pop, cabaret, and world music. Since the 1980s he has typically sung in lower registers (bass baritone, sometimes bass), with accompaniment from electronic synthesizers and female backing singers.
His work often explores the themes of religion, isolation, sexuality, and complex interpersonal relationships.
Cohen's songs and poetry have influenced many other singer-songwriters, and more than a thousand renditions of his work have been recorded. He has been inducted into the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame and he is a Companion of the Order of Canada, the nation's highest civilian honor [Wikipedia]
A bootleg from one of my favorite folk artists…
The sound quality is very good
With the download there was a text file, some information from that;
I removed a dozen of small clicks, reduced clapping (only over music), and played a bit with EQ.
t07 [0:37] right channel dropout fixed with a left channel patch (audible, but less annoying than before).
Except for tape flip breaks, seamless. (14 to 14 split seems logical here)
01. [6:25.33] Bird on the Wire
02. [5:21.32] The Law
03. [3:49.04] Hey, That's No Way to Say Goodbye
04. [4:54.23] Who by Fire
05. [3:56.38] Coming Back to You
06. [5:17.57] Dance Me to the End of Love
07. [4:25.25] There Is a War
08. [4:57.06] Night Comes on
--- tape flip ---
09. [5:34.05] //The Gypsy's Wife
10. [5:06.42] Diamonds in the Mine
11. [5:06.58] Avalanche (solo)
12. [4:28.21] A Singer Must Die (solo)
13. [5:28.39] The Stranger Song (solo)
14. [5:49.63] Chelsea Hotel #2 (solo)
--- tape flip ---
15. [5:32.17] //Story Of Isaac
16. [5:27.54] Famous Blue Raincoat
17. [6:43.16] Lover Lover Lover
18. [4:50.10] Sisters of Mercy
19. [5:08.03] Suzanne
20. [4:49.39] Hallelujah
--- tape flip ---
21. [6:03.55] I Tried to Leave You
22. [6:01.66] So Long, Marianne
23. [3:20.36] The Captain (read out as a poem)
24. [4:38.44] Memories
25. [4:13.23] If It Be Your Will
--- tape flip ---
26. [5:01.47] Passin' Through (Rob Blakeslee, arr. Leonard Cohen)
27. [7:17.73] Tennessee Waltz (Pee Wee King/Redd Stewart/Leonard Cohen)
28. [4:59.46] The Partisan (Anna Marly/Hy Zaret)
The band is:
Leonard Cohen - vocals, acoustic guitar
Anjani Thomas - backing vocals, keyboards
Mitch Watkins - guitar, backing vocals
Rob Getman - guitar, pedal steel, backing vocals
John Crowder - bass, backing vocals
Richard Crooks – drums
New link part 1
Link part 2
Link part 3
Thanks Kenwood for this great Bootleg
Style; Folk-Rock, Singer/Songwriter
Friday, October 12, 2007
Track Listing : (with track subtitles from included book)
01 Sumer Is Icumen In 1:36 The Deller Consort - Traditional Songs & Ballads of the British Isles- Two English Rounds
02 He That Will an Alehouse Keep 1:16 The Deller Consort - Traditional Songs & Ballads of the British Isles- Two English Rounds
03 Greensleeves 4:51 The Deller Consort - Traditional Songs & Ballads of the British Isles- Love Songs
04 We Be Soldiers Three 1:39 The Deller Consort - Traditional Songs & Ballads of the British Isles- Songs of War
05 Come All Ye Fair & Tender Ladies 3:26 Leon Bibb - British-American Ballads & Songs
06 Squirrel 1:34 Leon Bibb - The American Tradition- American Wit & Humor
07 Cotton-Eyed Joe 1:28 Leon Bibb - The American Tradition- Songs of Love
08 Darlin' 2:24 Leon Bibb - Modern Minstrelsy- Prison & Work Songs
09 Poor Lolette 3:08 Leon Bibb - The American Tradition- Songs of Love
10 The Golden Vanity 3:21 Ronnie Gilbert - British-American Ballads & Songs
11 Go from My Window 2:39 Ronnie Gilbert - British-American Ballads & Songs
12 Johnny Is Gone for a Soldier 2:32 Ronnie Gilbert - British-American Ballads & Songs
13 Spanish Is a Loving Tongue 2:31 Ronnie Gilbert - The American Tradition- Songs of Love
14 House of the Rising Sun 3:34 Ronnie Gilbert - Modern Minstrelsy- Desperate Men & Fallen Women
15 East Texas Red 3:50 Cisco Houston - Modern Minstrelsy- Desperate Men & Fallen Women
16 The Sinking of the Reuben James 3:47 Cisco Houston - Modern Minstrelsy- War & Tragedy
17 Meet the Johnson Boys 1:30 The Weavers - Modern Minstrelsy- Humorous Songs
18 The Wild Goose Grasses 2:50 The Weavers - Modern Minstrelsy- Love Spurned & Love Betrayed
19 Aweigh, Santy Ano 2:27 The Weavers - British-American Ballads & Songs
20 Get Along, Little Dogies 3:19 The Weavers - The American Tradition- Ballads of the West
21 The Erie Canal 2:12 The Weavers - The American Tradition- Work Songs
22 We're All Dodgin' 2:31 The Weavers - The American Tradition- American Wit & Humor
01 The State of Arkansas 3:00 The Weavers - The American Tradition- American Wit & Humor
02 Greenland Whale Fisheries 3:13 The Weavers - British-American Ballads & Songs
03 Eddystone Light 1:18 The Weavers - Traditional Songs & Ballads of the British Isles- Humorous Songs
04 I've Been Driving on Bald Mountain & Water Boy 6:39 Odetta - Modern Minstrelsy- Prison & Work Songs
05 Saro Jane 2:40 Odetta - The American Tradition- Work Songs
06 God's A-Gonna Cut You Down 2:13 Odetta - The American Tradition- Spirituals & Gospel Songs
07 John Riley 3:09 Odetta - Traditional Songs & Ballads of the British Isles- Three Famous Ballads
08 John Henry 3:19 Odetta - The American Tradition- Work Songs
09 All the Pretty Little Horses 2:59 Odetta - The American Tradition- Slavery & Emancipation
10 No More Auction Block for Me 2:27 Odetta - The American Tradition- Slavery & Emancipation
11 The Foggy Dew 5:21 Odetta - Modern Minstrelsy- War & Tragedy
12 No More Cane on the Brazos 3:32 Odetta - Modern Minstrelsy- Prison & Work Songs
13 The Fox 1:58 Odetta - British-American Ballads & Songs
14 He's Got the Whole World in His Hands 2:01 Odetta - The American Tradition- Spirituals & Gospel Songs
15 The Ox Driver 3:00 Odetta - The American Tradition- Ballads of the West
16 Another Man Done Gone 2:26 Odetta - Modern Minstrelsy- Prison & Work Songs
17 I'm Going Back to the Red Clay Country 4:40 Odetta - Modern Minstrelsy- Prison & Work Songs
18 Talking Guitar Blues 2:24 Cisco Houston - Modern Minstrelsy- Humorous Songs
19 Danville Girl 2:29 Cisco Houston - Modern Minstrelsy- Love Spurned & Love Betrayed
01 Old Dan Tucker 1:13 Cisco Houston - The American Tradition- American Wit & Humor
02 The Buffalo Skinners 3:24 Cisco Houston - The American Tradition- Ballads of the West
03 The Streets of Laredo 1:44 Cisco Houston - British-American Ballads & Songs
04 Hard Travelin' 1:49 Cisco Houston - Modern Minstrelsy- Hard Times & the Dust Bowl
05 Bonneville Dam 1:24 Cisco Houston - Modern Minstrelsy- Hard Times & the Dust Bowl
06 Do Re Mi 2:29 Cisco Houston - Modern Minstrelsy- Hard Times & the Dust Bowl
07 The Wreck of the Old 97 1:19 Cisco Houston - Modern Minstrelsy- War & Tragedy
08 John Hardy 2:12 Cisco Houston - Modern Minstrelsy- Desperate Men & Fallen Women
09 The Bold Fisherman 1:33 Ed McCurdy - Traditional Songs & Ballads of the British Isles- Humorous Songs
10 When Cockle Shells Turn Silver Bells 1:38 Ed McCurdy - Traditional Songs & Ballads of the British Isles- Love Songs
11 Frankie and Johnny 3:05 Ed McCurdy - Modern Minstrelsy- Love Spurned & Love Betrayed
12 Lang A-Growin' 3:21 Ewan MacColl - Traditional Songs & Ballads of the British Isles- Three Famous Ballads
13 Virgin Mary Had One Son 2:10 Joan Baez & Bob Gibson - The American Tradition- Spirituals & Gospel Songs
14 Wayfaring Stranger 3:17 Bob Gibson - The American Tradition- Spirituals & Gospel Songs
15 The Hangman, or The Maid Freed from the Gallows 3:43 John Jacob Niles - Traditional Songs & Ballads of the British Isles- Three Famous Ballads
16 I Know an Old Lady 2:51 Alan Mills - The American Tradition- American Wit & Humor
17 Johnny, I Hardly Knew Ye 3:53 Tom Makem - Traditional Songs & Ballads of the British Isles- Songs of War
18 The Whistling Gypsy 3:48 Tom Makem - Traditional Songs & Ballads of the British Isles- Love Songs
19 The Cobbler's Song 2:48 Tom Makem - Traditional Songs & Ballads of the British Isles- Humorous Songs
20 Railroad Bill 1:23 Cisco Houston - Modern Minstrelsy- Desperate Men & Fallen Women
21 The Cat Came Back 2:26 Cisco Houston - Modern Minstrelsy- Humorous Songs
22 East Virginia Blues 2:42 Pete Seeger - The American Tradition- Songs of Love
23 Old Joe Clark 1:55 Jimmy Driftwood - The American Tradition- American Wit & Humor
24 The Unfortunate Man 3:53 Jimmy Driftwood - The American Tradition- American Wit & Humor
Disk 1 : http://rapidshare.com/files/61019607/1.sit
Disk 2 : http://rapidshare.com/files/61027377/2.sit
Disk 3 : http://rapidshare.com/files/61029827/3.sit
NOTE : The above files needs Staffit to extract.
In case that you don't have Staffit in you pc
here is the links in rar files :
1. Lick My Decals Off, Baby
2. Doctor Dark
3. I Love You, You Big Dummy
5. Bellerin' Plain
6. Woe - Is - Uh - Me - Bop
7. Japan In a Dishpan
8. I Wanna Find A Woman That Will Hold My Big Toe Till I Have To Go
9. Petrified Forest
10. One Red Rose That I Mean
11. The Buggy Boogie Woogie
12. The Smithsonian Institute Blues (or The Big Dig)
13. Space - Age Couple
14. The Clouds Are Full of Wine (Not Whiskey or Rye)
15. Flash Gordon's Ape
Produced by Captain Beefheart himself, Lick My Decals Off, Baby was a further refining and exploration of the musical ideas posited on Trout Mask Replica. As such, the imaginative fervor of Trout Mask is toned down somewhat, but in its place is an increased self-assurance; the tone of Decals is also a bit darker, examining environmental issues in some songs rather than simply concentrating on surreal wordplay. Whatever the differences, the jagged, complex rhythms and guitar interplay continue to amaze. Those wanting to dig deeper after the essential Trout Mask Replica are advised to begin doing so here (be warned: Decals has tended to flutter in and out of print).
~Review by Steve Huey
Captain Beefheart - 1970 - Lick My Decals Off, Baby
The great lost Beefheart album! The Doc continues and distills the madness of Trout Mask Replica. More concise then it's predecessor, this long out of print LP contains some of the Captain's finest, most challenging songs. Considered Captain Beefhearts most fully realized album by no lesser authority then Captain Beefheart himslef.
Captain Beefheart - Lick My Decals Off, Baby @320
Thursday, October 11, 2007
1) Good Bye
3) Born to Wonder
4) Wondering How
5) After Nothing
6) Sing a Long
8) Love the One You're With
9) I'll Get Used to It
10) Looking for a Change
11) Superstar 
12) White Room 
13) Woodstock 
14) Love the One You're With 
15) Breach of Lease 
RapidShare Link : rapidshare.com/files/Killers_GoodBye.rar
SendSpace Link : www.sendspace.com/file/agwm11
A Taste Of The Same - The Bad Seeds
I'm A King Bee - The Bad Seeds
Won't Come Back - The Zakary Thaks
Face To Face - The Zakary Thaks
Gloria - The Illusions Try - The Illusions
Fun, Fame And Fortune - The Outlaws
Worlds Apart - The Outlaws
Something For Me - The Liberty Bell
Reality Is The Only Answer - The Liberty Bell
My Little Red Book - The Nomads
Situations - The Nomads
People See IV - MICHAEL
My Last Day - MICHAEL
Revolution II - Kubla Khan
Help Yourself - Kubla Khan
My Door (Unreleased Version) - The Zakary Thaks
Green Crystal Ties (Unreleased Version) - The Zakary Thaks
If Rhino's Nuggets box only whetted one's appetite for mid-1960's garageand psychedelic-punk music, the this 10 CD series is your next stop. It augments and improves on Collectables' existing "Cicadelic" and garage-punk CD series, with better masters, improved notes and artwork, and cleverer packaging, which is almost deliberately similar to Rhino's Nuggets box. The idea is basically the same as the old Collectables series, presenting pairs of tracks by otherwise under-appreciated psychedelic acts from the mid-1960's to the dawn of the 1970's. Given that time span, the range of sounds is fairly diverse, from garage punk in a StandellsBlack Sabbath. Volume One emphasizes several bands that will be familiar to Collectables' earlier round of releases, including The Zakary Thaks, The Bad Seeds, and The Liberty Bell, along with some less familiar performers such as The Illusions, the Outlaws, Kubla Khan, and Michael. The Illusions deserve to be more than an unknown quantity for the version of "Gloria" featured here, a sneering rendition with a pair of angry sounding guitars and a pumping bass behind an edgy vocal--the paired up number, "Try, " is just different enough, featuring some harmonies, that one wishes there were a full album of material from this outfit. The Outlaws weren't as fierce sounding an outfit, but they knew how to get a fresh take on the Byrds' sound on numbers like "Worlds Apart." The Liberty Bell's two numbers here couldn't be more different, the slow, folk-rock-ish "Something For Me" paling next to the fuzz-box blow-out "Reality Is The Only Answer" which, it's title aside, is a great piece of high-energy psychedelia. The Nomads, cutting music for Orbit Records in Houston, are represented by a savage version of "My Little Red Book" and one superb original, "Situations," that's like a three-minute teen-punk sneer set to music. Michael was actually Michael Taylor, member of The Bad Seeds, who were one of the better Corpus Christi bands; his singles had a defiant personal edge despite the obvious commercial side to the songs. Kubla Khan's 1970 vintage "Revolution II" and "Help Yourself" retained a '60s punk feel despite running times and (in "Revolution") political sensibilities that would've been a too sophisticated for 1966-67, when it was just enough to complain about life. As a bonus, the disc includes unreleased versions of the Zakary Thaks classics "My Door" and the series-naming "Green Crystal Ties"--loud, crunchy, hook-laden garage punk with a vengeance.
source : http://wc06.allmusic.com/cg/amg.dll?p=amg&sql=10:jxfuxqyjldfe
Download It Here :
Wednesday, October 10, 2007
Although this 21-track compilation is credited to the 23rd Turnoff, in fact it's a combination of recordings by the Kirkbys, the mid-'60s Merseybeat group led by Jimmy Campbell, and the 23rd Turnoff, the more psychedelic band they evolved into in 1967. It reveals Campbell as perhaps the most unheralded talent to come out of the Liverpool '60s rock scene, as he was a songwriter capable of both spinning out engaging Merseybeat and — unlike almost every other artist from the city, with the notable exception of the Beatles — making the transition to quality, dreamy psychedelia. Both sides of all three of the Kirkbys' 1965-1966 singles are here, as well as a bunch of unreleased recordings and outtakes by the group, all written or co-written by Campbell. While there's no obvious hit among them, they're catchy, Beatles-influenced tracks, showing some folk-rock and Revolver influence on the later efforts. The 23rd Turnoff material (much of it previously unissued) is more adventurous, though still retaining Campbell's knack for solid vocal harmony-driven melodies, with "Flowers Are Flowering" sounding very much like Roger McGuinn singing something off Revolver. "Michael Angelo," the A-side of the sole 23rd Turnoff single, is certainly the highlight, and indeed a highlight of 1967 British psychedelia as a whole in its hazy bittersweet swirl; you also get not one, but two unreleased studio versions of the same tune as well. It seems as if Campbell needed just a bit more encouragement, and his groups just a little more studio time, to develop into a notable British psychedelic group that could combine solid pop melodies, sophisticated lyrics and arrangements, and touches of English whimsy. Unfortunately they didn't get that chance, but what's here is satisfying on its own terms, bolstered by thorough liner notes explaining the complicated Campbell/Kirkbys/23rd Turnoff saga [Allmusic.com]
This is a CD release from 2004
01-'Cos My Baby's Gone
02-Don't You Want Me No More
03-Don't You Want Me No More 1
04-She'll Get No Lovin' That Way
06-Bless You 1
07-It's a Crime
08-I've Never Been So Much in Love
10-Flowers are Flowering (demo)
11-(Not) A Penny in My Pocket (demo)
12-I'll be Round (demo)
14-Another Vincent Van Gogh (demo)
15-Mother's Boy (demo)
16-I'll be With You (demo)
17-You Sing Your Own Song (demo)
18-Michaelangelo (demo version with strings)
19-(Not) A Penny in My Pocket (demo version with strings)
20-Leave Me Here
Link Part 1
Link Part 2
Style; Psychedelic, Merseybeat
In early 1973, Breetveld's father announced that he would be moving the family to India for a five-year stint with UNICEF. Realizing that Breetveld would be taking his tape deck with him and thus depriving the other regulars of the musical spoils they had toiled over during the previous few years, the RoadApples decided to print up a dozen or so copies of the music as an LP keepsake for each member. It cost the same to press 100 LPs as for ten, however, so 100 copies of Rhubarb's Revenge or Confessions of a Big Lanky Dope were privately pressed in the fall of 1973 under the name Rhubarb's Revenge. Wondering if he had something commercially viable, Breetveld took the LP to a music publisher on Denmark Street in London (following directions given in the lyrics of the Kinks' "Denmark Street" straight to Tottingham Court Row), the first stop for the Breetveld family on its way to India. The publisher turned him down, as did every subsequent music publisher to whom he took the tapes once the family arrived in New Delhi.
Eleven months after leaving for India, Breetveld returned to the States and teamed up with Shuss, Rothschild, and DiMartino to continue recording music. They recorded under various monikers and in a plethora of styles during this period, including "lost classics" such as the prog-rock wierdness of Send Money (1974), the pure pop of Wet Paint (1976), and Breetveld's rock opera/musical, The Panchilla Gorilla (1979)--none of which were released. Breetveld and Shuss later went on to form the '90s cult pop/rock sensation, the Breetles. The absurdly rare Rhubarb's Revenge album--which, despite its rarity, had found its way across the globe--was reissued by Gear Fab in 1999, with four added bonus cuts that had to be cut from the original LP because of length restrictions. ~ Stanton Swihart, All Music Guide (BUY IT!)
2) Time Of Season
5) Wors of Aaron
7) Tomorrow Begins
8) When I Feet My Prize Hog
9) Nice Spot In The Dark
10) Avon Girl
11) 2000 Man (Bonus)
12) Prize Hoogies (Bonus)
13) Ohio (Bonus)
14) Roas Apple Jammies (Bonus)
Tuesday, October 09, 2007
3. Going Her Own Way
4. Dance of the Savages
5. I'm Going Home
6. Are You Gonna Be There (At the Love In)
7. People in Me
8. Stop Stop
9. Another Way of Giving
10. Wasting Time
11. Never Take a Chance
12. Inside Out, Upside Down
13. So Very Young
14. Magic Girl
Collecting everything the band released on vinyl during its lifetime plus a few random bonuses from cassettes, Sondra Esplanaden, Vol.4 has the feel of one of the single-disc artist overviews on Sundazed for bands like the E-Types. Then again, that's probably just the way the Backdoor Men wanted it -- a '60s-obsessed garage/mod band from Sweden that came together in the early '80s, the Backdoor Men were one of many similar groups of the time enthralled with an already long-gone past. But they had it better than most thanks to an absolutely killer debut single, "Out of My Mind," which could have dropped out of a time warp from two decades previously and easily made the cut on the original Nuggets. Frenetic, energetic, brilliantly sung, it's easily the highlight on Sodra Esplanaden, Vol. 3, but much of the rest of the disc has a series of enjoyably derivative treats. Besides three full-on covers -- the Music Machine's "The People in Me,"the Chocolate Watchband's "Are You Gonna Be There (At the Love-In)," and the Standells' "I'm Going Home" -- the band merrily made its way through everything from backward-mask-introduced instrumentals ("Dance of the Savages") to breezily tuneful songs like "Another Way of Giving" that tone down the fuzztone and shrieking for calmer but no less peppy approaches. Based on the screams from the live cuts that make up much of the disc, they had one heck of a following at their height, and the performing in general shows they could kick up the right amount of proto-punk chaos. As is appropriate enough for an artifact of a band that celebrated a musical movement with its own boatloads of artifacts, there are liner notes detailing the whole story obsessively and plenty of photos and ads -- all the minutiae that could make Rhino Records proud.
1. Mallard Way
3. 14 Hour Technicolor Dream
4. Created by Clive
6. The Last Performance of the Royal Regimental, Very Victorious and Valiant Band
7. Mr White's White Flying Machine
8. Cadillac Dreams
9. Merry-Go-Round (acetate)
10. The Gangster Opera (excerpts from the rehearsal tape) : Part 1: Chorus / Part 2: Legs Diamond / Reprise
11. I Can't Explain (acetate)
12. Love You (acetate)
13. Illusion: Part 1: Illusion / Part 2: Something's Going On / Part 3: Illusion (Reprise)
14. Chris Squire interview part 1 - Original Syn
15. Chris Squire interview part 2 - Jimi Hendrix Experience
16. Chris Squire interview part 3 - Mod Days and Nights
17. Chris Squire interview part 4 - Syn Progressions
18. Chris Squire interview part 5 - New Beginnings
Mod psychedelic rock from Syn -- the early group featuring Chris Squire that a part of the genesis of Yes -- with a sound that takes a distinctively Brit spin on the spiraling pop psychedelia of the time! The tunes are catchy as can be with good guitar and bass grooves, heavier drums, droning and driving organ, and hooky vocals that often show a sinister sense of humor as well as the mind expanding ethos of the era! Titles include "Mallard Way", "Grounded", "14 Hour Technicolor Dream", "Created By Clive", "Mr Whites Flying Machine", "Cadillac Dreams", "I Can't Explain" (acetate transfer), "Love You" (acetate transfer), "Illusion", "The Gangster Opera" (a 3 part excerpt from rehearsal tapes) and more, plus a long interview with Chris Squire.
Biography by Richie Unterberger
For a band that only made two singles, Syn are quite well-remembered by British rock collectors, principally because two of their members — guitarist Peter Banks and bassist Chris Squire — eventually surfaced in the first lineup of Yes in 1968. Their two singles, both issued in 1967 in the U.K. on Deram, were pretty solid efforts in their own right. These charted their transition from mod to psychedelic guitar rock, rather in the manner of a much more famous British psychedelic cult band from the same era, Tomorrow (with Steve Howe on guitar). Their first single, "Created By Clive," was a foppish Carnaby Street takeoff that the band disliked; the fine B-side, the hard mod pop tune "Grounded," featured high soul harmonies and interplay between organ and sparkling guitar, and was much more indicative of the band's sensibilities.
Their promise really bloomed on their next and last 45, "14 Hour Technicolour Dream," one of the best obscure British psychedelic singles (indeed one of the best British psychedelic singles by any band). Inspired by the 1967 psychedelic London festival of the same name, it was an exhilarating distillation of the best attributes of British pop-psychedelia — a hook-happy ebullient melody, precise harmonies, unexpected structural twists and turns, Who-like drumming, and tasteful guitar distortion — into a compact package. It wasn't a hit, though (in fact it was only used as the B-side of "Flowerman"), and the band broke up in early 1968. Banks and Squire played in another psychedelic band, Mabel Greer's Toyshop, for a few months before becoming founder-members of Yes. The four songs from the Syn singles have cropped up on numerous compilations of British psych-pop rarities; all four, and a demo of "Flowerman," also appear on Peter Banks' Can I Play You Something?, a compilation of odds and ends from bands that Banks was involved with prior to joining Yes.
Get it here @224
Part 1 ~ Part 2
Note : Extract first, part1 separately...
(You will find the original first part inside...)
Monday, October 08, 2007
Bread On The Waters (2005)
Bread was a 1970s rock and roll band from Los Angeles, California. They are a primary example of what later was labeled as "soft rock".
David Gates (1940—) (guitar, keyboards, bass and vocals) and Jimmy Griffin (1943–2005) (guitar and vocals) formed the group in 1968, adding Robb Royer (guitar, bass and vocals of Pleasure Faire) before signing to Elektra Records. Their first single, "Dismal Day", was released in June 1969 but did not chart. Their debut album Bread was released in September 1969. It peaked at #127 on Billboard's album chart.
By 1973 the band members, Gates especially, sensed that they had taken Bread as far as they could. Fatigue from constant recording and touring had set in and personal relationships began to show strain. There was also some dissatisfaction with the songs planned for a sixth album. In view of this, Bread decided to disband instead of continuing on. Gates and Griffin then began solo careers, with mixed results. After reuniting in 1976, Bread released the album Lost Without Your Love in January 1977. The title track was the band's last top-ten hit, peaking at #9 on the singles chart. This comeback album was also RIAA-certified Gold®.
Bread toured throughout 1977. By 1978 renewed tensions between Gates and Griffin led the latter to leave the band. During this time Gates also enjoyed success as a solo artist with the hit singles "Goodbye Girl" and "Took The Last Train". He toured with Botts and Knechtel as "David Gates & Bread". This led to a legal dispute with Griffin over use of the band's name, of which Griffin was co-owner. The resulting litigation was not settled until 1984.
In 1996, having settled their differences, Gates, Griffin, Botts and Knechtel reunited Bread for a successful "25th Anniversary" tour of the United States, South Africa, Europe and Asia.
In 2005, Griffin and Botts died aged 61; both deaths were due to cancer.
ON THE WATERS 1970
2. Make It with You
3. Blue Satin Pillow
4. Look What You've Done
5. I Am That I Am
6. Been Too Long on the Road
7. I Want You with Me
8. Coming Apart
9. Easy Love
10. In the Afterglow
11. Call on Me
12. Other Side of Love
1. Let Your Love Go
2. Take Comfort
3. Too Much Love
5. Be Kind to Me
6. He's a Good Lad
7. She Was My Lady
8. Live in Your Love
9. What a Change
10. I Say Again
11. Come Again
BABY I 'M WANT YOU 1972
1. Mother Freedom
LOST WITHOUT YOUR LOVE 1977
1. Hooked on You
2. She's the Only One
3. Lost Without Your Love
4. Change of Heart
6. Fly Away
7. Lay Your Money Down
8. Chosen One
9. Today's the First Day
10. Hold Tight
11. Our Lady of Sorrow
01 Opening (0:10)
02 I'm Coming Home (6:02)
03 Child of the Sky (4:34)
04 Charlie (3:58)
05 Nothing Man (4:23)
06 Garbage (5:38)
07 Bun (2:44)
Talk today about Britain's psychedelic psyxties, and it's the light whimsy of Syd Barrett's Pink Floyd, the gentle introspection of the village green Kinks, Sgt. Pepper, and "My White Bicycle" which hog the headlines. People have forgotten there was an underbelly as well, a seething mass of discontent and rancor which would eventually produce the likes of Hawkwind, the Pink Fairies, and the Edgar Broughton Band. It was a damned sight more heartfelt, too, but the more some fete the lite-psych practitioners of the modern age (they know who they are), the further their reality will recede. Fronted by journalist/author/wild child Mick Farren, the Deviants spawned that reality. Over the years, three ex-members would become Pink Fairies; for subsequent reunions, sundry ex-Fairies would become honorary Deviants. And though only Russell Hunter is present on Ptooff!, still you can hear the groundwork being laid. The Pink Fairies might well have been the most perfect British band of the early '70s. The Deviants were their dysfunctional parents. In truth, Ptooff! sounds nowhere near as frightening today as it was the first (or even 21st) time out; too many reissues, most of them now as scarce as the original independently released disc, have dulled its effect, and besides, the group's own subsequent albums make this one look like a puppy dog. But the deranged psilocybic rewrite of "Gloria" which opens the album, "I'm Coming Home," still sets a frightening scene, a world in which Top 40 pop itself is horribly skewed, and the sound of the Deviants grinding out their misshapen R&B classics is the last sound you will hear. Move on to "Garbage," and though the Deviants' debt to both period Zappa and Fugs is unmistakable, still there's a purity to the paranoia. Ptoof! was conceived at a time when there genuinely was a generation gap, and hippies were a legitimate target for any right-wing bully boy with a policeman's hat and a truncheon. IT and Oz, the two underground magazines which did most to support the Deviants (Farren wrote for both), were both publicly busted during the band's lifespan, and that fear permeates this disc; fear, and vicious defiance. It would be two years, and two more albums, before the Deviants finally published their manifesto in all its lusty glory — "we are the people who pervert your children" — during their eponymous third album's "People Suite." But already, the intention was there. (allmusic.com)
This is the first Deviants' LP and what a proper masterpiece it is! You'll find their other records posted here too but this one wasn't, so I thought I should do the job. What sets Mick Farren's Deviants apart from the most other bands of the era and places them up there with The Velvets, is their (proto-)punk aesthetics. I mean, hey, just look at the pic above! Moody looks? A friggin whip?? This is definitely no hippie crap!! Anyways, this is the 1995 Alive Recs reissue ripped using EAC/LAME 3.97 (VBR --preset fast extreme). Cheers! - K
Get it Here :
RapidShare : rapidshare.com/files/Deviants1967Ptooff.rar
SendSpace : www.sendspace.com/file/gewt9g
Previous Deviants Posts :
Deviants - 1968 - Disposable
Deviants - 1969 - No. 3
Jessica Bailiff - The Hiding Place (Jessica Bailiff)
Damon & Naomi with Ghost - The Great Wall (Damon & Naomi with Ghost)
Goblin Market - El Dorado (Ghostland)
Kendra Smith - Earth Same Breath (The Guild of Temporal Adventurers)
Wooden Wand & The Vanishing Voice - Caribou Christ In The Great Void (Xiao)
Fern Knight - Awake, Angel Snake (Music for Witches and Alchemists)
Espers - Daughter (Espers)
Iditarod and Sharron Kraus - The Trees Are All Bare (Yuletide)
Lau Nau - Jos Minulla Olim (Kuutarha)
Fit & Limo - Gopher Hat (A Garland of Flowers and a Bunch of Herbs)
Fursaxa - Veeho (Madrigals in duos)
Natural Snow Buildings - Wandering Souls (The Dance of the Moon and the Sun)
Greenpot Bluepot - untitled 2 (Warraw)
Buried Civilization - As Cold As The Clay (Tunnels to Other Chambers)
Majessic Dreams - Have to Go (Majessic Dreams)
Saturday, October 06, 2007
Steve Channing & Lazy Days (aka Chick Shannon and the Last Exit Band) UK 1975 release of "Tears In The Console" was originally titled The original release was called "Tears In The Console (Sweat On The Strings)". 250 copies of the original vinyl were pressed and mostly sold in the Wakefield area of the UK. It was re-released in 1990 on vinyl and now it is available on CD. I was lucky enough to pick this up very cheaply today in our local market. I also managed to get Holyground The Works Vol 2 Number Nine - Bread Street, but I saw a link to that on this site, if anyone wants a Lost In Tyme rip - just ask and it will be uploaded, I already scanned in the covers.
Tracks on the album:
Original Side One:
01 - The Stealers (Channing)
02 - Cornflower Blues (Levon)
03 - Tears On The Console (Levon-Channing)
04 - Peach Of A Love (Channing)
05 - Brand New Day (Channing)
Original Side Two
06 - Living In The City (Channing)
07 - No. 5 Along From Reds (Levon-Channing)
08 - Get Down To It (Channing)
09 - Call The Shots (Channing)
10 - Play Like A Band (Levon-Channing)
ADDITIONAL TRACKS ON 'THE WORKS' RELEASE
from the Tears sessions, (out takes)
11 - No Point At All (Channing)
12 - Dust Blues (Levon-Channing)
from other early sessions
13 - The Bully (Channing)
14 - Like Decent Folks Do (Channing)
15 - White Knight (Channing)
16 - Heart Of The Storm (Channing)
17 - Echoes Of Holyground (Levon-Traditional)
The performers were :
Chick Shannon (Steve Channing)
John 'Basic' Priestley (Dave Wilson)
Tom Viking (Alan Robinson)
Clayton W Weste (John Shepard)
Zeppo Van Heere (Mick Spurr)
Len Shannon (Mike Levon)
'Kumsi' (Chris Coombs)
Here is what the original cover looked like:
Tracks 1-10 @320
Tracks 11 - 17 @320 Complete with Scans
Part 1 Re-Up
Part 2 Re-Up
Utopian Fields - 1989 - Utopian Fields
A1 ...Of A New Life
A2 Sun :
a) The Porchway, b) Vision Of Our Life
A3 Wishful Thinking In The Garden Of Eden
B1 Cloudless Sulphur
B2 Metamorphosis Sunrise Of God's Creation
In the year 1989 Norwegian progressive rock label Colours released Utopian Fields debut album as their very first release. The bands second and last album was also released by Colours, in 1990.
The main format for the releases from Colours was the vinyl LP, and both of Utopian Fields albums exist on vinyl only.
Utopian Fields had expectations for a career in progressive rock. Yet they wasn't around for so long. Their music was inspired by the classic progressive rock from the seventies. And mainly marked by a gentle, relaxed atmosphere with a little bit of sadness. Nice music to relax with.
Acoustic guitar is extensively used. Very tasteful. Or, as the label wrote in their catalogue about the second album: "Strong duelling guitars, often acoustic, dreamy organ and a curious rhythm section makes this a progressive feast." (but that was a commercial of course). For Norwegian visitors I have to mention, just for fun, that the singer on the second album is Bard Tufte Johansen. Today, well known comedian on our television (Lille Lordag, Apen Post). And he sings good too. ~alie
Tom Inge Andersen -Bass
(Abductur Mongus + Captain Cumulonimbus And His Wondrous Cloudship + Carvus + COTG + Gentle Touch + Harstad Progressive Rock Ensemble + Sanatorium)
Tor Dahl -Gitar
(COTG + Scream Opera)
Atle Bystrom Olsen -Gitar
(Chris Eckman + Host (Svensk band) + Midnight Choir)
Tor Oyvind Follegg -Keyboards
Geir Wetle Holtan -Trommer
Lars Fredriksen -Vokal
Kjersti Tunem -Floyte
Ronny Bystrom Olsen -Munnspill
Bard Tufte Johansen -Vokal
Benjamin Grinilia -Vokal, gitar
(Carvus + COTG + Sanatorium)
More info (not in English..)
Band's Myspace :
Get it here @ 192
Utopian Fields - 1989 - Utopian Fields
Joan Jett's debut album is an infectious romp through her influences, ranging from classic '50s and '60s rock & roll through glam rock, three-chord loud'n'fast Ramones punk, and poppier new wave guitar rock. Half the songs on the original album (not counting bonus tracks on the remastered reissue) are covers, but whether it's Lesley Gore's feminist girl-group anthem "You Don't Own Me" (featuring the Sex Pistols' Steve Jones and Paul Cook) or a roaring version of Gary Glitter's "Do You Wanna Touch Me (Oh Yeah)," Jett makes them all work. The production can be a little weak in spots, but Jett's exuberance and tough-girl attitude overcome most deficiencies. Plus, the title track is a classic. [Allmusic.com]
01 - Bad Reputation
02 - Make Believe
03 - You Don't Know What You've Got
04 - You Don't Own Me
05 - Too Bad On Your Birthday
06 - Doing All Right With The Boys
07 - Do You Wanna Touch Me (Oh Yeah)
08 - Let Me Go
09 - Shout
10 - Jezabel
11 - Don't Abuse Me
12 - Wooly Bully
Style; Rock & Roll
1. Leyshem (Deasy)
2. Zendan (Deasy)
3. Ceyladd Beyta (Deasy)
4. Becal (Deasy)
5. Ddom (Deasy)
6. Todda BB (Deasy)
1. Dyl (Deasy)
2. Ralin (Deasy)
3. Tygstl (Deasy)
4. Pendyl (Deasy)
5. Jacayl (Deasy)
6. Manyatt Dyl Com (Deasy)
The Ceyleib People
RY COOTER (RY COODER) slide gtr A
MIKE DEASY gtr A
SEAN DEASY drms A
LYBUK HYD gtr, sitar A
JOE OSBORNE bs A
LARRY KNECHTEL vcls A
1(A) TANYET (Vault 117) 1968
NB: (1) was also released in Germany with a different sleeve (Polydor International 623262) 1968. Reissued on CD (Drop Out Records DO CD 1991), with both mono and stereo versions on one CD.
1 Changes/Ceyladd Beyta (Vault 940) 1968
A West Coast group, most of whose personnel went on to greater achievements. Osborne, as a member of The Dillards and later as a session musician for Simon and Garfunkel among others; Knechtel as a member of Bread and session musician for Dave Mason, Lee Michaels, Art Garfunkel and Neil Diamond among others, and Cooder, of course, has made many significant solo albums and done session work for numerous artists.
The album is an excellent collection of Indian-influenced instrumentals.
Compilation appearances have included:
"Changes" on Beyond The Calico Wall (CD)
"Ceyladd Beyta" (rare alternate 45 mix) on Everything You Always Wanted To Know... (CD).
(Vernon Joynson/Stephane Rebeschini)
Get it here @HQ VBR
Thursday, October 04, 2007
Cutters, Dealers, Cheaters - Janet Bean & Concertina Wire (Dragging Wonder Lake)
End-In-Tow - Walkabouts (Cataract)
She Looked Down - Mick Wills (Fern Hill)
N.C. - Myra Holder (Four Mile Road)
Wild Mountain Thyme - Penelope Houston (Birdboys)
Gallows Song/Gallows Hill - Sharron Kraus (Songs of Love and Loss)
Maiden in the Moor Lay - Meg Baird (Dear Companion)
The Falling of the Pine - Iditarod (The Ghost, The Elf, The Cat and The Angel)
Silver Dagger - Dame Darcy (Dame Darcy's Greatest Hits)
The Butcher's Boy - Half Asleep (tribute to the anthology of american folk music by harry smith)
Winter of Frosen Mornings - Tower Recordings (Folkscene)
Freight Train - Clay Alison (Fell From the Sun)
Long Black Veil - Bedlam Rovers (Squeeze Your Inner Child)
Kali Nichta (Good Night) - Courage Of Lassie (This Side of Heaven)
Some of the songs are traditional, others are not, some of the artists are well known, others are not, but they all share the feeling of folk music. This selection starts with two rather fast tunes, 'Cutters, Dealers, Cheaters' from the first album of Janet Bean (Eleventh Dream Day and Freakwater) and 'End-In-Tow' from Cataract -maybe the best release of Walkabouts. Then comes the lenghty 'She Looked Down' from Mick Wills, a long time companion of Nick Saloman (or Bevis Front), a song that defines the term 'Acid-folk', sang by Jenny Brown. I won't go in detail on every song, let's just hear those great voices singing. I'll just mention that the music slowly goes more dreamy until the Tower Recordings track, and then to more conventional forms with the two traditionals from Clay Alison and Bedlam Rovers. I can't resist to say that my lovely Dame Darcy gives to 'Silver Dagger' an underwater, spooky feeling, an absolute must-hear version.
You can have this in a long mp3 track here
or the usual rar file with the individual tracks here
1 The Lesson (2:39)
2 Oyster Thins (6:00)
3 Horses (3:09)
4 Dear Betty Baby (3:47)
5 Venus in the Morning (2:30)
6 To You (2:50)
7 Fortune (2:11)
8 Black Legs (3:50)
9 Good Brisk Blues (3:07)
10 Around the Home (2:50)
11 Worried Worried (5:03)
Although this, to put it mildly, is not a record for mainstream tastes, it nevertheless may be more palatable to pop ears than any of Thompson's numerous Red Krayola records. With a folkier bent than his group projects, Thompson projects himself as a lovable oddball of sorts, stringing together free-associative, non-sequitur lyrics against chord progressions and time signatures that, as is his wont, refuse to adhere to accepted norms.
Much of it's rather catchy (if not hummable), though, with a whimsical sense of fun that makes it impossible to dismiss as pretentious artsiness.
~ Richie Unterberger, All Music Guide
Thompson is primarily known as the leader (and only constant member) of the Red Krayola, the long-running underground band that initially made their mark on the '60s psychedelic scene, and went on to become noted players in the post-punk era. In 1970, he released a little-known album under his own name, Corky's Debt to His Father, for the small Texas Revolution label.
By and large it's as unclassifiably oddball as his Red Krayola stuff. But on the whole it's more accessible and, in a way, rather charming, its off-kilter, folk-rock sensibility bearing some similarities to the work of Syd Barrett
~ Richie Unterberger, All Music Guide
Get it here @ High VBR
Tuesday, October 02, 2007
Set up as an occasional formation Farmers Union played for a half year professional, with a repertoire that consisted of traditional English folk, completed with own material.
This was exported mainly electric and in its time  the group was pretty unique.
A number of disastrous events followed each other; a chain collision in the Velsertunnel damaged the bus so that after a gig in Delft it totally broke down. Piet Kok got jaundice and could not perform for 6 months. This meant the end of the group.
Farmers Union had been stopped then well, but all members appeared to find their way in the music world very well; Liedwien Schaper started as a singer in Manacle Trust, Piet Kok a successful solo career as Pete Cox, Nanne Kalma with Irolt the foundations for a Frisian folk-movement, for the first time Frisian sung folk on vinyl!, Sido Martens ultimately proofed himself in the Dutch band Fungus and built after that a reputation as a solo artist
At the instigation of the ex manager Sjoerd Couperus they started with rehearsals for a Farmers reunion that would take place in it with closing threatened youth centre 'Hippo', on the Queen's Birthday 1978. A whole day music of Irolt, Manacle Trust, Pete Cox and Sido Martens, with as a closing act of an unique reunited Farmers Union
And what a reunification! With a lot of enthusiasm, the old familiar numbers were never played as sparkling as before. The enthusiastic reactions of the public made them decide to make this LP, the circle is around, the bud has emerged to a flower.
[A translation of the story on the back of the album]
01. Merlin's melody
02. Once I had a sweetheart
03. Johnson boys
05. Phantasmagoria in two
06. Jese James
07. I listen to the morning
08. Hero of the fairytaleland
09. Ragtime millionaire
10. Children of darkness
11. Omie wise
Monday, October 01, 2007
1 Around Me
2 Touch Me
3 Words Of King
5 History Man
6 Listen My Song
7 Rollin Baby
8 The Life Is Golden
9 Coffe And Milk
10 Open The Door
11 Peace Of Mind
Essential Mexican album from 1971.
A fantastic blend of psychedelic rock and garage punk with great Doors / Seeds like keyboards and freaky wah wah guitar sounds that clash with funky Latin American percussion.
If you dug the Mexican Kaleidoscope album then you'll also like this !
Musically similar to the Kaleidoscope album
with absolute KILLER fuzz tracks and top-notch swirling organ madness.
A great and essential garage psych rock album that is one of the jewells of South America.
Get it here @224
Sunday, September 30, 2007
01-I'll be home
02-Baby I'm yours
03-Jesus was a cross maker
05-When it doesn't work out
06-I'll be there
08-I think it's going to rain today
10-It's all in the game
Saturday, September 29, 2007
1. My World
2. Lighter Than Air
3. Sung At Harvest Time
4. Two Poems
5. Flying Up Through The Sky
6. Always Something There
7. Come On 'Round
8. Young Girl's Lament
9. Trix Rabbit
10. Good Night
11. Time And Place
12. Sun Flower Sun
13. Come On Back To Beer
14. Say It Your Own Way
15. The City
16. Flute Thing
17. Cuttin' You Loose
18. Sweet Lover Man
19. Those Winds
20. Tornado Baby
Review (by Stanton Swihart, All Music Guide)
This compilation is a lovely surprise. The fourth installment in Gear Fab's Louisville music series is the absolute last word on the Oxfords. Starting off with all but one cut from the sole 1970 LP and filling out the story with the two pre-Jill DeMarco 45s, the band's one post-album single, and five previously unreleased cuts from its final incarnation, Flying Up Through the Sky constitutes the Oxfords' entire recorded legacy.
The material from the original LP tends toward the lighter side of the '60s pop spectrum. The melodies are largely Technicolor bright and the sentiments have a paisley-eyed optimism that seems endemic to the late '60s alone. The harmonies of leader Jay Petach and DeMarco approach the sort of oxygenated buoyancy of the 5th Dimension or the Free Design, but with an earthier charm along the lines of Spanky & Our Gang.
The music may strike some as a tad naïve, but it fits the insouciant mood of the period perfectly and 30 years after the fact still sounds fresh. At times ("Come on 'Round," the wah-wah laced "Young Girl's Lament") the band flashes more substantive hints, sounding something like the Jefferson Airplane's tough but yet deflowered younger sister, unsettled but still unspoiled. The rearrangement of the Quechua Indian song, "Sung at Harvest Time," is beautifully, eerily psychedelic, and the avant-orchestral experiment of "Two Poems by e.e. cummings," while not really successful as a pure listening experience, is bizarrely appealing. The tracks from the initial unit are much more derivative (specifically of the Beatles, Kinks, and Monkees) but they are a great window into Petach's developing sense of songcraft, especially the Bandstand-thumbed "Sun Flower Sun," which sounds terribly quaint but is still infectious. It is the last version of the band, circa 1972, that most impresses. The band had obviously found a quite exciting -- perhaps even forward-looking -- niche, very much enthralled with sophisticated jazz and blues. On songs like the whirlwind "Those Winds" and "Tornado Baby," it is consistently in the pocket, while "Sweet Lover Man" even predicts the loose, laid-back, and country-funky songs that Essra Mohawk sang for Bob Dorough's Schoolhouse Rock series several years later.
Flying Up Through the Sky is a time capsule, to be sure, but it is a superb one that transcends its era on sheer exuberance alone.
Full Bio Here :
Get it here @ 192
T. Rex - 1968 - My People Were Fair And Had Sky In Their Hair, But Now They Are Content To Wear Stars On Their Brows [192k]
Until he joined John's Children, in March, 1967, Marc Bolan had never even owned an electric guitar. And once he quit the band, it is said, he abandoned it as quickly as everything else which that band represented — freakbeat pop, adrenalined psych, electric soup. In fact, Bolan never lost sight of his electric destiny, even as Tyrannosaurus Rex sawed away on their acoustic toys, a point which producer Tony Visconti cottoned onto the first time he ever saw the duo play, "Marc sitting crosslegged on stage playing his strange little songs in a wobbly voice, while Steve Took was banging on his bongos." Visconti himself was a novice producer, "holding out for something really different and unusual. I thought Marc was perhaps that." He was, and the album which he and Took delivered emphasized all the qualities which Visconti had spotted that night at the UFO club. My People Were Fair approaches the listener from a totally unique angle. The Bolan voice, hardened from the slight warble which carried through his early solo material (still noticeable on the backups he performed for John's Children), remains uncompromising, but it blends so perfectly with the bizarre, almost Eastern-sounding instrumentation that the most lasting impression is of a medieval caravansary whose demented Bedouin cast has suddenly been let loose in a recording studio. It is an irresistible affair, if absolutely a child of its psychedelically-inclined time — "Frowning Atahuallpa" even recruits DJ John Peel to read a Tolkien-esque fairy tale. But one of Bolan's loveliest compositions is here — the gentle and deceptively melodic "Child Star," layered by harmonies which hit you sideways and are all the more mighty for it; one of his weirdest, too, is included, the mutant fairy dance of "Strange Orchestras," which sounds like it was recorded by one. Together with fellow highlights "Chateau in Virginia Waters" and "Graceful Fat Sheba," both are so far ahead of the material Bolan had been composing just a year earlier (subsequently made available on the Hard on Love/Beginning of Doves retrospective), that the inclusion of the "oldies" "Hot Rod Mama" and "Mustang Ford" is almost disappointing. They are, however, the only sour notes sounded on an album whose magic is discernible from so many different angles that it is hard to say which is its most astonishing factor. But it's hard not to be drawn to the actual dynamics of My People Were Fair, the uncanny way Tyrannosaurus Rex take the slightest musical instruments, pixie phones, glockenspiels and a Chinese gong included, to make them sound like the heaviest rock & roll band on the planet. Anyone could play power chords, after all. But who else would play them on acoustic guitar? [Allmusic.com]
01 - Hot Rod Mama
02 - Scenescof
03 - Child Star
04 - Strange Orchestras
05 - Chateau in Virginia Waters
06 - Dwarfish Trumpet Blues
07 - Mustang Ford
08 - Afghan Woman
09 - Knight
10 - Graceful Fat Sheba
11 - Wielder of Words
12 - Frowning Atahuallpa
I discovered the group in 2003 when Wha Wha records released this gem on vinyl. I often returned back to this and became one of favorite listens from the psych/prog area. I still enjoy it and new elements comes out every time.
This is a CD rip from 1993 with two bonus singles from 1969 which are very different from the album.
Máquina! is maybe the very first underground rock group to have recorded in Franco’s Spain, their first single dating back to early 69, and the following year, their first Lp was out with a striking artwork depicting a clock coming out from a croissant meaning that it was time to wake-up (and have breakfast) in Spain: The album was called Why? Máquina! and it was clearly so rebellious under a dictature that fellow group Tapiman (and Barcelona crosstown rivals/friends) answered them with a track Don’t Ask Why. The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years. It is not known if Guitarist Paris is related to Pan & Regaliz’s singer Guillem Paris.
1. I Believe (4 :11)
2. Why? (11:52)
3. Why? (continuacio) (12:58)
4. Let Me Be Born (3:03)
5. Earth’s Daughter (4:37)
6. Look Away Our Hapiness (4:09)
- JM Paris / guitars
- Luis Cabanach / guitars, bass
- JM Vilaseca / drums
- Enrique Herrera / keyboards
- Jordi Batiste / vocals, flute, bass
With this stunning debut, Máquina! scored heavily for posterity as this is the first known ROCK album to come from Spain and what an astounding one it is!!! Really these guys made one hell of rebellious record given the context in which Spain was being submitted to Franco’s dictature. A stunning artwork depicting a clock rising from a croissant was clearly a call for Spanish youth to wake-up (and have a good breakfast) and get ready for a new day. Quite a revolution knowing the ultra conservateur nature of El Caudillo, even if by that time Spain was letting loose things as European tourist money was flowing in but although the end was near, it was incredibly risky.
Stylistically, we are dealing with a psych/prog rock with extended and excellent interplay, somewhere in between live Cream (with KBs) and early Floyd or even a live Grateful Dead. The twin guitars are one of the features but one of them played bass when the bassist was busy with the flute or singing. The opening track is simply a superb atmospheric instrumental with organ-piano KB attack doubled by a superb and orgasmic guitar, a pure delight! Then comes the 25 min title track (broken over the two sides of the vinyl) with superb organs, twin guitar attack and rather enjoyable but muffled-in vocals, the whole thing going on an not too extended jam and evolving to one of the more entertaining drum solo I have ever been given to listen – maybe because it is not a pure solo as the KB outlines a few phase here and there. The second part of Why? opens the second side of the vinyl and picks up where the first part had left: a superb mostly instrumental enthusiastic prog-tinged rock jam. Quite enjoyable, especially when discovering this in 05, some 35 years after it was recorded. There are some particularly exhilarating moments in this track! The last track is yet another great tune
The two bonus tracks are the afore-mentioned single tracks and although a bit different than the album (especially in the vocal dept but the Earth’s Daughter track sounds like some David Bowie spin-off), they do not interfere in the continuous ambiance of the album and they add to the album’s incredibly short duration.
This album is a relative minor gem for progheads but is a 24-carat nugget for the psych-jam group fans!!
Get it here
Friday, September 28, 2007
But chatboard it's quite small for answers to all of you...
I'm also quite busy to post everything that you have upload there.
(I'll do that the next days)
Lets take the it from the start.
@ Feint Operation Rising Storm- Calm Before...
@ radioshoes Don Agrati - Home Grown
@ THULL Goblin - Dawn Of The Dead [soundtrack]
@ mister shabbaddoo
Kali Bahlu - Takes the Forest Children on a Journey of Cosmic Remembrance
Just released a Monster Heavypsych compilation that will rock ya boat!
Ben Elephant :
Inspired by the main post of Brainticket, Her are 3 more Brain Melters for all the Psychonauts out there. Remember to play 'em loud...........
Can be found also Here (with bonus tracks)
Can be found also Here
Savage Republic - 1982 - Tragic Figures US
rar Size: 77.28 MB
The download link is:
Just a small request :
Roy Harper - Stormcock
Reply by Kundalini :
Well KaiBailey if you are patient and THE GOOD FOLKS at LOST IN TYME don't beat me to it I will have your request uploaded to Rapidshare in "TWO SHAKES OF A LAMBS TAIL" and will post it here in this very enjoyable CHATBOX so there!!!!!!!!!!!!!! We are lucky that The TYME give us this kind of FREEDOM, lets enjoy it while we can.
Anyone who enjoyed the Nits - In The Dutch Mountains,
here's their most psychedelic album from 1990, Giant Normal Dwarf http://rapidshare.com/files/49571883/NGND.rar
Ben Elephant : I'm quite new to the ways of The Blog but if this Chatbox is like a Request and Upload board then I thank all who sail in her. I have been looking for this for a while now and think there must be a few more of us swampy southern souls who luv da voodoo funk. Duane and some other Allmans on the sessions for this Capricorn/Atco lost gem
by Johnny Jenkins - Ton Ton Macoute
Thank You Lost In Tyme. http://rapidshare.com/files/58696687/Johnny_Jenkins_-_Ton_Ton_Macoute.rar
@ yehaskel Harvey Mandel - Cristo Redentor
Link 1 ~ Link 2
@ dave Love - 1966 - Love can be found Here
@ angelab23 Man From Missuri can be found Here
You can find also some links Here & Here
Thank You All for the Support !!!
P.S. A small request from me....
Please do not uploading albums that we have already post....
It's better for all if you uploading albums that we don't have here....
And try to upload albums in good quality (192kbps or higher)
2 Horses On A Stick0
4 St. Nicholas Hall
5 Three Ravens
7 Mrs. Connor
10 Farewell Aldebaran
Farewell Aldebaran by Judy Henske and Jerry Yester is a remarkable album of folk rock and psychedelic songs issued in 1969.
Larry Beckett - drums (track 1)
John Forsha - 12 string guitar (2,5,9)
Toxie French - drums (6,7,10)
Judy Henske - vocals
Eddie Hoh - drums (2,9)
Bernie Krause - Moog synthesizer programming (10)
David Lindley - bowed banjo (6)
"David's friend" (Solomon Feldthouse ?) - hammer dulcimer (6)
Joe Osborne - bass (2,9)
Dick Rossmini - guitar (2,9)
Jerry Scheff - bass (6)
Ry Cooder - mandolin ? (6? - credited in Unterberger's book but not by Yester)
Zal Yanovsky - bass (1,10), guitar (1,10)
Jerry Yester - vocals, guitar (1,2,8,10), piano (2,3,4,5,6,7,8,9,10), harmonium (2), toy zither (3), Marxophone (3), Chamberlain Tape Organ (4), orchestra (5,10), organ (7,8), banjo (8), bass (10), Moog synthesizer (10)
Some Info from Wikipedia :
Henske and Yester met while both were working in the West Coast folk scene in the early 1960s, Henske as an uncategorizable solo singer recording folk, blues, jazz and comedy, and Yester as a member of the Modern Folk Quartet. They married in 1963. A few years later, Henske's career was faltering as a result of ill-advised forays into the cabaret market, while Yester had produced albums by Tim Buckley and The Association, and had also replaced Zal Yanovsky in The Lovin' Spoonful.
The pair, with their new-born daughter, moved to Los Angeles in 1968. Henske shared a manager, Herb Cohen, with Frank Zappa, and it was Zappa who suggested to her that she should put to music some of the verse she was writing. Yester, at this point, was working with Yanovsky on the latter's first solo album, and experimenting wildly with new electronic and other sound effects. The trio combined to put together "Farewell Aldebaran", drawing on a varied selection of their musician friends, and it was issued on Zappa and Cohen's new Straight label.
The album contains a wild mixture of late 1960s styles, as though recorded by ten different bands, but all featuring Henske's almost gothic lyrics and remarkable vocal range. The opener, "Snowblind", is a Janis Joplin style belter which was issued as a single, but is immediately followed by "Horses on a Stick", almost a parody of "sunshine pop". Next is the quasi-classical "Lullaby", and then a melodramatic hymn with strong anti-clerical lyrics, "St. Nicholas Hall". From here, the album picks up even higher in quality. "Three Ravens" is a sublime slice of baroque pop; "Raider" has been described as an acid sea shanty; "Rapture" is a folk-rock waltz; and the upbeat "Charity" is possibly the best track of all. Finally, the title track is the most overtly "psychedelic" track on the album, featuring electronically treated vocals and Bernie Krause's Moog synthesizer.
Although the album got some good reviews, it failed to sell, purchasers possibly driven away by its sheer eclecticism. Henske and Yester went on to form a more conventional band, Rosebud, before they went their separate ways at the start of the 1970s.
Get it here :
Thursday, September 27, 2007
David Hemmings; boy opera star, young British character actor, star of the iconic 1960's movies "Blow Up" and "Barbarella", film and TV director and producer, and latterly again a character actor and star in such films as "Gladiator" "Gangs Of New York" and the elegaic British movie "Last Orders". An impressive resume for any man, one might think, but there's more, he made a record too! But not the usual actor-makes-an-album camp artifact ....oh no....our David was quite serious. In fact, "Happens!" was actually produced in Los Angeles by none other than Byrds manager and producer Jim Dickson, AND features The Byrds as well as a session crew (led by legendary bassist James Bond Jnr.) drawn from Dickson's years producing folk and jazz for the World Pacific label. The fact that it was done somewhat in a rush due to David's film commitments actually worked in it's favour as the Columbia-rejected and otherwise unheard Gene Clark song "Back Street Mirror" opens the album with a full-on gorgeous orchestral Folk Rock rush.
Largely improvised collaborations with The Byrds and Mr. Bond's crack crew of jazzers follow, allowing David to express his love of folk music against a background of prime Byrds at their Raga Rock peak, and the cream of LA's jazz fraternity! David's friend, Monkees songwriter Bill Martin provides a couple of songs, and we are on course for an album of rare beauty.
In keeping with the Byrds connection, the opening track Back Street Mirror is a Gene Clark song that was written and recorded subsequent to his departure from the group. However, it was never released and David Hemmings recorded his vocals over the existing backing track. This is really something to thank David Hemmings for, otherwise this Gene Clark song would have remained unreleased.
Reason to Believe is the Tim Hardin classic and Hemmings' version stands up with the best of them. The guitar style of this track reminds the listener of the Incredible String Band, a likeness that appears in later tracks.
Good King James starts with some clearly recognisable Roger McGuinn guitar. Like many of the other tracks, this was improvised in the studio. This was done in one take! Bell Birds is an old song but the lyrics had "disappeared" over time so the new lyrics are from Hemmings. Like Good King James, the following track Talkin' LA another studio improvisation where McGuinn and Hillmann provide the backing to Hemmings' semi-spoken vocals. The backing track is less free-form and this allows Hemmings to improvise with his thoughts about Los Angeles. He had recently moved to the area and seems happy. As he says, "this is where it all happens."
Anathea is another traditional folk song where David Hemmings lays down a beautiful vocal on tops of the Byrds' backing. While some of the tracks feature spoken, improvised vocals Hemmings shows here that he has a fine singing voice. After the Rain is another beautiful song.
Another improvisation is War's Mystery which has the unmistakable Roger McGuinn guitar sound but with the addition of Indian instruments it has the air of a Robin Williamson song, even if the lyric subject is quite different. The track is a long improvisation. This is more than just a curio from a 1960s actor. Hemmings shows that not only does he has a fine singing voice but also that he can improvise his lyrics on top of a backing track. You could say that it is folk-rap! The album stands up on its own and the fact that Hemmings is an actor is quickly forgotten. The album is easily accessible to fans of the Byrds or the Incredible String Band and will be of interest to others with more of a leaning towards folk psychedelia.
Thanks Justin Thyme for this
Tuesday, September 25, 2007
1 Someday 4:24
2 Flying Above Myself 4:21
3 My Kind Of Music 4:08
4 Lion - Away From It All 9:26
5 1849 4:58
6 Satan Got A Hold On Thee 4:18
7 Money Hungry Blues 2:56
8 Then Came The Light (Alt. Stereo Version) 3:55
9 Something You Say 3:33
10 Our Last Song 1:15
the band :
Mal Robinson (vocals, guitar)
Fredy Baumgart (guitar, organ, background vocals)
Dave Howell (piano, organ)
Blair Honeyman (bass, background vocals)
Don Sligar (drums)
The Morning Dew were formed from the remains of a collapsed folk-rock band called The Toads. Two early single releases, "No More" and "Be a Friend," were local successes in 1967, and the group was signed to Morris Levy's Roulette label in early 1969, for which they cut an entire album of material before disbanding later that year. Collectables has reissued a CD collection, and Gear Fab has released the folk-like "Sing Out" from their unissued late 1968 sessions.
~ Bruce Eder, All Music Guide
Get it here @ 128
Morning Dew - Second Album
Sunday, September 23, 2007
Saturday, September 22, 2007
Agemo's Trip to Mother Earth was one of the most ambitious psychedelic albums to emerge from continental Europe in the late '60s. The LP's nominal concept was, like many early such endeavors, obscure, involving something like the journey of Agemo from a paradise-like planet to the more chaotic imperfection of Earth. Musically, the record owes a lot to late-'60s British psychedelia (particularly of the Pink Floyd school), with hints of the onset of progressive rock in its less-conventional passages. Although plenty of melodic shifts, celestial organ, wiggling distorted guitar, harmony vocals, Gregorian chant-like singing, Mothers of Invention-like horns, beatific respites (on "Reborn"), and general freakiness entertainingly convey the exploration of new psychic territory, it ultimately lacks the lyrical and musical cogency of, say, late-'60s Pink Floyd. At times the bold weirdness gets self-indulgent, throwing in phased drum soloing, solemnly intoned spoken female romantic exclamations, and multilingual murmuring. The album was reissued, in its original sequence and its entirety, as part of the Group 1850 CD compilation 1967-1968 [Allmusic.com]
This download only contains all 7 tracks from the LP, later on the 1997 CD release contained 16 tracks…
01 - Steel sings
02 - Little fly
03 – I put my hands on your shoulder
04 - You did it too hard
05 - The point in this life
06 – Refound
07 – Reborn
01 - Another Time - Pearls Before Swine
02 - Spring ' 69 - Cressida
03 - Widow With A Shawl - Donovan
04 - I've Been Wrong Before - Hp Lovecraft
05 - I Watch The Moon - Gandalf
06 - Heartbreaker - Grand Funk Railroad
07 - Try A Little Bit - Lovin' Spoonful
08 - Sandcastles - 31st Of February
09 - Before The Beggining - Fleetwood Mac
10 - In Retrospect - Six Feet Under
11 - Death Sound Blues - Country Joe & The Fish
12 - A Touch Of Sunshine - Taste Of Blues
13 - Dreams Of Dreams - Smoke
14 - Love Is Here - Blue Mountain Eagle
15 - The Golden Hour III - Electronic Hole
16 - Plastic Horizon - Gods
* This is a compilation of some of my favorite tracks
hope you like it!!
Friday, September 21, 2007
The two Salvation LPs on one CD.
01 Love Comes In Funny Packages
03 More Than It Seems
04 Getting My Hat
05 G.I. Joe
06 Think Twice
07 She Said Yeah
08 The Village Shuck
09 What Does An Indian Look Like
10 Hollywood 1923
11 Handles of Care
12 Yuk Yuk
13 In the Evening
14 Salvation Jam
15 Come on over Here
16 What'll I Do #42
* Al Linde - vocals
* Artie McLean - bass
* Joe Tate - guitar
* U.S. of Arthur (Art Resnick) - keyboards
* Teddy Stewart - drums
* Rick Levin - drums
The following may also have contributed;
* Tom Scott
* Bill Plummer
* Mike Wofford
* Paul Beaver
* Jim Gordon
* Hal Blaine
* Jay Lewis
* Original producer - Bob Thiele
Tracks 1 to 9 were originally released on;
* Salvation , Salvation, 1968
Tracks 10 to 16 were originally released on;
* Gypsy Carnival Caravan , Salvation, 1968
San Francisco psychedelic band Salvation was formed in 1967 by singer Al Linde and guitarist Joe Tate, who first met while students at the University of Washington. Bassist Artie McLean, keyboardist Art Resnick, and drummer Teddy Stewart later completed the original lineup, which at first called itself the New Salvation Army Banned. After earning featured spots in a series of concerts in Golden Gate Park, the band signed to ABC Records, albeit on the condition they abbreviate their name for fear of legal action from the actual Salvation Army. Salvation's self-titled debut LP followed in 1968, boasting an expansive, eclectic sound highlighted by the first single, "Think Twice." Opening slots for bands including the Doors, Big Brother & the Holding Company, and Canned Heat followed, and around the time of their second album, 1969's Gypsy Carnival Caravan, Salvation traveled to New York City to headline the Fillmore East and the Village Gate. But their future was jeopardized after the group's management reputedly ran off with their ABC advance, and in 1970 Salvation dissolved; Resnick later resurfaced in jazz circles with a handful of solo recordings as well as sideman dates behind Nat Adderley, Freddie Hubbard, and others. ~ Jason Ankeny, All Music Guide
Get it here @ vbr
Thursday, September 20, 2007
1 Rockin and Rollin
3 I Love You (Yes I Do)
6 Sweetest Girl
8 Ballad of Herby Jenkins
9 Purple Personality
One of the Icelandic psychedelic masterpieces from 1973.
One and only album by yet another "Icecross" related band from Iceland.
Stoned Icelandic private Press Hard Prog Psych with wild Acid Guitar and English vocals.
Issued in a tiny edition of 500 copies.
Including the marvelous doomy-psychedelic jewel "Himalaya".
Highly recommended !
Get it here :
Andrew (Iceland) - 1973 - Woops @256 Vinyl Rip
Wednesday, September 19, 2007
Group was also known by several other names including The Rainy Day People.
rest is AM radio history -- Hallinan is also among the musicians credited on the first Bread album, and later enjoyed a career as a mystery novelist. ~ Jason Ankeny, All Music Guide
01 - stay around for the good times
2. I'll Be Late For Tea
3. The Remarkable Saga Of The Frozen Dog
4. Telegram Tuesday
5. Love Is
6. What's It For?
7. People Of The Royal Parks
8. What On Earth
9. Mrs. Murphy's Budgerigar
10. I Will Bring You This And That
11. Mister Watchmaker
12. When The Alarm Clock Rings
13. The Intrepid Balloonist's Handbook, Volume 1
Rumoured to have been played largely by session musicians and masterminded by a psych-pop Svengali, nevertheless this is, IMHO, the finest piece of Beatles' influenced psychedelia ever released. As English as warm beer on a sunny day, it's a rip roaring, delightful, good natured, free-wheeling romp through tape-sliced psychedelia, Victorian chamber music, Revolver-ised chiming guitars, delicious Penny Lane brass and bizarre and totally endearing observations on English life and LSD soaked internal monologues, from old lady's pet budgies ( Mrs Murphy's Budgerigar) to the nature of self ( Look At Me I'm You) to a day in the park ( The People of the Royal Parks).
Despite it's inherent oddness, it remains one of the most accessible albums of its kind and is positively laden with glorious pop songs and beautiful playing. I simply can't praise it highly enough. Its sheer naive joyousness is totally irresistible - never could such fun have been had making a record. It's incredible to think this was being made at the same time as Sgt Pepper but died without a trace.
Sadly, it's hard to find, but I'd urge you to try and get hold of it, because once you fall under its spell, it'll have you for life
Imagine the late-'60s Kinks crossed with a touch of the absurdist British wit of the Bonzo Dog Band, and you have an idea of the droll charm of Blossom Toes' debut album. Songwriters Brian Godding and Jim Cregan were the chief architects of the Toes' whimsical and melodic vision, which conjured images of a sun-drenched Summer of Love, London style. With its references to royal parks, tea time, watchmakers, intrepid balloon makers, "Mrs. Murphy's Budgerigar," and the like, it's a distinctly British brand of whimsy. It has since been revealed that sessionmen performed a lot of these orchestral arrangements, which embellished the band's sparkling harmonies and (semi-buried) guitars. But the cello, brass, flute, and tinkling piano have a delicate beauty that serves as an effective counterpoint. The group sings and plays as though they have wide grins on their faces, and the result is one of the happiest, most underappreciated relics of British psychedelia.
Get it here
Tuesday, September 18, 2007
01 - April Anne
02 - Topanga Canyon
03 - Malibu People
04 - Someone's Sleeping
05 - Drum
06 - Captain
07 - Let It Bleed, Genevieve
08 - Down The Beach
09 - Mississippi
10 - Holland Tunnel
Style; Folk-Rock, Soft-Rock, Singer/Songwriter
Release Date: 1973
Label: Wea International
1 Sail Around the World Gates 3:19
2 Sunday Rider Gates 3:22
3 Soap (I Use The) Gates 2:28
4 Suite: Clouds, Rain Gates 8:55
5 Help Is on the Way Gates 2:56
6 Ann Gates 3:53
7 Do You Believe He's Comin' Gates 4:56
8 Sight and Sound Gates 2:56
9 Lorilee Gates 4:43
1994 Love is Always Seventeen
1981 Take Me Now
1980 Falling in Love Again Songbook
1978 Goodbye Girl
1975 Never Let Her Go
David Gates Biography:
A member of the popular group Bread, David Gates is also a songwriter, keyboardist, vocalist and producer. His first hit as a songwriter came with the popular Murmaids song "Popsicles and Icicles."
David Gates was born in Tulsa, OK. to a band director and a piano teacher. Surrounded by music from birth, he was proficient in piano, bass and guitar by the time he was in high school. In 1957, he received a musical break when Chuck Berry came to Tulsa; Gates had his first hit, "Jo-Baby," with Chuck Berry. The song was written for Gates' high school sweetheart Jo Rita, whom he married and had children with while enrolled at the university of Oklahoma.
In 1961, the family moved to Los Angeles, and Gates embarked on a career of songwriting and producing. By the end of the '60s, he had worked with Elvis Presley, Bobby Darin and Merle Haggard, and produced the 1965 Glenn Yarbrough hit "Baby the Rain Must Fall."
Realizing that the only way his songs were sure to be recorded was to sing them himself, Gates founded Bread in 1968; the group consisted of Gates, James Griffin, Robb Royer, and later, drummer Michael Botts and keyboardist Larry Krechtel. The group's first album, Bread, was released in 1969 with hits "It Don't Matter to Me," "Dismal Day" and "Make It with You." Soft rock hits became the band's trademark and made them legends. Greater success and recognition came with the 1971 album, Manna, with the smash hit "If."
With the popular albums Guitar Man and Baby, I'm a Want You, the band's success led the members in different directions. The group disbanded in 1973 to pursue their own solo interests and careers, but regrouped in 1977 to produce the album Lost Without Your Love. David Gates produced albums of his own, First Album and Never Let Her Go in 1975; his songs landed him on the contemporary music charts every time, including "The Goodbye Girl," from Neil Simon's play of the same name. Several of his songs have been recorded by artists such as Julio Iglesias and Boy George. "Everything I Own," a tribute to his father as his greatest influence, was recorded by Nashville artists the Kendalls and Joe Stempley and then by pop rocker Boy George. His incredible songwriting ability offers versatility and a crossing over of musical genres. With a recording studio on his California ranch, David Gates continues to write and produce. Kim Summers, All Music Guide
More Gates and Bread stuff soon !
1 Black Sand 4.03
2. Places Of Light 4.03
3 Brainticket (Part One) 8.18
4 Brainticket (Part One - Conclusion) 4.35
5 Brainticket (Part Two) 13.12
the band :
- Joël Vandroogenbroeck: Organ, Flute
- Ron Bryer: Guitar
- Werni Frohlich: Bass Guitar
- Cosimo Lampis: Drums
- Wolfgang Paap: Tabla
- Dawn Muir: Voice
- Hellmuth Kolbe: Potentiometers, Generators and Aound Effects
Review by HeadHeritage :
Next time you feel like getting fried, listen to this! But never mind the first two songs on Cottonwoodhill; they are both a rather ho-hum affair. The real brillance on this disc is to be found throughout their 26 minute acid-fueled masterpiece, "Brainticket", the basis of which is a slightly varrying guitar/keyboard lock groove, kinda like Can at their most repetitive. Over this groove pulses all sorts of sound effects, such as machine guns, screams, gargeling, etc. Mostly, though, the overriding sound is their synthesizer, who, although not in the league of Klaus Sculze, nonetheless provides some very entertaining squawks, squeeks, beeps and drones, resulting is a very high-powered burst of aphetimene driven psychosis, dancable and meditative (but meditative in a disturbing, scary way).
But Brainticket the band doesn't stop there, and what really makes "brainticket" the song transcend ordinary greatness in pursuit of nutty brilliance is the voice of Dawn Muir. Sounding very Engish, she freaks out over the whole thing, recounting a very bad acid trip, doubting her exsistence, screaming her LSD-fueled insights, and just generally making a complete mess of herself.
...Suddenly you realize that the insanity is contageous, as the song stops, revealing a weird computer voice going "Brainticket Brainticket Brainticket" and you are left wondering just what the fuck is going on,just what is this I'm listening to? But then the song fades back in, and it's back to where we started...
Poor Dawn Muir, she sounds like a girl being dragged off towards a mental institution, and I wouldn't be surprised if she was still there. Because after this album, everyone in Brainticket freaked out, and only their keyboard player remained. While other Brainticket albums are interesting, none have the sheer grab you by the balls lunancy as witnessed all over Cottonwoodhill, the cover of which carries the helpful warning :
"Don't listen to this record more than once a day or your brain will be destroyed!"
Get it Here @ 256
Brainticket - 1971 - Cottonwoodhill
Sunday, September 16, 2007
The most underrated of Tyrannosaurus Rex's four albums, Prophets, Seers & Sages was recorded just six months after their debut and adds little to the landscapes which that set mapped out. There is the same reliance on the jarring juxtaposition of rock rhythms in a folky discipline; the same abundance of obscure, private mythologies; the same skewed look at the latest studio dynamics, fed through the convoluted wringer of the duo's imagination — the already classic pop of the opening "Deboraarobed" is further dignified by its segue into the same performance played backwards, a fairly groundbreaking move at a time when even the Beatles were still burying such experiments deep in the mix. But if the album itself found the duo rooted to the musical spot, still it delivered some of Marc Bolan's most resonant songs. The nostalgia-flavored "Stacey Grove" and the contrarily high-energy "Conesuela" were as peerless as any of Bolan's more feted compositions. Equally intriguing is the confidence which exudes from "Scenes of Dynasty," a successor of sorts to the last album's "Scenesof," but presented with just percussion and some strange vocal noises to accompany Bolan's singing — at a time when "singing" was maybe not the term a lot of listeners would employ for his vocals. The excited "one-two-three-four" count-in only adds to the dislocation, of course. Finally, the owlishly contagious "Salamanda Palaganda" offers a first-hand peek into the very mechanics of Bolan's songwriting. Other composers stuck for a rhyme either reach for the thesaurus or abandon the lyric altogether. Bolan simply made one up, and in the process created a whole new language — half nonsense, half mystery, but wholly intoxicating. Just like the rest of the album, in fact [Allmusic]
02. Stacey Grove
1 Sukoon 5:16
2 Arc of Ascent (Part One) 5:20
3 Kiff Riff 6:26
4 Garden of Essence 8:04
1 Sukoon (Reflection) 2:13
2 Shamsa (Sunburst) 3:24
3 Baraka 2:19
4 Arc of Ascent (Part Two) 3:50
5 Freedom Rider 4:19
6 Neelum Blue 4:52
Saddar Bazaar are:
Rehan Matthew Hyder: Guitars, Percussion, Kubing, Dholak & Agoual on "Shamsa"
Shaun Hyder: Sitar, Percussion, Kubing
Duff Dave Spencer: Dholak, Agoual, Tablas, Percussion
Terry Banx: Keyboards
Recorded at The Bunker, Bristol during the Summer of 1994.
Engineered by Bob Pierce.
Produced by Bob Pierce and Saddar Bazaar.
Artwork by Harvey Woodward
Stick two psych-crazed kids from Bristol in the studio with Bob Pierce, ex of '60s freak beat legends The Mirror, and the result is a haunting hybrid of transcendental ragas and psyched-out slide guitar. No syrupy tea'n'crumpets English whimsy here, no shimmering digital trickery, just the droning narcotic detachment of the Spacemen 3, the dynamic overdriven fuzz slide of Ry Cooder circa Ceyleib People and some sublime electric sitar. Third Ear Band for the 90s? Blues for Ghandi? Who the hell cares? Just keep taking the tablas boys. (Cliff Jones)
An unusual combo this new band from Bristol, with sitars, slide-guitar, tablas and all sorts of unpronounceable Indian instruments. Really, could you imagine Ry Cooder jamming in wth George Harrison's Wonderwall, or the sitar ragas of Popol Vuh combined with Rustic Hinge or Cul De Sac? Heady, far-out, totally instrumental. you'd never guess it was recorded summer last year! Nothing much more I can say really as I got spell-bound by it, and before I knew it the album was finished. Superb! (Alan Freeman)
Last time I heard Saddar Bazaar was when they played a support slot for the Bevis Frond in home-town Bristol some four or five years ago, and I must confess that at the time the only thing I remembered was how forgettable they were. And yet now, with all the grace and favour of the intake of a butterfly's breath, Saddar Bazaar have blossomed into an exotic and breathtakingly diverse instrumental outfit who successfully encompass mythology, restaurants and bean-bags in their search for the ultimate tabla d'hote. Far from being another of Dlerium's novelty acts, Saddar Bazaar are one of their most exciting, original and potential-filled signings to date. What's special about this band is the way they mix Western-styled slide guitar licks with their obviously Eastern instrumentaion, your sitars and dholaks and agouals and other assorted hot side dishes, together making for a heady mixture that's as textured as a tufed rug and just as comfortable to roll around on. "Arc of Ascent (parts 1 and 2)" and "Garden Of Essence" are probably the strongest tracks on here, the latter building to a hearty throb like a BSA at full throttle and splashing just as much oil around in the process, but Saddar Bazaar are right on target throughout and I'm more than happy to admit that I was entirely wrong about the band all along. I have no idea at all what kind of market this album will appeal to, but I like to think a large number of Terrascope readers will be intrigued enough to investigate it. Leave your preconceptions on you bedpost overnight and you won't be disappointed. (Phil McMullen)
British psychedelia at its most innovative!
Get it here @256
Saddar Bazaar - 1998 - The Conference of the Birds
Saturday, September 15, 2007
She was a regular on TV talk shows and variety shows in the 1970s, including The Julie Andrews Hour, The Mike Douglas Show, The Andy Williams Show, Hollywood Squares, and The Carol Burnett Show. She guest-hosted for Johnny Carson on The Tonight Show and appeared on that show 13 other times. Elliot also was a guest panelist for a week in late 1973 on the hit game show Match Game '73. She appeared in the 1973 Saga of Sonora, a TV music-comedy-Western special with stars of the day such as Jill St. John, Vince Edwards, Zero Mostel, and Lesley Ann Warren.
Throughout the early 1970s, Elliot continued her acting career as well. She had a featured role in the 1970 movie Pufnstuf and made guest-star acting appearances on TV's The New Scooby-Doo Movies, Young Dr. Kildare, Love, American Style, and The Red Skelton Show, among others [Wikipedia]
Because of her weight and the rumors concerning the cause of her death, Mama Cass Elliot endures as little more than a punch line, which is a real shame; not only was her voice the linchpin of the Mamas & the Papas' most memorable hits, but her solo records were engaging and unique, capturing the unlikely confluence of bubblegum and the blues. Bubble Gum, Lemonade & Something for Mama, Cass' second solo effort, showcases her brassy, exuberant voice couched in a variety of settings, from the girl groupish "It's Getting Better" to "Blow Me a Kiss," an ersatz Tin Pan Alley pop number in the mold of her hit "Dream a Little Dream of Me." The highlight is the closing "Make Your Own Kind of Music," later covered by Paul Westerberg [Allmusic]
01 It's getting better
02 Blow me a kiss
03 Sour grapes
04 Easy come easy go
05 I can dream can't I
06 Welcome to the world
07 Lady love
08 He's a runner
09 Move in a little closer baby
10 When I just wear my smile
11 Who's to blame
12 Make your own kind of music
With help from Rubin, the quartet started touring through the Northeast, eventually catching the attention of the MGM affiliated Poppy Records. Signed to the label, the band's cleverly-titled "The Mandrake Memorial" debut teamed them with producers Anthony Bongiovi and Tony Camillo. Musically their debut's quite entertaining with tracks like 'Bird Journey' and 'Rainy May' showcasing their unique line up of Anderton's angular guitar and Kac's electric harpsichord. Propelled by Monaco's likeable voice, the album's full of strong melodies, with some great harmonies and surprisingly catchy lite-psych moves. Sure, some of the lyrics haven't aged particularly well, but so what. There really isn't a bad song on the LP (how often can you say something like that?). Personal favorites include 'Here I Am' (sporting a killer lead guitar from Anderton), the sitar and feedback propelled 'Dark Lady' and the aptly titled 'Strange'. (Got to admit that I've always wondered why this one gets ignored by everyone in favor of "Puzzle".) Anyone know how the female singer that pops in from time to time is? Linda Cohen?
Friday, September 14, 2007
"The sole album from this Chico, CA quintet was unfortunately released just as their label (Kapp) was dissolving (1971; the final Kapp release came out the following year, although the label had been sold to MCA back in ‘67). It’s a tight knit collection of self-penned bluesy jams, featuring the twin guitar attack of Steve Cooley and Fred Campbell with excellent harmony vocals throughout. “Jeweled Scene Stealer” has some particularly tasty guitar soloing, and Cooley’s paean to the local babes, “Chico Women” coming across as particularly funky and beer-soaked.
Campbell whips out his flute and acoustic classical guitar for Side 2’s short, reflective opener, “Changes,” which segues quite nicely into the unusually syncopated time changes of the bluesy howler, “People Change.” Guest Eddie Abner’s steel guitar” and the omnipresent harmonies imbue “Blue Water” with a nice country rock flavor that should please fans of the goodtime groove of New Riders of The Purple Sage, Little Feat and Heartsfield (check out 1975’s “Foolish Pleasures”), with a hint of The Allmans not too far off in the distance.
Bassist Randy Reaves, who wrote or co-wrote seven of the album’s nine tracks, turns in one of his best efforts on “Movie,” a hard-driving, two-step toodle-oo that predicts some of the southern fried chicken rock of Lynyrd Skynyrd and Marshall Tucker. If sweaty, straight ahead bluesy country rock is your cup of moonshine, come forth and drink from the fountain that is Sundance." (Foxy Digitalis) (BUY IT!)
1) Train Time
2) Jeweled Scene Stealer
3) Strange New Time
4) Chico Woman
6) People Changin
7) Blue Water
9) Hollywood Dancers
The first volume was created in 1984, and the series was completed in 2002 (and later, the New Rubble series has begun). Rubble is one of the first series of compilation albums of psychedelic rock, freakbeat, rhythm and blues, garage rock and beat music of the mid to late 1960s in the United Kingdom. It predated similar compilation series, such as the English Freakbeat series, which AIP Records started in 1988.
The name "Rubble" is influenced by the title of the seminal Nuggets double LP, and resembles the titles of several similar compilation series, such as the Pebbles series, Boulders series and Rough Diamonds series. Most of the bands on these albums were not commercially successful, such as the Glass Menagerie, Wonderland and Wild Silk. However, the albums also include a few better-known bands, such as Tomorrow, The Poets, The Pretty Things and The Crazy World of Arthur Brown.
~@~@~Click on titles for traclists
VA_-_The_Rubble_Collection_vol 01 @256.rar
VA_-_The_Rubble_Collection_vol 02 @256.rar
VA_-_The_Rubble_Collection_vol 03 @256.rar
VA_-_The_Rubble_Collection_vol 04 @256.rar
VA_-_The_Rubble_Collection_vol 05 @256.rar
VA_-_The_Rubble_Collection_vol 06 @256.rar
VA_-_The_Rubble_Collection_vol 07 @256.rar
VA_-_The_Rubble_Collection_vol 08 @256.rar
VA_-_The_Rubble_Collection_vol 09 @256.rar
VA_-_The_Rubble_Collection_vol 10 @256.rar
VA_-_The_Rubble_Collection_vol 11 @192.rar
VA_-_The_Rubble_Collection_vol 12 @192.rar
VA_-_The_Rubble_Collection_vol 13 @192.rar
VA_-_The_Rubble_Collection_vol 14 @192.rar
VA_-_The_Rubble_Collection_vol 15 @192.rar
VA_-_The_Rubble_Collection_vol 16 @192.rar
VA_-_The_Rubble_Collection_vol 17 @192.rar
VA_-_The_Rubble_Collection_vol 18 @192.rar
VA_-_The_Rubble_Collection_vol 19 @192.rar
VA_-_The_Rubble_Collection_vol 20 @192.rar
Click on titles for traclists
Vols 01-10 by verybadboy
Vols 11-20 by Opa-Loka
Thursday, September 13, 2007
Wednesday, September 12, 2007
A1 Coast To Coast (11:14)
A2 The Quick And The Dead (4:56)
A3 Believe (5:55)
B1 Orange Cucumber (22:18)
John Redfern (guitar, vocals)
Mo Hone (guitar)
Chris Jordan (bass)
Stephen Bayes (drums, percussion)
Simon Redfern (drums, percussion)
This could be described as The Morticians second album, as it features the two main members of that band and sounds a bit like side two of The Morticians LP. We're talking heavy acid rock jams, with an American '60s West Coast meets the Pink Fairies feel...
A limited edition of 1000 (Vinyl only).
The best music CHEROKEE MIST recorded was with Caroline Davey from WOBBLE JAGGLE JIGGLE sharing the vocals with John Redfern. "Coast to Coast" and "Orange Cucumber",etc. This was going to be released as an LP on the Tangerine label, until the master tapes dissapeared? Theres some Rock and Roll Mythos for you! (Dec 2003).
Get it here @192
Monday, September 10, 2007
2) Nostalgia Trip
3) Reflections on a Warm Day
4) Do You Think About Me?
5) White Light
7) My Lonely Friend
9) The Goodnight Song
10) Shine on Heart
11) Do It Together
12) Do You Think About Me? (live)
13) Nostalgia Trip - 1975
14) Reflections on a Warm Day - 1975
15) Do You Think About Me? (demo)
16) The Goodnight Song (original)
Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsure ness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell's classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell's riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen. [Allmusic]
01 - Tin Angel
02 - Chelsea Morning
03 - I Don't Know Where I Stand
04 - That Song About The Midway
05 - Roses Blue
06 - The Gallery
07 - I Think I Understand
08 - Songs To Aging Children Come
09 - The Fiddle And The Drum
10 - Both Sides, Now
Style; Folk-Jazz, Folk-Rock, Singer/Songwriter
Stack Waddy's debut album is one of the "must hear" discs of the early 1970s, an uncompromising roar that might cavort through that shell-shocked no man's land that sprawls between Captain Beefheart and the Edgar Broughton Band, but which winds up defiantly beholden to absolutely nothing else you've ever heard -- one reason, perhaps, why the group vanished with so little trace.Recorded live in the studio (or thereabouts, Stack Waddy is a blurring blend of brutal band originals and deliciously mauled covers. Beefheart's "Sure Nuff Yes I Do" is an unblinking highlight, while raw takes on "Suzie Q" and "Road Runner" remind us of the group's mid 60s genesis on the Manchester R&B scene. There's also a version of Jethro Tull's "Love Story" that comes close to topping the Sensational Alex Harvey Band in terms of lascivious power and ferocity. Certainly John Knail takes no prisoners as he howls his way through and, while Stack Waddy holds back from completely recreating the live band experience (there's no breaking bottles, for a start), still this is one of those few albums that genuinely requires you to wear protective clothing.
Saturday, September 08, 2007
Are You Losing Your Mind?
Alien I Am
Love In Space
Assassins (2CD only)
No need to say something about Hawks.
At this time, Clint was holed up in a remote farm in Breton, and after being asked by Andrew Lauder of UA to do a solo album, he transferred holes to Rockfield Studios in
‘Out Of My Tree’ [5:18] begins in a kinda mainstreamy guitar rock mode, and it’s perhaps the most ordinary and seriously-toned track on the album, but don’t let that put you off, there’s better to come, and this song does have a cool slashing fuzzed guitar bit that’s nice. This track might grow a little on you over time, as it has for me. You gotta love a song that’s about questioning your sanity (at least that’s what I think it’s about...).
‘Brand ‘X’’ [3:44] changes the mood considerably, not to Brand X-like fusion but with a kooky cascade of cheesy keyboard, bass and guitar matching notes and dripping down the chromatic scale before swinging into a totally chugging Man-esque hard guitar riff, with ultra-cool vocals pleading for a little bit of rock’n’roll. This is a fist-in-the-air anthem to rock and a go-get-‘em attitude that’s up there with the Fairies’ ‘Do It’ as a positive motivator. Midway it breaks down into a gutsy down-home groove as Andy Fairweather Low (here rechristened as Ferretweather) cuts loose with a wicked guitar solo. As far as the guitar-oriented side of things go, this is like Man at their best, I guess not counting things like the 20-minute ‘Spunk Rock’ jam
on ‘Greasy Truckers Party’.
‘Summer Song’ [5:22] sees us in softer, spacier, wistful Man mode, keyboards predominating with a gentle, simple structure that bobs along like the Good Ship Lollipop (no, it doesn’t sound like the Shirley Temple song, I’m trying to create imagery here...), and wouldn’t have been out of place as one of the more unassuming tracks on ‘Back Into The Future’.
‘Visitin’ The Duke’ [5:59] is more traditional and down-homey at the start, with blues harmonica and guitar wheezing away, before kicking into a hard, gritty Southern boogie rock slide riff with meaty vocals, done of course a la Man, breaking down and dirty with the harmonica for another jam-out that these guys just can’t seem to escape let alone do badly, and let us be thankful for that! This track, by the way, is about visiting Deke Leonard in
‘Love To You’ [6:14] starts with bass throbs and weird keyboard sounds hovering in the background, hinting at something that doesn’t come, before a steady, loping groove sets in with a kinda psych-soul-boogie feel, if that makes any sense. Reminds me a bit of The Indelible Murtceps, in other words
‘Overflow’ [5:07] begins with some jazzy sparring for a few seconds before a structure sets in with ease and we have a mellowish, unusual rock number with a guitar rhythm and bass line that’s only a few degrees removed from reggae, though as imagined by Patto, if you can paint that in your mind. And the Patto comparison holds into the unexpected brief jam that opens up next, now denser and with more of a jazz-informed hard rock edge, though the second (and longer) jam that follows and fades out the track is more akin to a mellow, almost spacey Man circa ‘Back Into The Future’.
‘Bust Again’ [4:36] is, of course, about being busted (for growing dope), and flows as a slow-plodding skanky fuzz rock number as Clint recounts the lament of the events of his undoing at the petty hands of the law. As Clint puts it, “What the fuck can you do with a bush or two of my weed?” Musically, this is comparable to Man’s ‘Romain’ and is likewise pretty cool.
‘Ferret Interview’ [1:38] is a ridiculous interview in silly voices regarding the sexual habits of ferrets, apparently “rather a domesticated form of perverted stoat”! I won’t give away any of the rest, suffice to say you’d have to be made of stone if this track doesn’t raise a few chuckles.
‘Hold Your Ferret Aloft’ [5:34] is in a slightly odd angular jazz rock vein, cruisy and juicy and reeking of the weed, with oozing harmony vocals imploring us “hold your ferret aloft” and “vote for stoat”, amongst other things I can’t quite make out. However, instrumental interplay predominates, as the band jam away in a lazy, stoned and virtuosic way through various shades and permutations of the basic groove, Phil Ryan providing some tasty, unshowy keyboard licks. I can certainly imagine this track sitting comfortably on the Chillum album, or maybe snuck into some early/mid-70’s Zappa album, and it’s one of the few tracks here that doesn’t sound derived from styles set down previously by Man – let’s call them Mannerisms, eh? But how can you accuse Clint of being derivative of something he helped create and was a part of in the first place? Even if you could get away with calling any of it derivative, there’s no escaping that the music is still great regardless, and that’s what matters ultimately. Unless you don’t like this sort of thing, in which case, why have you read this far?
I was told that Clive has lots of early Man recordings that maybe one day could see the light of day - I certainly hope so.
As I promised last month, I have set up a website for free access to my songs, including the originally-planned version of the Seventh Dawn "Sunrise" album.
The website is www.heffmunson.com
It contains new versions of my songs from that album plus the other songs as originally planned. The album title is "Such A Lonely __/Seashore". I have also recreated my original cover artwork, and included a printable lyric book.
There are other songs as well, and I will add more from time to time.
Thanks to the people who listened to the 1976 version.
les rallizes denudes - ('77 live -disque 1-) 01 enter the mirror
les rallizes denudes - ('77 live -disque 1-) 02 yoru ansatsusya no yoru
les rallizes denudes - ('77 live -disque 1-) 03 kori no honou
les rallizes denudes - ('77 live -disque 1-) 04 kioku ha toui
les rallizes denudes - ('77 live -disque 2-) 01 yoru yori fukaku
les rallizes denudes - ('77 live -disque 2-) 02 yoru no syuukakusyatati
les rallizes denudes - ('77 live -disque 2-) 03 the last one
Link Disc 1 & 2
Thursday, September 06, 2007
Really a great album, not just the track 12 - Time of the Season, I even fancy the other tracks more than that one…
01 - Care of cell 44
02 - A rose for emily
03 - Maybe after he's gone
04 - Beechwood park
05 - Brief candles
06 - Hung up on a dream
07 - Changes
08 - I want her she wants me
09 - This will be our year
10 - Butcher's tale western
11 - Friends of mine
12 - Time of the season
Wednesday, September 05, 2007
review by : Mr. P. G. B. Stromeyer's
Tuesday, September 04, 2007
So we cannot share it/re-upload it .
cause they believe it reduces their sales & we have to respect that.
Sunday, September 02, 2007
1. Looking for the Sun (Alexander)
2. Letter to Baba (Alexander)
3. Topanga (Alexander)
4. Autumn is a Bummer (Alexander)
5. A Bunch of Us Were Sitting Around a Candle in San Francisco Getting Stoned and I Hope You’re There Next Time (Alexander)
6. Waiting for the Time (Alexander)
7. Thinking in Indian Again (Alexander)
8. Puppet Theatre 23 (Alexander)
9. One Real Spins Free (Alexander)
10. Windy Wednesday (Alexander)
11. Miss Mary (Alexander)
I was recently turned on to this album by a friend of mine. It's a really obscure pop-psych record somewhat in the vein of the Association. I'm not familiar enough with the scene to comment at length on the origins of the album; there doesn't seem to be much information. I think it's pretty solid though. Alexander has a breezy, surreal vocal delivery and there's certainly enough trippy moments to satisfy any fan of the genre.
Get it HERE (@256).
(and yes, the tracks tend to end rather abruptly... it's not a problem with the rip!)
Track List :
I'm So Glad
Saturday, September 01, 2007
After honing their sound and building a name locally around Sydney in late 1964, the group was signed to Albert Productions who, in turn, licensed their releases to Australian EMI's Parlophone label. Ted Albert, their producer, seemed to recognize what he had in a group of talented, newly-transplanted Englishmen and Europeans — the real article, and a rare musical commodity in Australia. The band was signed up with 20 original songs already written, and as they sounded fresh, he simply let the band cut them, merely making sure the music came out right on vinyl. Working from originals primarily written by Stievie Wright, by himself or in collaboration with George Young, the group's early records (especially the albums) were highly derivative of the Liverpool sound, which was fine by all concerned. What made it special was the sheer energy that the quintet brought to the equation — they were highly animated in the studio and on stage, they looked cool and rebellious, and they sang and played superbly
Read more on Allmusic
01-It's So Easy
02-I'm A Madman
04-She Said Alright
05-I'm Gonna Tell Everybody
07-She's So Fine
08-You Got It Off Me
09-Cry Cry Cry
12-You'll Come Back Again
13-Girl On My Mind
14-Ya Can't Do That
15-For My Woman
16-Say That You're Mine
17-The Old Oak Tree
18-Friday On My Mind
19-Lisa, Rough Mix
20-Find My Way Back Home
21-No One Knows
22-She's So Fine (Live)
Style; Rock & Roll, Garage
Thursday, August 30, 2007
It's Side 2 which is why you're here. Four picture-perfect pop-psych songs. Nice, simple, catchy melodies that don't overstay their welcome. "En Caso De Que Mi Reloj Se Pare" is a lovely, wistful ballad with a nice cheap organ outro. "El Ruido Del Silencio," which appeared on the Mexican volume of the Love, Peace, and Poetry series, is a miniature masterpiece: a fun little twee rocker that sounds like the little sister of the Outsiders' "Daddy Died on Saturday." Fantastic keyboard and guitar breaks. "Amor Por Telefono" keeps the happy-groove going strong, and then "Brillo De Luz" returns to the balladry of "En Caso..." to end the album.
A strange little record to be sure. Always fun to pop on side 2 as a good come-down after a Dug Dug's excursion.
Get it HERE.
Monday, August 27, 2007
Dick Dale is well known so many people will have heard of him, and I see him as the father of Surf Instrumentals, did I say father…. More the grandfather, Dick is 70+ and still rocking
I love the way Dick Dale plays Ghost Riders in the Sky, so that’s my favourite song of this album.
When you really like this kind of music than take a look at;
Miracle of Genuine Pyrex
2 downloads needed for this album, second link is to Sharebee..
03 F Groove
04 Terra Dicktyl
05 Take It Or Leave It
06 Ghostriders In The Sky
07 Fish Taco
08 California Sun
09 Maria Elena
10 Hava Negila
11 The Beast
12 Unknown Territory
13 Ring Of Fire
Label; Rock & Roll
Style; Surf Instros
Friday, August 24, 2007
Get it here
Thursday, August 23, 2007
Before gaining a cult with his avant-garde excursions in the late '60s, Captain Beefheart wielded a much more traditional sort of blues-rock. That's not to say that these two obscure mid-'60s A&M singles (packaged together on this five-song EP, which adds a previously unreleased track from the same era) aren't well worth hearing. The Captain's Howlin' Wolf-like growl led a tough outfit that ranked among the best early American blues-rock groups, and among the few that could reasonably emulate the Rolling Stones' toughness. Produced, unbelievably enough, by future Bread leader David Gates, this reissue includes their regional hit cover of Bo Diddley's "Diddy Wah Diddy." The best track, though, is "Moonchild," their shameless derivation of Howlin' Wolf's "Smokestack Lightning." Featuring wailing harmonica, stomping riffs and adventurous, quasi-psychedelic production, it was actually written by Gates himself. To think that the same man was also responsible for "If" and "Baby I'm A-Want You" blows the mind.
Tuesday, August 21, 2007
The band came together in the fall of 1969, with bass player Dave Coombs and lead vocalist Joe Cerisano as its co-founders. The two had previously played together in Coombs' outfit J.B. and the Bonnevilles. The Bonnevilles formed in 1965 and developed over the next few years into the most outstanding and popular group in the entire state of West Virginia. The band annually headed to Somers Point, NJ, during the summers to act as house band at a shore club called Bayshores. By 1968, Cerisano had joined the band, his first serious professional foray into the music business (though he had played with various bands in his hometown of Fairmont), still just a 17-year-old minor, and when the Somers Point trip arrived that year, Coombs and his wife actually became the legal guardians of the young singer for a time.
Upon the demise of J.B. and the Bonnevilles in 1969, the duo formed a new unit called Kaboose, which lasted seven months. Then, with the addition of Tom Nicholas on guitar and Joe Hartman behind the drum kit, they became Elderberry Jak, named after the elderberry wine made by an uncle of Coombs. The quartet had soon become a powerful unit, mixing hard-driving rock with invigoratingly tight funk. The band traveled throughout their home states, Ohio and Pennsylvania, for performances, eventually earning a record deal with Kenny's brother Leland Rogers in Memphis. The result was the first-rate Long Overdue, released in 1970.
After the band's demise, the members scattered with Cerisano, most significantly, remaining in the music business as a professional singer, soon heading for work in New Jersey and then New York, before ultimately gravitating to Los Angeles where he started the band Silver Condor and was signed to Columbia Records, releasing a pair of albums in the early '80s. After returning home to West Virginia, he continued to work not only solo (in TV and radio commercials, among other projects) but also sang with or for a wealth of acclaimed musicians, from Jimmy Webb, Richie Havens, and Bo Diddley to Black Sabbath and Korn. As the dawn of the new century arrived, he could still be found fronting the Trans-Siberian Orchestra. (BUY IT!)
1) Going Back Home
2) Forrest on the Mountain
3) Vance's Blues
5) Restless Feeling
6) Wish Me Well
7) Mr. Sun
8) My Lady
10) You're the One
From Wikipedia :
Friday, August 17, 2007
Remember a guy by the name of Jonathan Edwards who had a hit back in 1971 with 'Sunshine'? If you're actually reading this stuff there's probably a pretty good chance that you do. Well, this is Edward's pre-solo career band. I've owned a couple of Edwards solo albums for years (they're fairly easy to locate in Northern Virginia since he lived in this area for quite some time), but never made the connection between the two entities. Anyhow, here's a little blurb I lifted off of Edward's website (the URL is listed below): "I started getting electric about the time Dylan did, doing electric folk music. I joined bands by saying 'Can I be in your band?', and they'd ask, 'What do you play?', and I'd say 'What do you need?' I'm still that way. I still love to play different instruments. It helps me understand production techniques and performance capabilities". Instead of graduating from college, he decided to give music a shot. He sold the car that his father was lending him, bought a van for his band, and headed for the music scene in Boston. The band soon found work, playing "6-40" jobs--six 40-minute sets per night--all over New England. They played cover tunes as well as their own country blues originals under various names, including the Headstone Circus, St. James Doorknob, and the Finite Minds, and they made an album for Metromedia Records as Sugar Creek."
A little more information on the group. In 1965 Edwards was studying art at Ohio University when he met fellow student/guitarist Malcolm McKinney. The pair quickly decided to form a band recruiting McKinney's brother Todd. As St. James Doorknob the group became quite popular playing dances, parties and clubs around Athens, Ohio. At the same time fellow students Joe Dolce and Gary Gans were playing in The Finite Minds. When the Finite Minds lost their lead singer, Dolce and Gans were invited to join St. James Doorknob, which quickly mutated into The Infinite Doorknob and then The Headstone Circus. In June 1967 the band decided to take a shot at the big time. With the rest of America decamping for San Francisco, Edwards sold the car his father had lent him for school, bought a breaktruck/van and headed for Boston. The band began touring throughout New York and New England, writing material at a farm owned by McKinney's parents.
By the time the Sugar Creek finished recording their sole 1969 album Dolce had quit (though he's represented by two of the standout selections), leaving a line-up featured Edwards, Gary Gans, and brothers Malcolm and Todd McKinney. Recorded in New York City with Peter Casperson producing, "Please Tell a Friend" will come as a major shock to anyone familiar with Edwards' sensitive singer/songwriter solo career. With Edwards and Malcolm McKinney responsible for the majority of the ten tracks, the album featured a mixture of driving blues-rock ('Old House' and the feedback propelled 'Where Do You Find The Answer') and excellent psych outings ('A Million Years'). Anyone familiar with Edwards solo career will find that his voice sounded surprisingly impressive belting out tougher material, though numbers such as 'Who Do You Think You Are', 'Lady Linda' and the Gospel-influenced 'Heavenly Road' wouldn't have been out of place on one of his early-1970s solo albums. Personal favorites include the band's psych efforts including 'Memory Tree' and 'Night Flash'. Killer tunes. Blessed with excellent sound quality, this one sounds great on an upscale stereo system. (By the way, Joe Dolce is the same guy of 'Shaddup You Face' fame.) (via Badcat Records)
1) A Million Years
2) Old House
3) Who Do You Think You Are
4) Where Do You Find The Answer
6) Heavenly Road
7) Memory Tree
8) Miss You
9) Lady Linda
10) Night Flash
Thursday, August 16, 2007
2 Zsarrahh (3:27)
3 C.Q. (3:28)
4 Daddy Died on Saturday (3:03)
5 It Seems Like Nothing's Gonna Come My Way Today (1:51)
6 Doctor (4:43)
7 Man on the Dune (2:08)
8 Bear (1:05)
9 Happyville (2:27)
10 You're Everything on Earth (3:07)
11 Wish You Were Here With Me Today (1:55)
12 I Love You, No. 2 (3:14)
13 Prison Song (5:38)
14 I Don't Care (2:43)
15 You Remind Me (2:47)
16 Do You Feel All Right (3:28)
17 Daddy Died on Saturday (3:03)
18 Do You Feel Allright (Stereo Version)(3:27)
In Richie Unterberger’s 1998 book “Unknown Legends of Rock n’ Roll”, The Outsiders were referred to as "not just the finest Dutch group of the 60s, but the finest group from a non-English speaking country, period." Vocalist Wally Tax, guitarist Ronny Splinter, bassist Frank Beek, and drummer Lennart "Buzz" Busch more than substantiate Unterberger’s claim on this, their second and final album. Drawing influence from SF Sorrow era Pretty Things, The Yardbirds, The Doors, as well as Jacques Brel, The Outsiders created one of the more enjoyable albums of their era. Not quite as good as The Kinks Are the Village Green Preservation Society or Odyssey and Oracle (which were released in the same year), but a classic nevertheless.
The two best songs on the album, "Daddy Died on a Saturday" and "Prison Song" showcase Wally Tax’s skill as both a lyricist( a great feat considering the fact that English was his second language) and singer. Prison Song" starts as a quiet folk song, builds up into a proto-punk stomp, before ultimately turning into a carbon copy of The Doors’ "The End" (without the oedipal climax).
The Outsiders’ previously mentioned influences are ever present during the course of the album. It’s hard to listen to "Misfit", "Happyville", or "Wish You Were Here With Me Today" without being reminded of the Pretty Things or the Yardbirds or "You’re Everything on Earth" without being reminded of Jacques Brel. Likewise, "Zsarrah" and "I Love You No. 2" could very easily pass as Doors outtakes (well, they could if Jim Morrison sang with a thick Dutch accent). Then, of course, you have "Prison Song" which manages to mix all four of the influences.
This album is absolutely essential to anyone with any interest in sixties rock. It also works as an excellent supplement to either one of the Nuggets boxes (especially the second one which includes an Outsiders’ track). Also, try to check out the double disc CQ Sessions bootleg which includes alternate takes of every song (including the superior second take of "Prison Song") as well as a few unreleased tracks.
The legendary psych album by this Dutch band from the late sixties that's often mentioned in the same breath as Group 1850's Agemo's Trip. Renowned for conjuring up psychedelic beat music and punky garage pop the outsiders entered the spirit of '68 with an album that is seemingly filled with a hard edged, dark atmosphere of trippy paranoia. (Freak Emporium)
Original album here
Bonus tracks and covers here
Hi friends... this is a compilation of well know folk - rock songs. This 90 minute tape made by the real Janisfarm was and still is a very big trip for me. So here it is
01 - Steeleye span- rave on
02 - John Renbourn grouup - my johnny was a shoemaker
03 - Pentangle - I Loved A Lass
04 - fairport convention -Suzanne
05 - tudor lodge - willow tree
06 - magna carta - Elizabethan
07 - Donovan - Three king fishers
08 - Pentangle - Sally Go Round The Roses
09 - John Renbourn Group - death and the lady
10 - Trees - lady margaret
11 - Sallyangie - love in ice crystals
12 - Magna carta - Spinning wheels of time
13 - Pentangle - Travelling song
14 - John Renbourn Group - cannot keep from crying
15 - Pentangle - Light Flight
16 - Steeleye Span - Boys Of Bedlam
17 - Magna carta - times of change
18 - Fairport convention - (come All Ye) Rolling Minstrels
19 - John Renbourn group - a maid in bedlam
20- The Strawbs - Witchwood
21 - Donovan - ferris wheel
22- pentangle -_no_more_my_lord
23 - Trees - Murdoch
24 - Accolade - Maiden Flight Eliza
25 - fairport convention - sloth
Hope you enjoy as much as i did
1. Close The Door Lightly When You Go
2. I Don't Know Where I Stand
3. Some Sweet Day
4. Reno Nevada
6. If It Feels Good You Know It Can't Be Wrong
7. I Still Miss Someone
8. Bird On A Wire
9. Gone Gone Gone
10. Tried So Hard
11. Shattering Live Experience
12. Percy's Song
13. You Never Wanted Me
14. Nottamun Town
16. Si Tu Dois Partir
17. Cajun Woman
20. Tam Lin
Amazon.co.uk Review When a dozen of these songs were released on the first (1987) issue of Heyday, Fairport's original producer Joe Boyd revealed that almost 20 years earlier he'd vetoed numbers like Leonard Cohen's "Suzanne", Johnny Cash's "I Still Miss Someone" and the Everly Brothers' "Gone, Gone, Gone" from consideration for the LPs Unhalfbricking and Liege And Lief, on the grounds that "Americans did these sort of songs in their sleep better than any English band could hope to". Any view from 30-odd years later is likely to be obscured by rosy clouds of nostalgia, but Boyd's opinion seems to be vindicated, especially now that the album has been extended with tracks from the British tradition like "Nottamun Town", "Reynardine" and "Tam Lin" that demonstrate what Fairport really did do well. Also added to the 87 album are a couple of touching originals by Sandy Denny performed as solos, "Fotheringay" and "Autopsy", and an appealingly ramshackle go at Richard Thompson's bayou-blues "Cajun Woman". --Tony Russell
Heyday captures the classic Fairport Convention line-up in session for John Peel's Top Gear programme on BBC Radio 1 in 1968 and 1969. The band cover some of their favourite songs by Bob Dylan, Joni Mitchell, Leonard Cohen, Johnny Cash and the Everly Brothers amongst others. The album is digitally remastered with eight bonus tracks from the same sessions. Formed in London in 1967, Fairport Convention were widely tipped to be the English Jefferson Airplane. Much against the advice of their longtime producer and mentor, Joe Boyd, the band recorded a string of cover versions for broadcast on the BBC. The fact that these songs were live favourites didn't cut it with Boyd. He felt that the band should concentrate on developing their own quintessentially English sound. The band overruled Boyd's objections and Heyday saw the light of day in 1987. Now digitally remastered, Heyday is a testament to the fact that Fairport Convention could do the West Coast American sound better than the Americans.
MY OPINION Must have for Fairport lovers
GRAB GRAB GRAB
Wednesday, August 15, 2007
2. Midnight Hour
3. Till the End of the Day
4. Mr. You're a Better man Than I
5. Mustang Sally
6. Well I Know
7. It's My Pride
8. Come on Up
9. Proud Reflections
10. Make Your Bed
Tuesday, August 14, 2007
02-let's live for today
04-namida wo egao ni
05-the legend of emerald
06-bokutachi no tenshi
08-himitsu no aikotoba
10-namida no ato ni hohoemi wo
11-ame yo furanai de
15-everybody needs somebody
16-world without you
17-the end of love
18-shout of young blood
20-ore no mono wa nani mo nai
22-ai no soso
23-wakamono yo ai wo wasureruna
Hoh boy. Apparently, in the 60's Japan followed America's example with regard to releasing singles; whereas the British concept of a "single" tended to be a non-album track packaged with a B-side, in America singles were often part of an album.
Consequently, The Tempters "Singles Collection" is, without a doubt, essentially a "greatest hits" collection, but a startlingly comprehensive one; generous portions of their four major albums are sampled, to both good ends (you get TONS of music here) and bad .... But if you're coming here from the GS I Love You Too compilation, be advised that this is a *great* purchase.
Because the Tempters were, for a brief period, an excellent little band. If anything, if one wants to consider the graph of popularity and talent, they were the Beatles of Japan, being almost as popular as pre-fab groups like The Tigers but also being startlingly more talented instrumentally, vocally, and (most importantly) with regard to their homebrew songwriting talent. The band could swing easily from pumping out Zombiesque pop numbers to Bee Gees styled orchestrated excess (as their second album 5-1=0 shows...you get quite a bit of that here, also). Indeed, their only real misfire was the "In Memphis" album, but as that's essentially a Kenichi Hasigawa solo album, it's hard to count that against 'em.
Is this compilation perfect? Not exactly. While many of the tracks it doesn't sample from the first album make sense (most of the covers, while excellent, probably weren't quite single material), the lack of the startlingly good "All Day I Call Your Name" is a big downside. Two, while it's nice to have the rare single version of "Ame Yo Furanaide" on CD finally, the fact that it shows up here only means that, irritatingly, the disc is a necessity and not just a good introduction to the group. Thirdly, Teichiku's remastering leaves quite a bit to be desired, and the overuse of no-noise here is just as bad as on the standard catalogue discs.
In summary, though, if one has a passing interest at all in pursuing the Japanese GS period, this is a great purchase with which to begin.~Customer Review
Monday, August 13, 2007
1) r.a.t.c.b. teaser
2) very strange
3) thirteen miles down
4) royal american 20th century blues
5) live and love child
6) there you go again
7) inside out , inside in
8) t.o. town
9) ain't it a shame
10) good dream
11) r.a.t.c.b. reprise
Sunday, August 12, 2007
Get it HERE. (@192)
A good bio of the band can be found HERE.
Saturday, August 11, 2007
2. New York Mining Disaster 1941
3. Wizard Of Gobsolod
4. Once Among The Trees
5. Lady Caroline
6. Come Away Melinda
7. Owed To The Dip
8. Within The Night
9. Plastic Man
10. Telstar '69 - (bonus track)
Finally available again on CD (This was actually released years ago by See for Miles Records/England...way out of print!). An instant classic of late 60's Heavy, Trippy UK Psychedelic music. Killer Fuzz guitar and swirling Hammond Organ for fans THE ATTACK, ANDROMEDA, ARZACHEL, JULY etc. The newly Remastered sound quality is top-notch! The Bonus track "Telstar '69" is taken from the A-Side of their only single. Stand out tracks are "Yellow Cave Women" with its drugged out pounding rythms and burning Fuzz guitar. Mind-blowing covers of The BEE GEES "NY Mining Disaster" and Tim Rose's "Come way Melinda" easily surpass the originals. There are a few tracks (like "Wizard of Gobsolod") that are pure UK Pop/Psych but still sound great! Great In-depth liner notes finally shed some light on this obscure band. Over all this is a MUST OWN for fans of Psychedelic Rock.
Thursday, August 09, 2007
Much thanks to the very generous Jallan for sharing this one with me.
Get it HERE.
Wednesday, August 08, 2007
1) All I Really Want to Do
2) Changing Seasons
3) Child of Love
4) Crystal Chambers
5) Factory (Version 3)
6) For What It's Worth
7) Free Fugue
8) Friendly Smile
9) It's All Over Now, Baby Blue
10) Lullaby Opus Four
11) Words Don't Make It
Tuesday, August 07, 2007
When The Groop broke up soon after their return to Australia, The Twilights had already scattered in all directions. Singer Glenn Shorrock had moved into management. A plan was hatched to form a new group out of the two group's frontline remnants. The Twilights' songwriter and guitarist Terry Britten was supposed to join Shorrock and the Groop's piano player and chief songwriter Brian Cadd in the new band, but when Terry chose to go to England instead, his place was taken by the Groop's Don Mudie, who in the last stages of the Groop had formed a strong songwriting partnership with Cadd. The group was completed by Cam-Pact guitarist Chris Stockley, and Valentines drummer Doug Lavery. Immediately dubbed a supergroup the band asked fans to suggest a name and settled on Axiom.
Almost immediately Axiom buried itself in the recording studio. In December 1969 they released the first single, "Arkansas Grass", heavily influenced by The Band's "Music From Big Pink". "Arkansas Grass" reached #7 in December, 1969. Four months later the group left for London, and as a parting gift left their second single, "A Little Ray Of Sunshine", inspired by the birth of Don Mudie's first child, the single reached #5 in April 1970 . "A Little Ray Of Sunshine" has become one of the Australian songs most often still played on radio and was even celebrated with its own stamp in Australia Post's 1998 Australian Rock stamp series. Just before departing for London drummer Don Lebler (The Avengers) replaced Lavery who joined The Mixtures.
In their absence the band's album Fool's Gold was released, one of the first true 'albums' in Australian music, despite the "Arkansas Grass" single also one of the first attempts in Australian pop to write about the Australian landscape. The album saw some of the first uses of the didgeridoo in Australian popular music. The songs were all of high quality as were the production values. Fool's Gold reached reached #18 in June, and it still stands as one of the best albums of the period, however it never reached its full potential because Axiom were not around to promote it. A third single failed to chart. In Australia Axiom were signed to Ron Tudor's independent production company. They left Australia with Ron's blessing to secure a world-wide recording contract. He wouldn't stand in their way.
In England Axiom signed a three-year recording contract with Warners, cemented by a single "My Baby's Gone" produced by Shel Tamly of early Who, Kinks and Easybeats' "Friday On My Mind" fame. The band was then bundled off to Los Angeles to record an album. In international hands they just ended up sounding like everyone else. By the time the album If Only was released the band had already broken up. A couple of trips home to try and keep the momentum on their career and put some money in their pockets had met with disappointing results. The band just fell apart.
Glenn Shorrock would return to England where the would-be Little River Band found him. Brian Cadd stayed in Australia and launched a successful solo career. A couple of years later Chris Stockley became part of The Dingoes.
1) Arkansas Grass
2) Baby Bear
3) Fords Bridge
5) Take It Or Leave It
6) Little Ray Of Sunshine
7) Yesterday, Today And Tomorrow
8) Mansfield Hotel
9) Can't Let Go This Feeling
10) Country Pickin
11) Once A Month Country Race Day
12) Fool's Gold
13) Who Am I Gonna See
Monday, August 06, 2007
50 Minute Technicolor Dream is a compilation of mostly previously unreleased recordings
Tracks 1-2 are unused demos for the film Blowup.
Tracks 7-8 are from BBC Radio 1:
"Top Gear" (the first "Peel Session", recorded September 21, 1967), rec Maida Vale Studios.
Tracks 9-16 are live at "Christmas On Earth Continued"
Friday, December 22, 1967, Kensington Olympia Grand & National Halls.
Track List :
1. "Am I Glad to See You"
2. "Blow Up"
3. "Caught in a Web"
6. "Real Life Permanent Dream"
7. "Three Jolly Little Dwarfs"
9. "Caught in a Web" (live)
10. "Shotgun & the Duck" (live)
11. "My White Bicycle" (live)
12. "Real Life Permanent Dream" (live)
13. "Revolution" (live)
14. "Why" (live)
15. "Mr Rainbow" (live)
16. "Strawberry Fields Forever" (live)
Flower-power, psychedelia, the summer of love. That's the back-drop to the oh-too-short career of pop group Tomorrow. The promise was all there, though. Billing with Hendrix, The Soft Machine, Pink Floyd, The Move, and The Who. Star vocallist Keith West of "Excerpt from a Teenage Opera" fame. Showcased on Top Gear with Peel and Brian Matthew.
"50 Minute Technicolour Dream" is a new compilation made up from studio sessions, live recordings, and other recently-discovered tracks from the band. Their best known track, "My White Bicycle" is there, though unfortunately, the fidelity of this live recording is not particularly high. The BBC recorded tracks are, however, superb in quality.
The songs are very much of the era. Plenty of Wah-wah and flanging. If you hanker for just a little more of the late '60s music there's nostalgia and excitement together in this new RPM album. Their version of "Strawberry Fields Forever" is a real bonus.
Get it Here @320
And here is track 11
(for those who had problem with the previous links...)
Sunday, August 05, 2007
(Folk- Psych - vinyl rip) RARE
All Day's Private pressing LP that has gained legendary status.This project is made of various bands and individual artists from York University playing various types of music, ranging from Folk over Progressive Rock till electronic Music. This explains the title of the LP : "York Pop Music Project". The York university, for years, has been known amongst many thinks for its excellent "Music studies" under its "Arts and Humanities" department. Some students, back in 1973 decided to record some music. All of them did do this in his / her own style and according to their tastes. The result was released privately as an LP and sold mainly to fellow students, friends and family. Today this album is a hot collectors item. Unfortunately I have not yet found any more information on this album. If you can help me, or get me a cover picture... the please do so. For now, I can only add that its obscurity is one of the main reasons for its prize : around 400EUR at least nowadays.
source : Dogmatik magazine
Get It Here :
RapidShare or SendSpace
Friday, August 03, 2007
and i had manage to make this post in order to honor him !
Unfortunately....this day it coincided with the sad news
of the loss of our friend Dirk (a.k.a. Cities On Flame)
There is not a lot to say....just go to his blog...and wish to him a nice and peaceful trip to a better place !
[January 2003] (mpg 713MB)
1. "Alone Again Or" (Maclean, – 4:19)
2. "A House Is Not a Motel" (Lee, – 4:08)
3. "Andmoreagain" (Lee, – 4:04)
4. "The Daily Planet" (Lee, – 3:42)
5. "Old Man" (Maclean, – 3:39)
6. "The Red Telephone" (Lee, – 7:12)
7. "Maybe the People Would Be the Times or Between Clark and Hilldale" (Lee, – 3:57)
8. "Live and Let Live" (Lee, – 5:13)
9. "The Good Humor Man He Sees Everything Like This" (Lee, – 3:42)
10. "Bummer in the Summer" (Lee, – 2:34)
11. "You Set the Scene" (Lee, – 7:40)
In 2002, Arthur Lee began touring in earnest under the name "Love with Arthur Lee". This new phase of his career met great success, and he performed to enthusiastic audiences and critical acclaim throughout Europe, North America and Australia. The band began to perform the Forever Changes album in its entirety, often with a string and horn section. A live CD and DVD of this material was released in 2003. Two Love tracks, "My Little Red Book" and "Always See Your Face" (from "Four Sail"), appeared on the soundtrack of the John Cusack adaptation of Nick Hornby's "High Fidelity."
Arthur Lee left the members of Baby Lemonade who, after prison, had backed him as Love in August 2005. The remaining members continued the tour as The Love Band. Lee carried the band name forward, putting together a new lineup in Memphis, which was to include Alex Greene, Jack "Oblivian" Yarber, and Alicja Trout.
(you can get some parts from RS.com & some from RS.de)
This was (and still is) the best live i have see
(maybe have something to do with how much i like that band)
Thursday, August 02, 2007
Acid Visions - The Complete Collection #1 - CD (Collectables, 1991)
Acid Visions - The Complete Collection #2 - CD (Cicadelic, 1993)
Acid Visions - The Complete Collection #3 - CD (Collectables, 1993)
Tracklists, Reviews & Links
A pretty terrific lost psychedelic rock LP from Czechoslovakia
+ bonus singly na vydani z roku 1996
11. Sen neni vecny[3:25] R. Hladik/J.Smetana
Vladimir Misik : voc
Wednesday, August 01, 2007
3. Follow Me
4. Cat-Clarinet Mit Orge
6. I Feel The Sun
7. Thank You
9. Softly, Softly
10. Brother Sun
11. Down To The Sea
12. Sea of Joy (Part 2)
First time re-issue & on CD of the music for the classic Australian surf movie filmed by Paul Witzig in 1970, starring Wayne Lynce, Nat Young and Ted Spencer. Filmd in Australia, Mauritius, south Africa, Oahu and Kauai. The music was all written & performed by a psychedelic rock acid folk outfit called TULLY featuring Richard Lockwood and Michael Carlos.
Some tracks were heard on the movie, but actually many of them are different version and arrangent (or feeling like so) for this long player, its rightly much higher audiolable quality than we hear on the original film.
SEA OF JOY, a title borrowed from the Blind Faith song of the same name (featured on the group's 1969 self-titled longplayer), was, as a film, a relaxing experience instead of the usual "story" or "travelogue". Uncrowded waves from Australia to Africa to Hawaii were a strong feature of the film and there was a serene beauty to the production.Geoff Watson in his review of the film in the surfing tabloid Tracks (issue #8) commented, "Paul Witzig takes us into his child's world in his newest film. It is a world of puppy dogs and slow motion pony rides, of fish eye gnomes and laughing faces. The grown-ups are friendly and very kind and every day is a holiday."
A style and sound that won them inclusion in Lillian Roxon's highly acclaimed ROCK ENCYCLOPEDIA. In fact, they were the only truly Australian group included in the book.
Tully (L to R): Colin Campbell, Michael Carlos, Shayna Stewart, Richard Lockwood, Ken Firth at a studio in Sydney, circa 1971.