Saturday, September 30, 2006
Ripped by @rcadium from cd at 320kbps
Personnel: RALPH DENYER gtr, vcls A LES HICKS perc, drms A B C RICHARD HOPKINS bs, keyb'ds A GARETH JOHNSON gtr A B C RICHARD JOHN bs B DAVE THOMAS hrmnca, bs, vcls, gtr B C GRAHAM DAVIES banjo, vcls, gtr, bs C KIP mellotron C
ALBUMS: 1(A) CONTRASTS (Pye NSPL 18288) 1969 R1 2(B) REBIRTH (Ember NR 5049) 1970 R1 3(C) REFLECTIONS ON A LIFE (Ember NR 5058) 1971 R1
NB: (1) was released on Janus (3003) in the US (3) reissued on CD (Repertoire REP 4308-WP) 1993. (1) reissued on CD as Contrasts... Plus (See For Miles SEECD 406) 1994 and (Repertoire REP 4521-WP) 1995, with the addition of the band's debut 45 on Pye.
45s: 1 All Day All Night/Country Life (Pye 7N 17637) 1968 2 Castles In The Sky/Circles (PS) (Ember EMB 279) 1970
Named after the title of Bob Dylan's 1965 album, this short-lived and little known Welsh outfit stands as one of the better 'unknown' bands. Even though they enjoyed strong reviews from music critics and achieved massive exposure playing before gigantic crowds at the 1969 Isle of Wight festival (coincidently headlined by Dylan), they never managed to generate much in the way of sales. Best of all - their three albums sported a tremendously talented guitarist in Gareth Johnson.
Formed in Newport, South Wales in 1967, the initial Blonde On Blonde line-up featured the talents of singer/guitarist Ralph Denyer, drummer Les Hicks, bassist/keyboard player Richard Hopkins and guitarist Johnson. Convinced they could make it in the big leagues, in 1968 the quartet packed up their gear, leaving Wales for London. Playing clubs such as London's Middle Earth generated a groundswell of publicity, with Pye Records eventually signing the band.
Contrasts, released in 1969 and produced by Barry Murray, has been described as progressive. To some degree, that's a major misnomer and disservice to the band. While there are some true progressive leanings, the majority of the set is simply too diverse to be dumped under such a broad and meaningless genre. These guys rather effortlessly manage to cover a wide range of genres, including hard rock (the leadoff jam Ride With Captain Max), folk (Island On An Island), psych (Johnson's Spinning Wheel sports a great sitar solo), and conventional pop (Jeanette Isabella and Goodbye - the latter featuring a beautiful harpsichord-propelled melody which would have made for a wonderful radio hit). Elsewhere, the album included a pair of the Robin Williamson covers No Sleep Blues and a blazing, feedback propelled I Need My Friend. A personal favorite was Denyer's hysterical Conversationally Making The Grade. Among the few blatant missteps was a needless horn enhanced cover of The Beatles Eleanore Rigby.
1970's Rebirth was released in the wake of a heavy touring schedule and a massive personal upheaval that saw singer/guitarist Ralph Denyer replaced by school friend David Thomas. (For some reason bassist Hopkins was also credited as 'Richard John'.) In the role of lead vocalist, Thomas was considerably more talented than his predecessor. The extra firepower provided by Thomas' versatile chops was apparent in the form of a tougher, rock oriented sound. That said, like the debut, their sophomore set was fairly varied, including stabs at Moody Blues-styled ballads (Castles In The Sky), progressive romps (You'll Never Know Me/Release) and fuzz-propelled rockers (November). As before, Johnson's versatile guitar provided many of the highlights - check out his scorching solos on Circle and Colour Question.
Compilation appearances include: All Day And All Night on Justafixation II (LP); Ride With Captain Max and Conversationally Making The Grade on Progressive Music (CD); Castles In The Sky and Circles on Circus Days Vol. 1 & 2 (CD) and Circus Days, Vol. 2 (LP); Spinning Wheel on Electric Psychedelic Sitar Headswirlers, Vol. 1 (CD). Castles In The Sky was also earlier included on an Ember compilation.
The group were the houseband on the TV programme 'How Late It Is'. Ralph Denyer later went on to Aquila.
(Scott Blackerby/Vernon Joynson)
posted by : innocent76
Dead Moon, a three-piece from Clackamas, OR, is known for their own particular brand of rootsy garage punk. Their music conjures images of hard-luck easy riders and lovers against the world. While their sound alternates between moody and aggressive, it is always remarkably genuine and energetic. The band is fronted by the husband-wife team of Fred and Toody Cole. Fre began his enduring musical career at the very young age of 15. Many years and many bands later (after living through experiences as varied as homesteading in Alaska, dodging the Vietnam War draft, and hunting bears), the two formed a punk band called the Rats. Later, after adding Andrew Loomis on drums, Dead Moon was formed in 1987. Frequently on the road in Europe, where they have a huge and devoted following, widespread popularity in the U.S. has continued to elude them. For almost a decade, Dead Moon released LPs on their own Tombstone label. All of those releases are vinyl-only and were cut on the same lathe that the Kingsmen's version of "Louie Louie" was cut on back in 1963. In 1991, they began to re-release the vinyl-only albums onto CD through Music Maniac in Europe and eMpTy in the United States, an effort that continued into the new millennium.
posted by : innocent76
The Paupers were originally formed as the Spats in 1965 by lead guitarist Chuck Beale, bassist Denny Gerrard, guitarist Bill Misener and vocalist Skip Prokop. In 1966, Adam Mitchell replaced Misener and in 1968 bassist Brad Cambell joined the band after Gerrard departed. After two albums recorded in the late '60s, Magic People and Ellis Island, the Paupers broke up in 1969. Adam Mitchell went on to release a solo record in 1979, Redhead in Trouble, for Warner Bros..
This Dig Deep CD features very unique melodies and harmonies and songwriting. The Paupers utilized synchronized drumming patterns where 3 out of the 4 members of the band played percussion behind melodic, psychedelic guitar lines.
This cd is a collection of their two albums plus some unreleased tracks. The arrangements and songs are often breathtaking in their simplicity and breadth of influences: folk, folk-rock,psychedelia, three drum set percussion episodes and even koto! Like Buffalo Springfield, they just didnt stick around long enough for the masses to know they existed.This is one great document of much that was vibrant in popular music during 1967-68.
part 2 had been deleted...so i re-compressed the previous rar file...
so you have to extract part 2 first....and then both parts as one...
posted by innocent76
A DEL DWYER ld gtr A
ALAN FRANCIS bs A
ERIC FRANCIS vcls, organ
1 Georgie Brown/Dawn Breaks Through (Some PS) (Eyemark EMS 1013) 1968
2 The Tide Is Turning/Place In Your Heart (Philips BF 1692) 1968
3 Spot The Lights/Uh (Philips BF 1731) 1968
Fulham in South London was this band's home turf and their debut 45 was released on a small blues label. The flip side, which was also recorded by The Purple Barrier for the same label suggesting that the two bands may have been the same, was good psychedelic pop but untypical of their style. They were then signed to Philips producing two lively pop 45s with Howard and Blaikley producing.
Spot The Lights eith its great discordant intro gives way to a pretty upbeat pop 45 with some good fuzz guitar and drumming which would have benefited from stronger vocals.Incredible Sound Show Stories, Vol. 1 also includes a harpsichord-dominated acetate, Shapes And Sounds, by this band. The sleevenotes reveal that they also recorded four songs for a Stuart Henry Radio One show in 1967, which have yet to be tracked down.
Alan Brooks was later in Punchin' Judy.
Compilation appearances include:
Dawn Breaks Through on Psychedelia, Vol. 3 (LP), Hen's Teeth, Vol. 3 (CD), Rubble, Vol. 11 (CD) and The Best Of Rubble Collection, Vol. 3 (CD)
Spot The Lights on Rubble, Vol. 17 - A Trip In A Painted World (LP), Rubble, Vol. 10 (CD), The Best Of Rubble Collection, Vol. 5 (CD) and English Freakbeat, Vol. 3 (LP)
Spot The Lights and Uh! on Rare 60's Beat Treasures, Vol. 4 (CD)
Shapes And Sounds and Dawn Breaks Through on Incredible Sound Show Stories, Vol. 1 (LP).
PS: It's a 10" EP / Nothing else seems to exist from this band in the reissue department.
Personnel: CLARK COOLIDGE drms A B DENNY ELLIS ld gtr A DAVID MELTZER hrmnca, gtr, vcls A B TINA MELTZER vcls A JOHN PAYNE organ A JEAN-PAUL PICKENS banjo A B DAVID STENSON bs A BOB CUFF gtr B DAVID MOORE zhenei B JIM MOSCOSO bs B
ALBUM: 1(A) SERPENT POWER (Vanguard VSD 79252) 1967
NB: (1) has had a limited repressing in the eighties and again (Akarma AK 053) 2000. (1) reissued on CD by (Vanguard VMD 79252) 198?. (1) also issued on CD together with David and Tina Meltzer's Poet Song (Akarma AK 053/054). A second album was also recorded but not released until 1998 Green Morning ( ).
A San Francisco band led by poet David Meltzer. He formed the band with his wife Tina in 1966. Ed Denton (then manager of Country Joe And The Fish) recommended them to Vanguard after hearing their first gig, a benefit for the Telegraph Group Neighborhood Centre on 27th November 1966. Stenson and Ellis had earlier played with The Grass Roots. The album is notable for some tasty mellow guitar work on tracks such as Gently Gently and Open House, whilst Tina's beautiful vocals are to the fore on Flying Away, a beautiful mellow song. However, the group are probably best remembered for the album's closing track Endless Tunnel, an ambitious amalgam of Western and Eastern musical styles. Now a mini collectors' item this album is recommended.
A second album, Green Morning, was recorded for Capitol but shelved until its release in 1998.
After the demise of Serpent Power, the Meltzer's made a further album, Poet Song, which is also worth obtaining.
Bob Cuff later joined the band from Mystery Trend. Moscoso later played for The Cleveland Wrecking Co. and eventually became a carpenter in Marin County.
Jean-Paul Pickens, who was one of San Francisco's legendary 'Diggers', and his friend Gene Estribou released an unusual and rare folk album, Intensifications (MEA Records ) circa 1967. (Pickens plays banjo solos on Side Two!)
(Vernon Joynson/Stephane Rebeschini/Clark Faville)
IT READS LIKE a tragic fairy tale: how a full-throated, music-mad young Jewish girl from the suburbs of Johannesburg fell in love with a man of mixed race, and followed him to England, not knowing really what to expect. Arriving in London virtually penniless, they marry, he becomes her manager and both are thrust into the forefront of a vibrant music scene, with records, TV dates and an impending sense of success. Our heroine becomes the envy of the industry via recording sessions and gigs with some of the greatest American soul legends of the day, whilst simultaneously enjoying the benefit of a highly regarded homegrown backing outfit for stage and studio. But just as it seems everything is about to happen, this tremendous visibility rapidly fades, leading only to fractured relationships, ill-health and eventual disillusion.
Sharon Tandy had a recording career in her native South Africa, on her return there in 1970, as she had before leaving for Europe in late 1964, but it is with the spectacular intervening period the singer spent abroad that the long overdue compilation YOU'VE GOTTA BELIEVE IT'S SHARON TANDY is concerned. It was a whirlwind five years for the shy youngster, lived fully in the eye of the Swinging London hurricane, and overseen by the Svengali-like machinations of Sharon's mentor/manager/ erstwhile husband, Frank Fenter, who brought her to the UK with the unswerving belief that Sharon had what it took to become a star. Fenter also used his enviable position as head of Atlantic to wangle Sharon an opening slot on the famed Stax-Volt UK tour in March 1967 and, more importantly, dispatch her to Memphis to sign with Stax, where she became the first European-based artist to record at the company's hallowed East McLemore Avenue studio.
Such an opportunity would have been an extremely daunting prospect for even the most confident of artists, but Sharon pulled off her Stax adventure because she was and is a naturally soulful performer, who places feel and instinct above precision. At the time, her "exotic" voice was glibly described in the British press as being like "a good dry sherry", but Sharon Tandy was not the typical girl singer of the era. Her unusual phrasing instantly set her apart, and an attendant lack of training lent an organic intensity to her singing, an authentic rough edge that was absolutely in sync with the often bluesy material she chose to perform. On her early Pye sides, Sharon belts it out against the orchestrated arrangements with authority and power, but by 1967, signed to Atlantic, her taste moved to the funkier, rock-orientated repertoire performed she on stage with her backing band, UK freakbeat avatars the Fleur De Lys.
You've Gotta Believe It's Sharon Tandy includes virtually all the singer's UK singles 1965-69, upon most of which Sharon was accompanied by the Fleur De Lys - tracks such as Daughter Of The Sun and mod anthem Hold On have been sought-after collectors' items for years. Sharon was equally adept at pop, as evidenced by gems such as Perhaps Not Forever, and You've Gotta Believe It, the latter an absolute high-water mark of British girl recordings. And a full seven songs, including five previously unissued, derive from Sharon's legendary 1966 session at Stax, where she was backed by Isaac Hayes and Booker T & The MGs. The copiously illustrated package features an in-depth look at Ms Tandy's career, with her full co-operation.
Sharon's catalogue demonstrates the hugely versatile nature of her talent. Sharon Tandy was always a singer's singer, commanding wide respect within the industry. The nagging concerns of chart placement and commercial potential long since having faded, we are left merely with a great and unheralded body of work. Sharon's voice comes across on these recordings as many things - smooth and disciplined, achingly intimate, uncompromisingly soulful - but in the end, always simply and uniquely, Sharon.
Friday, September 29, 2006
1972 What a Bunch of Sweeties
Line-up: Russel Hunter (drms), Duncan Sanderson (bs, vcls), Paul Rudolph (gtr, vcls), Trevor Burton (gtr, bs)
Tracks: Prologue - Right On, Fight On - Portobello Shuffle - Marilyn - The Pigs Of Uranus - Walk Don't Run - I Went Up, I Went Down - X-Ray - I Saw Her Standing There
"What A Bunch of Sweeties" is generally considered to be The Fairies’ weakest of their three main Polydor albums, but it’s an unfair comparison. Sure: the albums that chronologically flanked it fore and aft WERE better focused, maintained a consistently higher level of energy and direction throughout, etc. But The Pink Fairies were a casual proposition to begin with, based in all manner of freak flag flying in front of an anarchic musical backdrop of incorrigible racket making. Destined to be a group unrecognised for stability in any degree, the departure of Twink a year before the release of "Sweeties" left The Fairies as a trio comprised of Paul Rudolph (guitar and vocals), Sandy Sanderson (bass), Russell Hunter (drums) with occasional augmentation from ex-Move guitarist, Trevor Burton.
This left a songwriting void that left Rudolph to gather the songwriting reins in the manner he had three years earlier on The Deviants’ third, self-titled album. First and foremost a musician, Rudolph rose to the lyrical challenge by inserting guitar solos all over, vocally directing the tracks just off-microphone throughout and unveiling his newly acquired Leslie speaker system, through which the majority of his playing would be fed.
After the botched fake telephone skit of "Prologue" comes the boogie stomp anthem, "Right On, Fight On" as it cuts in after a false start. Relating the story of a police break-up at one of The Fairies’ free gigs with Hawkwind underneath the Westway overpass just off the Portobello Road, it’s rough and loose as hell. Russell Hunter stomps through the whole thing as Rudolph continues with hoarse exhortations of the title, to "come together" and to "keep a strong position" in a rallying cry over the loosest, blareing-est of street jams. "Portobello Shuffle" opens with a rollicking riff and another wake up call to "Roll out of your seats/Get out in the streets/There’s a new day a-comin’!" "Marilyn" opens with a Leslie-gunked guitar intro, slowed into a molasses-dragging, mandied-out sensation and a blatant excuse to discharge even more mindless, directionless energy. Sanderson’s bass repeats the same line over and over as Hunter gets primed for the drum solo as everything gets chopped down by Rudolph’s side-winding solo, getting churned into a froth by the Leslies into a fucked up, sloppy, needless and heedless and a stumbling, drug punk moment deluxe. Then a drum solo ensues for no real reason at all, and once that’s over, The Fairies bash out like their very lives depended on it. "The Pigs of Uranus" features lyrics taken from a Gilbert Shelton underground comic and set to a country/western send-up reminiscent of The Deviants’ "Let’s Drink To The People". The last two thirds of the track sees Rudolph stick it into high gear with a stinging, gun-slinging solo, abandoning all other attempts at lyrics and just going for it.
Side two is where the real heart of the matter lies on "What A Bunch of Sweeties", unfolding with the opening thud of tom-toms and a single strum across the bridge of Rudolph’s guitar resounds like a tidal wave with a rudely loud BRAAAANNNNNGGGGG! You can hear Rudolph bark vocal directives over the volume of his own amps and Hunter’s bank of swishing cymbals. From nowhere, the loudly recorded series of fierce waves of rebounding guitar undertow get thrown up and against the studio walls, set upon by Hunter’s persistently swishing cymbal accenting. Only you’d never guess it until the vocals vanish and the piece is kicked into high gear with a blistering, buzzsawing guitar blitz at ten times the speed of the original. Rudoplh just goes for it with an incredible, run-on solo which trashes up "Walk Don’t Run" beyond recognition. And since "Walk Don’t Run" was a staple in The Fairies’ live set for years, Rudolph had already adopted a number of ways to go with his extended improvisations here. Dis-chord after dis-chord it builds, with Hunter just thrashing it all out for the fuck of it until he picks up speed and catches Rudolph’s blinding velocity with snare hits. Rudolph goes for it at top speed until he’s already nudged himself back into the flight path of the main "Walk Don’t Run" riff.
The far, far gentler strains of the elongated and beautifully hazed out ballad, "I Went Up, I Went Down" appear in the form of the most over-Leslie speaker-ed riffing on the album. The sound is completely liquid-like as the guitar intro builds, falls away and begins to blossom as the seed for a simple, phased melody. The bass and drums enter slowly, over the almost-babbling brook guitar as a ballad of the girl with the special pills unravels about as much as Rudolph himself: the unnamed little pill soon sees him floating on a cushion far over Notting Hill Gate and flying all over the place. Viewing colours never seen before, the title continually repeats as though yo-yo-ing back like an in AND out of body experience that never stays. "X-Ray" is almost Blaxploitation-like in its wah-wah and chunky riffing counterpointing Hunter’s dazed, "Shaft"-type hi-hat pattern. It all gets skewered by a Leslie’d to death guitar riff as Rudolph proclaims he’s "ready/steady to rock and rave", and although it seems weary, it just pulls away from the threshold of collapsing. Even though it’s a Merseybeat-era Beatle cover, their version of "I Saw Here Standing There" is given an almost New York Dolls treatment as Rudolph’s twin overdubbed guitar separation allows for the same two-prong blitz of "Human Being". His riffing is so Thunders-like as it drives down the middle of the song, trashing it all up harsh enough it’s almost a parody -- especially when his vocals get all hoarse on the Little Richard-inflected "woooo"s. It ends the album on a quick flourish, and for all its inconsistencies, "Sweeties" just might be a more punk statement than one may have initially guessed...And at top volume it’s damn near undeniable.
1973 Kings of Oblivion
Line-up: Russel Hunter (drms), Duncan Sanderson (bs, vcls), Larry Wallis (gtr, vcls)
Tracks: City Kids - I Wish I Was A Girl - When's the Fun Begin? - Chromium Plating - Raceway - Chambermaid - Street Urchin
This was The Pink Fairies’ last stand right before the rot of inactivity from lack of funds set in and cancelled their Polydor contract. An album of soaring Marshall Superfuzz anthems and Ladbroke Grooves, this was their last album while they were still (for a short time, anyway) a cohesive unit. The undertow of Paul Rudolph leaving in 1972 and the sacking Mick Wayne after one shite single and a tour cancelled after a few gigs left The Fairies down to just the rhythm section of drummer Russell Hunter and bassist Sandy Sanderson. Their old friend Mick Farren suggested a replacement guitarist he knew from years earlier who had performed at the Phun City festival he had organized. The guitarist was none other than the GREAT Larry Wallis, who had moved onto later-period Blodwyn Pig and then UFO before Farren’s suggestion. Lazza Wallis is a true Pink Fairy if there ever was one! He brought not only his cranked Stratocaster riffing and a good sense of structured songwriting to hang his flowing reckless guitar style upon, but a gleeful sense of humour and overall wiseacre rock and roll sensibility. "City Kids" (co-written by Wallis and Sanderson) is a street punk anthem of raving, speeding, hanging out and when Wallis sings the line "Park the car/And ruuuuuun" it’s about as "Under My Wheels"-era Alice Cooper as it gets. "I Wish I Was A Girl" begins another musical fray with soaring intro guitar and Russell Hunter spraying all his cymbals like a Merseybeat Ringo on methedrine and if that’s Sanderson on bass it was his most pronounced playing ever on record. An elongated bridge in the middle continues as Wallis’ guitars have now four-folded into an overdubbed, pile driving ecstasy, yet it’s beyond mere boogie as the momentum keeps plateauing up and up. Lazza’s guitar is not only melody but rhythm as well, as Hunter and Sanderson keep getting in and out of sync and overcompensate with just thrashing it out. The title gets repeated over and over as a faded mantra to the back of this rough and ready work out. "When’s The Fun Begin?" is a Notting Hill Gate doper weaving down a deserted West London street, the only light his blurred vision can see is the reflection of street lights on the wet tarmac. It’s coiled and tense yet opiate-slackened at the same time, and Hunter’s bashing over Wallis’ foot-controlled police siren solo make the bust inevitable as the vocals are shoved into the back of a police van, the last words a panned, repeated phrase on the fadeout.
"Raceway" is where the three-man Fairies blast-out in a mid-sized hall at full volume with bright white overhead spotlights flicker on and off in an off-beat pattern catching the three longhairs in the act of proceeding to pummel the disbelieving audience. If Russell Hunter had four arms, he still wouldn’t be hitting half as many cymbals as he does here, and multiple Wallis solos are bending in the air over the trio. "Chambermaid" and "Street Urchin" round out an album most people weren’t expecting from The Pink Fairies at this point in time-a strong, vibrant testimony to their no-bullshit rock and roll. And live it was even shatteringly LOUDER than before, which is damn near incomprehensible and frightening to even think about.
The infection blossomed in the spring of 1986, when Gassen pushed four other kindred cavemen into a Tucson, Arizona living room to cut their first demo. They didn't know it at the time, but they were triggering a chain reaction leading to international tours, MTV video airplay, college radio chart-toppers, and a tireless schedule of recording. That lovably crude demo turned into their debut "Groovy Little Trip" 45 for Los Angeles' Dionysus Records, and suddenly there was no turning back. The records started pouring out, and by 2005 more than 35 CD, LP, 45 and compilation appearances had seen release. Critics were confused, dumbfounded, or happily startled at the band's approach and delivery. "The best material here is capable of peeling the fluorescent paint off one's walls," wrote the Arizona Daily Star inresponse to their first LP, "The Inner Groove." Recorded for $250 in a friend's living room studio, "The Inner Groove" featured fuzzed Rickenbacker 12-string guitars, a vintage Sears toy organ, and vocals suitably delivered from the bathroom via a long microphone cable. Like most of their later records, it was also drenched in tremolo, reverb, Vox, Farfisa, and the wheezings of a broken old "Kustom Kraft" guitar amplifier. Bigger budgets and more elaborate studios ensued, with the resulting albums bringing more to cheer about. "The Overcoat has the roller coaster lilt of sheer pop and the feel of magic," exclaimed England's Unhinged Magazine, while back in the U.S., Buzz Magazine observed that The Marshmallow Overcoat "is the cerebral nugget that blows the lid off the underground!" The UK psychedelic bible Freakbeat Magazine contended their second album "Try On The Marshmallow Overcoat should be listened to 1000 times. This LP holds its own with the most revered of classics." And as the recording studio became a second home, so did the tour van. The Marshmallow Overcoat wore out countless tires on American and Canadian roads, blasting the fuzz and Farfisa throughout the hemisphere. A two month 1992 European tour prompted wild shows from Holland all the way to Greece as the band's sweaty stage show scorched the Continent. France's Kinetic Vibes Magazine wrote that the band "creates an apocalyptic universe of shapes and colours ... an alchemy of sounds that subliminally invade the depths of our minds and spin in the unexplored zones of our psyche." Italy's Davy Magazine also reacted strongly to the European invasion. "Like a piece of wood left too long in the rain, The Overcoat has assumed weird and twisted forms. Music from the last outpost of the world could hardly be more mysterious." The band wore their influences on their sleeves — literally. Paisley shirts (long sleeve and buttoned at the top, of course), shaggy hair, Beatle boots and pegged-leg pants were the normal attire, on stage or off. Musically, they gladly credited the cream of the original 1960s garage/psych crop as their fathers. The Marshmallow Overcoat's records are jammed with loving nods to The Electric Prunes, Chocolate Watch Band, Blues Magoos, Strawberry Alarm Clock and Music Machine, among countless others.
1. Season Of The Witch
3. The Mummy
4. Invisible People
6. The Garden Path
7. Question Of Temperature
8. The Bag I'm In
10. Getaway Girl, Getaway World
11. The Good's Gone
12. Tried To Hide
This is now a very rare and highly rated UK folk LP with acid and progressive inclinations.
Superb in every way.
VERY VERY MUCH RECOMMENDED for folk lovers
Wednesday, September 27, 2006
Title: Baron Von Tollbooth & the Chrome Nun
Label: Grunt / RCA Records BFL-1-0148
Illustrations: Drew Struzan, Bill Garland
Eye Photography: Jim Marshall
Album Design: Pacific Eye & Ear
Notes: When the Jefferson Airplane stopped flying its members could be found creating music of both a new and a familiar style. And any record that has Papa John Creach is worth at least a spin of two. Through in a dash of the Grateful Dead and a pinch of scattered influences and there you have it. Grace Slick would write and sing most of the selections and it lends a certain sameness to the record. But, for those who enjoy her style this is a very good thing. The influence of the SF Bay community that turns out for this record is felt all through the ten selections offered here. And what can you say about the cover art? A stripped to the meat-of-the-matter trio strike a pose on the front and the back cover appears to picture orbital mechanics and classic sculpture. I leave it to the viewer to impart his/her own meaning. For fans of the period.
John Barbata: Drums
Jerry Garcia: Banjo, Guitar
Craig Chaquico; Guitar
David Crosby: Guitar, Vocals
Jack Traylor: Vocals
Jack Casady: Bass
The Pointer Sisters: Vocals
Papa John Creach: Violin
Mickey Hart: Drums
Jorma Kaukonen: Guitar
Ballad of the Chrome Nun
Flowers of the Night
Your Mind Has Left Your Body
Across the Board
Harp Tree Lament
Sketches of China
Dutch freakbeat band the Zipps formed in Dordrecht, the Netherlands in the fall of 1965. Lead guitarist Peter Nuyten and drummer John Noce Santoro previously teamed in the Moving Strings, who issued a pair of singles on the Delta label before dissolving, while singer/guitarist Philip Elzerman and vocalist Jan Bek came to the Zipps lineup from the Beat Town Skifflers, and bassist Theo Verschoor tenured in the Twilights. Bek quit the Zipps prior to the release of their debut single, "Roll the Cotton Down," issued in early 1966 on the Op-Art label; after signing to the Relax label, the group issued two more singles that year, "Chicks and Kicks" and "Beat and Poetry." Beginning with 1967's "Marie Juana" — a record which required significant lyrical revisions before Relax censors would agree to its release — the Zipps steered their garage-influenced sound towards psychedelia, and thanks in part to their hallucinatory light show, they earned the sobriquet "The Dutch Pink Floyd"; Elzerman openly espoused drug use in interviews, and stickers reading "Be Stoned! Dig: Zipps Psychedelic Sound" were distributed at live dates. After backing French pop singer Philippe Salerne on his singles "Elle" and "Venez Voir Comme On S'Aime," the group replaced Santoro with drummer Wim Klein, but after a December 1967 date in support of the Electric Prunes and the Soft Machine, the Zipps dissolved when Nuyten, Verschool, and Klein all announced their exit. Elzerman and Santororeformed the group in early 1968, adding guitarist Dick VisschersDick Visschers and bassist Ruud van Seventer for one final single, 1969's "When You Tell It, Tell It Well..!" The Zipps eventually disbanded for good, and in 1999, the Dutch label Pseudonym compiled all of their singles, the Philippe Salerne sessions, and a handful of live cuts for a retrospective titled Be Stoned! Dig: Zipps. In December 2001, a Zipps lineup consisting of Elzerman, Nuyten, Santoro, van Seventer, and former Heatwave keyboardist Janco Barut reunited for a hometown performance in Dordrecht; the following year, "Chicks and Kicks" was included on the second Nuggets box set.
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NB: Plus a seven-piece string section and two French Horn players.
ALBUM: 1(A) ON A DAY OF CRYSTALINE THOUGHT (No label) 1974 R5
NB: (1) issued in plain cover with front and rear paste-on slicks, with insert. Info on LP labels is rubberstamped, and here the title is On A Day Of Crystalline Thought. Reissued on vinyl (Shadoks Music 003) 1998 and CD (Shadoks Music 003) 1999.
Totally different from his earlier band The Flow, Pete Fine changed direction completely after relocating to Arizona and the results were no less stunning. Classical and rock themes merge, as do electric and accoustic guitars, and male and female vocals. All the material was written by Fine. It's a difficult record to describe as nothing really sounds like it! The recordings were made in New York where the core band were joined by area musicians, including The Flow bassist Monte Farber. Some material written by Fine for The Flow reappears here in a different light and is no less effective. Obviously, this album is recommended but as only 100 copies were pressed, obtaining an original is a difficult and expensive proposition at this point. The original pressing was not audiophile quality, either - the Shadoks reissue has better sound than any original I've heard. Certainly not for most garage fans, however.
Fine's next project was Northstar, a progressive hard rock outfit (1975-76) that left behind an hour of studio recordings which will see release soon. Imagine The Flow with a female vocalist...
I Do Not Know Your Name
Question Of Emotion A
Ballad Of Lady Ann
We Are Not Alone
Close Your Eyes To The Sun
Concerning A Lost Love
I Miss You
Song For All Seasons
Ballad Of A Londoner
Where Is He?
A Dialogue Between A Young Man And The Night
At The End Of The Rainbow
Sing For Me
Folk rock with amazing sound ...can't explain..... great guitar work, fragile vocals and symphonic work sometimes.
It's melancholy, naive feeling on a sunshine saturday morning. (Lizardson)
This a really rare masterpiece
the story behind this unknow gem
And the music @192
Tuesday, September 26, 2006
This was a return to the Bristol studio for Ian A Anderson's label. It was around the time I tried writing songs and not just relying on my Alan Tunbridge source. I remember driving down with Bert Jansch in my old VW Beetle to record my song 'Freudian Slip'. We drove back to London in the early morning hours through the pouring rain. It was only after I had dropped Bert off at his home that I discovered that the floor in front of the passenger seat was an inch or two deep with rain water - and Bert never said a thing to me about the leak - what a trouper!
This LP was notable for the emergance of what was to become the group 'Lazy Farmer', featuring my wife Sandy on 5-string banjo, Don Cogin also banjo, John Bidwell on Flute, and Jake Walton on guitar and dulcimer.
Amazing acoustic folk rock like Dave Evans or Chris Thompson
Unfortunatelly no info.
The late '60s and early '70s were a golden age for British folk guitar. It wasn't enough to be just a singer/songwriter; you were expected to be a really good guitar picker too. Dave Evans was not simply good, he was a real original. With tunings and chord sounds that nobody had produced before, an agile and bouncy picking style, a self-made guitar that rang like a bell, a nicely creaky and lived-in vocal style, and songs that told down-to-earth stories - well-observed little vignettes about real people - his 1971 debut The Words In Between was head and shoulders above many other now-cult artefacts from that era. This long overdue re-issue on its 30th anniversary adds 5 tracks from his 1972 album Elephantasia.
Very recommended for Chris Thompson, John Renbourn ... etc lovers
ANN MUNSON vcls, acoustic gtr, synth
BIL MUNSON vcls, gtr
ERIC MUNSON vcls, bs
HEFF MUNSON vcls, keyb'ds, synth, drms
1(A) SUNRISE (Fantasy Worlds Unlimited) 1976 R3
NB: (1) Just 200 copies were pressed originally, but it has been reissued
(Project Aquarius PA 001) in 1995 as a limited numbered edition of 275.
The tracks comprising this Virginia album date from 1970 thru' 1976. It varies from very soft female-vocal 'folk-psych' to melodic keyboard dominated proggy-rock with flowing guitar. Nothing heavy at all about this quartet. File in the 'hippie-rock' genre because of its gently drifting feel and odes to nature (The Snail and Robin), not necessarily as a put-down.
Their album was recorded as a project for an electronic music course at Virginia Commonwealth College.
A second album called Dreams was recorded but not released. This was a more progressive effort. The band soldiered on until the early eighties, playing their farewell gig at a college for the deaf!
Monday, September 25, 2006
MAXIMILLIAN (BUDDY BOWZER) ld vcls A
MOJACK MAXIMILLIAN gtr A
MOBY MAXIMILLIAN bs A
ALBUM: 1 MAXIMILLIAN (ABC ABCS 696) 1969
From New York, produced and arranged by Teddy Vann, this is an album which gets a mixed response from collectors. Some like it, claiming that it's Hendrix inspired psych soul rock here, on tracks like Rat Race or Kickin' 9 to 5, and deserves to be heard. Others hate it, citing awful vocals and weak material. Featuring a trio plus anonymous drums and occasional organ and violin, the album came housed in a gatefold sleeve with pictures of the trio being crucified on flower crosses and various religious symbols. The liner notes explained that "Golgotha music was one of the few surviving vestiges of truth. Its prophets of love and truth such as BB King, Bob Dylan, Donovan, Aretha Franklin, Arlo Guthrie and Joan Baez sang the psalms of time. The crucifixion of the social heroes of the day, Martin Luther King, John and Robert Kennedy, has made even bigger demands on the importance and value of music, thus creating new prophets of love and truth". It is rare and therefore sought-after by some collectors, though others advise to avoid it at all costs. (Clark Faville/Stephane Rebeschini)
The Vagrants Personnel:
ROGER MANSOUR drms A
PETER SABATINO vcls, perc A
JERRY STORCH organ A
LARRY WEST bs, vcls A
LESLIE WEST gtr, vcls A
1(A) THE GREAT LOST ALBUM (Arista AL-8459) 1987
2(A) I CAN'T MAKE A FRIEND (Southern Sound SS-101/204) 1996
NB: (2) is an unauthorised compilation of singles tracks plus an unreleased version of Satisfaction which would put Vanilla Fudge to shame!
1 Oh Those Eyes/You're Too Young (Southern Sound 204) 196?
2(A) I Can't Make A Friend/Young Blues (PS) (Vanguard 35038) 1966
3(A) The Final Hour/Your Hasty Heart (Vanguard 35042) 1966
4(A) I Love, Love You (Yes I Do)/Respect (Atco 45-6473) 1967
5(A) A Sunny Summer Rain/Beside The Sea (Atco 45-6513) 1967
6(A) And When It's Over/I Don't Need Your Loving (Atco 45-6552) 1968
An historically interesting punk band from Forest Hills, Long Island, New York. Leslie West later helped out Jolliver Arkansaw (a quartet with Felix Pappalardi, who evolved out of Bo Grumpus), Mountain and West, Bruce And Laing. He also issued three solo albums and has done session work for Bo Diddley, Bobby Keys and Mylon Lefevre, among others. Younger brother, Larry West went on to Haystacks Balboa, who issued an album on Polydor in 1970. Jerry Storch went solo and released one album on RCA. Respect is now their best known track due to its inclusion on the classic Nuggets - Original Artyfacts From The First Psychedelic Era 1965-1968 (Dble LP) compilation and later on Nuggets, Vol. 2 (LP) and Nuggets Box (4-CD) but the compilation Hipsville 29 B.C. (LP) included the 'A' sides of their first two 45s. Their later 45s tended towards a heavier sound but were still punkish and occasionally stunningly powerful, especially A Sunny Summer Rain which knocks spots off other East Coast 'heavies' at the time. Beside The Sea and And When It's Over are also decent fuzz-crunchers. Somehow success always seemed to elude them but thankfully Arista's retrospective collection goes some way to redress that. It contains three of the four sides released on Vanguard, all six of the Atco sides, and an unreleased My Babe. The pirate collection on Southern Sound includes both sides of their rare debut 45, the Vanguard track omitted from the Arista album, and an amazing 13'00" studio version of Satisfaction with backwards guitar segments and demented echo effects. Both collections are recommended.
Personnel incl: FRANK DAVIS gtr, vcls A
ALBUM: 1(A) TRAVEL AGENCY (Viva 36017) 1968
45s: 1 Time/Made For You (Tanqueray 20102) Dec. 1966 2 Time/Time (Kookaburra 502) c1967 3 What's A Man/She Understands (Viva 637) 1969
This outfit formed in 1968 in San Francisco after Davis left Bob Segarini's band US. Davis, originally from Texas, had earlier worked at the Walt Andrus studios and some of his studio work can be heard on the Fever Tree albums. Davis also wrote Grand Candy, Young Sweet on Fever Tree's second album. The Travel Agency album was produced by James Griffin (later of Bread) in Los Angeles and issued on Leon Russell's Viva label. Side One is much stronger with some fine fuzztone guitar work on Cadillac George and some gentle, more folksy love songs like Lonely Seabird and So Much Love. Contrast with this fast commercial rockers like Make Love and Old Man, the catchy That's Good and the unusual instrumental intro to What's A Man, the album's opening track, and you can see their material was of some diversity. Perhaps because of that, it remains underrated and therefore still reasonably priced.
After this project Davis went back to Houston, Texas where he recorded an album Metamorphosis which was never issued and then returned to studio engineering.
There is still some confusion surrounding this band... or bands, not helped at all by the lack of personnel and credits on the album. The first two 45s shown above could be by a totally disparate group. Hopefully someone will straighten us out. In the meantime... The Tanqueray 45 is breezy L.A. pop-rock with chiming guitar and a folk-rock feel - infectious after a few plays. Song credits imply a personnel of Haelh, Bushy and Beal at that juncture. Another 45 on Kookaburra couples Made For You with M.F.Y. - two versions of the Travel Agency track - but as by Act III.
(Vernon Joynson / Max Waller)
Saturday, September 23, 2006
track list :
02.) I Don't Care (Gareth Johnson - Dave Thomas) -
03.) Love Song (Dave Thomas) -
04.) Bar Room Blues (Dave Thomas) -
05.) Sad Song for An Easy Lady (Dave Thomas) -
06.) Ain't It Sad Too (Graham Davies) -
07.) The Bargain (Dave Thomas) -
08.) The Rut (Dave Thomas) -
09.) Happy Families (Gareth Johnson) -
10.) No.2 Psychological Decontamination Unit (Gareth Johnson) -
11.) Chorale (Forever) (Gareth Johnson) -
1971's "Reflections On a Life" was recorded in the wake of a personnel shakeup that saw original guitarist Ralph Denyer replaced by multi-instrumentalist Graham Davies. With drummer Les Hicks and guitarist Gareth Johnson sharing production responsibilities, the result was the band's most conventional, commercial and too some extent pedestrian release. With a couple of exceptions ('Happy Families' and the sound collage 'No.2 Psychological Decontamination Unit'), the band's earlier progressive moves were largely absent from their third set. That said, the album certainly started out with a bang. Complete with backward tapes, bizarre sound effects and ominous vocal treatments, the Gareth Johnson penned 'Gene Machine' was easily the wildest thing the band ever recorded. From there on it was far less experimental and less interesting (though side two's 'The Rut' continued the psych mood). With Johnson, Dave Thomas and Graham Davies splitting songwriting chores tracks like 'Love Song' and 'Bar Room Blues' found the band exploring a modest country/folk-rock orientation, while 'I Don't Care' and 'The Bargain' pursued a surprisingly conventional AOR sound. The performances were never less than sterling and the band excelled at injecting interesting touches throughout the collection (check out the Eastern influences that cropped up at the end of 'Ain't It Sad Too'), making the entire album worth hearing. In case anyone cared, propelled by a killer lead guitar 'Sad Song for An Easy Lady' and the pretty ballads 'The Bargain' (which I could swear I've heard elsewhere) and 'Chorale (Forever)' were easily the album's standout performances.
Concert 1971, Bruxelles - Théâtre 140 (Live, 1996)
- Christian Vander / drums, vocals, organ, percussion
- Francis Moze / bass
- Klaus Basquiz / vocals, percussion
- Teddy Lasry / clarinet, sax, flute, vocals
- Jeff Seffer / sax, bass clarinet
- Louis Toesca / trumpet
- Francois Cahen / acoustic & electric piano
1. Stoah (5:23)
2. Kobaia (7:24)
3. Aina (6:17)
4. Riah Sahiltaahk (19:09)
5. Iss Lansei Doia (11:20)
6. Ki Iahl O Liahk (9:36)
7. Sowiloi (Soi Soi) (6:58)
8. Mekanik Kommandoh (17:19)
(for the very first time live)
Total Time: 83:26
This album is an 'official' bootleg recorded in Brussels at Theater 140 the 12th of November 1971. This was the first public performance of Mekanik Kommandoh which became the basis for their landmark Mekanik Destruktiw Kommandoh.
It is a offficial bootleg so don't expect 100% perfect sound quality. This album is probably for Magma fans only.
The album contains three songs off of Kobaia. Stoah, Kobaia, and Aina. The whole of the 1001 Degrees Centigrade album, and two works in the formative phases at that point. The aforementioned Mekanik Kommandoh, and Sowiloi which would turn up later on the outakes album Inedits.
Magma is a French progressive rock band founded in 1969 by classically-trained drummer Christian Vander, who claimed as his inspiration a "vision of humanity's spiritual and ecological future" that profoundly disturbed him. In the course of their first album, the band tells the story of a group of people fleeing a doomed Earth to settle on the planet Kobaïa. Later, conflict arises when the Kobaïans — descendants of the original colonists — encounter other Earth refugees. A remarkable aspect of Magma's albums is that Vander actually invented a constructed language, Kobaïan, in which most lyrics are sung. Later albums told different stories set in more ancient times; however the Kobaïan language remained an integral part of the music.
01. Do It
02. Heavenly Man
03. Say You Love Me
04. War Girl
05. Never Never Land
06. Track One, Side Two
08. Teenage Rebel
09. Uncle Harry's Last Freakout
10. The Dream Is Just beginning
11. The Snake
12. Do It - Single Edit
13. War Girl - Alternate Extended Mix
14. Uncle Harry's Last Freakout - First Version
(ripped by Opa-Loka @320)
Part I Part II
Released over a year after their formation, “Never Never Land” is one freakin’, rockin’-rollin’ monster. The group formed in early 1970 around ex-Deviants Paul Rudolph (guitar and vocals), Sandy Sanderson (bass), Russell Hunter (drums) and the recently ex-Pretty Things drummer and vocalist, Twink. At their first gig at The Roundhouse, April 5, 1970, they were met with thunderous applause before they had even played a note, and their continued support from the London underground press helped their already heavy underground credentials, dubbing them as “The People’s Band”. Their first single, “The Snake”, is—I won’t mince words here—complete punk rock for 1970, and seven years before its’ time. John Lydon once referred to The Pink Fairies as his “favourite of the old wave rock bands”, and once you hear “Never Never Land” or “The Snake” single, you’ll soon know why. Paul “Black George” Rudolph commands his Baby Gibson Les Paul effortlessly into virgin, un-navigated realms of controlled noise from pure silk to raw power as Tony Iommi, Jimi Hendrix and Pete Townshend (circa “Live At Leeds”) all take roost in his head, and the complete abandon of Rudolph’s dosed-up guitar guides the whole ensemble into a series of abandoned freak and rolls previously unheard of in England. The album opens with “Do It”, the inflammatory, Twink-penned anthem that was the b-side of the previously mention “The Snake” single, here remixed and with an additional opening acoustic intro. It takes off into a get-off-yer-ass blistering rock out, Rudolph’s stunningly raw guitar builds and builds into a blinding coda that kicks everyone’s ass twice. Twink’s other tracks (“Heavenly Man”, “Wargirl” and “The Dream Is Just Beginning”) are quieter forays by comparison, but in no way any less addled.
“Say You Love Me” and “Teenage Rebel” are but two further examples of the tight but raw rock’n’roll that get spilled out at high speed, with Rudolph’s gruff vocals bayed over the ensuing loud, stomping free festival stomp-outs. An extended double-drum solo bridges into “Uncle Harry’s Last Freak Out”, their free festival closer. Running anywhere from 10-30 minutes live, it’s a little brief here at a mere 10 minutes 49 seconds, but no less raw or hectic. The double-drumming builds up a buffalo stampede in the background, drowning out Sanderson’s polite bass, but Rudolph’s guitar is all over the place. It’s far too loud, and it’s rocketing from speaker to speaker with stereo panning. It’s also filtered through Binson Echorec, distortion, wah-wah and infused with such a spirit of going for it that the surprise BRRRRRRRRING! synthesizer chord that breaks in gets you every time, bursting in like a manic pixie throwing fairy dust straight between your eyes. It then starts up again, but the echo unit is so heavy that it captures every single wisp of riffing and amplifies it into a freight train running through your head. It can only settle down from here, and it does, with Rudolph intoning: “Everyone should be so happy/everyone could be so merry/you and me could be so fairy…” It’s breaking down, then rising up again ever so slightly, and every small strum across the guitar bridge is a huge riff across the sky, the Binson on far too high. Before the other three Fairies know it, Rudolph is storming across the heavens in a chariot, and they’re holding onto the back of his black t-shirt for dear life, cause the echo is causing all his frenetic riffing to sound like hundreds of Rudolph’s playing at once and they can barely keep up. But they relax as all smears into a single mandied and echoed haze-out. “Never Never Land” originally came in a beautiful fold out 12” x 24” double-sided poster encased in a heavy, silk-screened PVC sleeve, and is a killer testimony of psychedelic punk rock.
Up the Pinks !!!
Friday, September 22, 2006
track list :
01 - Hey Joe
02 - Get Together
03 - I Don't Know Your Name
04 - Funny Freak Parade
05 - Don't Cry For Me
06 - Follow Me
07 - (Ballad Of The) Hip Death Goddess
08 - Mind Flowers
The Story of Ultimate Spinach by Ian Bruce-Douglas:
The first mistake I as a "virgin" bandleader made was that someone would introduce me to a guy who happened to play guitar and I would say "You play guitar? Cool! Wanna play in a band I'm putting together?" With the exception of Barbara Hudson...who I had heard play at an open mic at the UNICORN COFFEEHOUSE, in Boston...I had never heard any of these people play and I didn't have the sense to audition them or "feel out" their personalities beforehand. The drummer, Keith, was the brother of the local record store owner on Cape Cod, where I was living at the time. He, essentially, introduced me to the guitarist and bassist. Keith was a very nice, mellow, easy-going guy...and he played pretty well, too. Unfortunately, he had the good sense to leave the band right after we recorded the first album. Barbara was okay, too. However, I had nothing but problems with the guitarist and bassist. They were a couple of Cape Cod rednecks who played in country bands on weekends. They wanted no part of the Hippie Movement, didn't smoke cannabis or take LSD and had absolutely no concept of the psychedelic images I was trying to create. We nearly came to blows on a number of occasions and were on the verge of collapse when we were "discovered". In a word: I was sincere...if inexperienced...and was doing it for the passion and joy of creating and making music...well, maybe the sex and drugs were part of it, too! They, however, were only in it for the money. To put it mildly, there was something of a "culture shock" between me and the rest of the band. In fact, it ALWAYS seemed to be about "me against them"...and, having had a few really joyful bands since then, I know that it doesn't have to be this way...even if the band has a strong-willed leader, like me. I have always called my bands "benevolent dictatorships" since I reserve the right to make all decisions as I see fit...but, in my best bands, we have always shared a lot of laughter along with the hard work and as my respect and appreciation for my musicians grows, we tend to become friends outside the band and I end up considering their feelings whenever I make those decisions. In a word ULTIMATE SPINACH was a VERY bad mistake...even if it got me my "15 minutes of fame"!
"One of the best Psych bands, on an early Live recording !!!"
Album Review - Melody Maker (17th September 1994)
Some things were never meant to be. After years of struggle against the vicissitudes of life in London and the tragic death of their bass player, The God Machine have decided to call it a day. Cathy Unsworth pays her last respect
It's hard to express feelings of loss in the printed word, still harder to pay adequate tribute to absent friends. As the title of the album suggests, "One Last Laugh In A Place Of Dying" is a more powerful testament to Jimmy Fernandez, the bassist who died in May this year at the tragically early age of 28, than any words could say.
In the space of two albums and four EPs, The God Machine reached higher, felt deeper and created more intense, eternal visions with their music than any of their contemporaries would ever have dared. This album is their peak, a thing of terrible, harrowing beauty that dips deep into the terrifying Pandora's Box of the human psyche to grapple with the raw nerve endings of existence. It brings back from the darkness in one, long howl of rage, pain and understanding the flaming torches of redemption, with a music that spans the worlds of the living and the dead. It surpasses Soundgarden's "Superunknown", Smashing Pumpkins' "Siamese Dream", even the back catalogue of Jane's Addiction, to whom they were initially compared.
"One Last Laugh ..." was recorded in Prague, and not for nothing does "The Unbearable Lightness Of Being" spring to mind. In the shadowlands of Europe TGM found the perfect surroundings for their haunted dreams, a place where secrets linger around dusty old architecture and winding streets, a place that has known the awful extremities of human evil : "Cut yourself so I can see the bleeding", is the opening line. "Tremelo Song" makes a sound like chandeliers falling, as Robin Proper-Sheppard, Jimmy Fernandez and Ron Austin turn guitar, bass and drums into one gilded eternity. You can sense the urgency and frantic release sought through the hypnotic "Painless" - "I'm sorry but that's not what I've found".
And so The God Machine move onwards through the rooms of your mind, unlocking doors where secrets fly around like ghosts. "The Devil Song" looks over its shoulders at a fork-tailed shadow moving ever closer, the clamouring of voices at its climax coming from an old, two-reel tape recorder Robin found in a junk shop in Prague.
"The Hunter" is a thing of sensual, aching beauty, a waltz with that devil in an old, forgotten ballroom, while "Evol" is the scariest evocation I've heard since Killing Joke's "Revelations" frightened the life out of my 13-year-old brain."Boy By The Roadside" is too painful to actually put into words, but the album drifts off to a beautiful piano elegy, "The Sunday Song", which sounds like the refrain from a ghostly carnival.
Three years ago, on a rainy night in King's Cross, The God Machine told me that the "Purity"EP was recorded as if it was going to be their last record. Their futures were so unsure at the time that they had to put everything into the one moment they had. "It's better to die on your feet than live on your knees", they said.
Track List :
1 The Tremolo Song 04:02
2 Mama 02:52
3 Alone 04:48
4 In Bad Dreams 03:09
5 Painless 03:58
6 The Love Song 03:55
7 The Life Song 04:41
8 The Devil Song 05:05
9 The Hunter 07:58
10 Evol 04:06
11 The Train Song 04:27
12 The Flower Song 05:41
13 Boy by the Roadside 05:50
14 The Sunday Song 08:34
1. Castles In The Sky 3:30
2. Broken Hours 3:40
3. Heart Without A Home 5:25
4. Time Is Passing 2:40
5. Circles 7:13
6. November 3:11
7. Colour Questions 12:06
8. You'll Never Know Me/Release 7:40
Taking their name from Bob Dylan's 1966 LP, Blonde On Blonde were originally formed in Newport, South Wales in 1967 by vocalist/guitarist Ralph Denyer, drummer Les Hicks, bassist/organist Richard Hopkins and guitarist/sitar player Gareth Johnson. It was this line up of the band that signed to Pye Records in late 1968 and who released the single, 'All Day All Night'/'Country Life' (7N 17637) in November of the same year. The same foursome also recorded the band's debut LP "Contrasts" (NSPL 18288) which was issued by Pye in mid-1969 - complete with a colourful gatefold sleeve which housed twelve fine slices of psychedelic-tinged progressive rock that earnt the band strong critical acclaim and a slot on the same year's legendary Isle Of Wight Festival which was headlined by Bob Dylan.
By the time of 1970's 'Castles In The Sky'/'Circles' single (EMBS 279) and the LP, "Rebirth" (NR 5049), Denyer had left to form Aquila, who released one album, "The Aquila Suite" (SF 8126) for RCA Records later that same year, after which vocalist/guitarist Dave Thomas took over from Denyer, making his debut on the aptly-titled "Rebirth" LP, which once again was released in a striking gatefold sleeve with liner notes by future Radio 1 DJ Tommy Vance. Richard John (aka Richard Hopkins) only stayed with the band for another year and was replaced in mid-1971 by bassist/guitarist/banjo player Graham Davis. This Davis/Thomas/ Hicks/Johnson incarnation of Blonde On Blonde recorded October 1971's "Reflections On A Life" album (Ember NR 5058) at Monmouth's Rockfield Studios though the lack of commercial success finally took its toll on the band and they went their separate ways soon after the LP's release.
Today all of the band's releases are expensive highly sought after collectors items, not just because of their rarity, but because they contain some of the late 60s/early 70s finest progressive rock. However, the whereabouts of the various members of Blonde On Blonde remain something of a mystery though it is generally assumed that, following the demise of the band in early 1972, none of them pursued careers in music.
Taken from the CD reissue of "Contrasts", 1994 Repertoire Records, REP4521-WP
When I was asked to write some additional sleeve notes for this re-release of "Rebirth", I thought of a good place to start, and found my diary of 1970. It was packed so tight I could hardly decipher my own handwriting! There was so much going on - a real buzz of excitement. We'd signed to Ember Records at the end of 1969. By January 1970, we were hard at work recording "Rebirth".
I remember it all so clearly, I'd joined Blonde On Blonde as their new singer a couple of weeks before the band was due to play at the Isle of Wight Festival in 1969.
We'd only just begun rehearsing for our forthcoming tour, so I concentrated on more songs for that and the next album. I had some ideas, but they developed through close collaboration with Gareth and Richard. "Colour Questions" was really a live 'tour-de-force'. Live we were a lot heavier than in the studio. It was only on record that we could experiment with the more subtle mixture of acoustic and electric sounds, the sounds that most characterised Blonde On Blonde's music. "Broken Hours" was the first song I'd ever written. It's a love song of course. "November" carries something of the way I felt about the magical atmosphere between the edge of Wales and the Forest of Dean where I lived and rehearsed.
It was a sharp contrast to our hectic schedule of recording, filming and gigging in 1970. Shortly after the completing the recording sessions, we began filming for the BBC television Saturday Night Special called "Whatever Next" - a completely oddball mix of performers from Marcel Marceau to Gilbert and George, to band-in-residence Blonde On Blonde. We were really busy working live too. At the Roundhouse, the Marquee, the Temple (formerly The Flamingo) in Wardour Street, in the heart of London's vibrant Soho. In addition, we were playing all over the country at universities and colleges, town halls and clubs. Just a glance at the diary brought back vivid memories of all those gigs and all the musicians and bands we played alongside with. Georgie Fame, Alan Price, Marsha Hunt, Deep Purple, Atomic Rooster, Wishbone Ash, Genesis, Roy Harper… We were once even supported by Fleetwood Mac!
There was something very special about being able to live a life split between two worlds, one quiet and countrified, and the other - on the road or in the heart of London's nightlife! I think you can hear that contrast in the music itself: a mixture of focused energy and laid-back calm. It was a reflection of the way we lived and worked. We all came from a heavily industrialised Welsh seaport that was closely surrounded by mountains and wild romantic countryside; it was the contrast that inspired us. And it still inspires me. I am about to release a new Blonde On Blonde album. The music's already 'in the can' and includes songs from Blonde On Blonde's live performances that were not previously released. It also includes some very recent material. The new album is called "Coldharbour" (another name for my hometown Newport). It was hearing "Rebirth" again that brought me determination to complete the project.
In the meantime, I hope you enjoy the sounds of 1970 so faithfully captured here on this reissued CD. When I listened to it again, it was like taking a ride in a time capsule in my own head. The sound and the memories are crystal clear.
Taken from the CD reissue of "Rebirth", TKO Magnum, 2000
Contrasts (1969) - Pye NSPL 18288, CD reissue: Castle/Sanctuary (Psychedelic Pstones) CMRCD257, 2001
Rebirth (1970) - Ember NR 5049, CD reissue: Spalax 14525, 1996
Reflections On A Life (1971) - Ember NR 5058, CD reissue: Spalax 14526, 1996
Tuesday, September 19, 2006
track list :
1. Sowiloh + KMX - E XII - Opus 3 (13:45) - Vander,Top
2. KMX - BXII - Opus 7 (6:13) - Top
3. Om Zanka (5:30) - Vander
4. Gamma (4:00) - Vander
5. Terrien Si Je T'ai Convoque (4:10) - Vander
6. Gamma Anteria (7:45) - Vander
Gerard Bikialko Keyboards (1,2,4,6)
Micky Grailler Keyboards (1,2,4)
Benoit Widemann Keyboards (3)
Francois Cahen Keyboards (5)
Jean Luc Manderlier Keyboards (5,6)
Francis Moze Bass (5)
Jean-Pierre Lambert Bass (6)
Janik Top Bass (1,2,4)
Bernard Paganotti Bass (3)
Claude Olmos Guitar (1,4)
Marc Fosset Guitar (6)
Gabriel Federow Guitar (3)
Didier Lockwood Violin (3)
Klaus Basquiz Vocals & Percussion
Rene Garber Vocals,Bass Clarinet (5,6)
Teddy Lasry Saxes (5)
Jeff Seffer Saxes (5)
Louis Toesca Trumpet (5)
Christian Vander Drums
NOTES: Live recordings spanning several years with varying lineups.
Perhaps the all-time peak of prog pretentiousness was when drummer Christian Vander, of the French band Magma, invented his own language to express the post-apocalyptic story lines of the band's albums. Despite the inherently unnecessary nature of this activity, it definitely contributed in the immense and overbearing atmosphere of Magma's music. The pioneering 70s French band was one of the most experimental, artistic and fiercely uncompromising bands of the progressive era. Their music combined elements of jazz, opera, minimalism and 20th century classical music into a highly idiosyncratic mix of exceedingly dark, yet emotionally rich and undeniably powerful sound that eventually brought on the Zeuhl sub-genre of progressive rock. Their expanded ensemble included heavy emphasis on horns and choirs. The compositional style of the group reflected a mastery of sophisticated musical concepts; their use of gradual repetition as a tension building tool was unparalleled, as well as subtle rhythmic innovations and minimalist techniques as atmospheric devices. Though the music will definitely sound exceedingly odd at first, just because they are so different from anything else, their sound has a certain addictive quality to it, and developing a taste for their eccentricity is not particularly difficult. All their albums fit together into some concept which causes them all to hang together. I'm not sure what the particulars are, but it has something to do with humanity leaving a desolate Earth for the new utopian world of Kobaia (hence Vander's language, Kobaian) and the complications that came along with the transition. Their first two albums, Magma and 1001 Centigrade, dealt more with a jazzier sensibility, and are comparatively lighter in tone than some of their later works. Magma's next work would kick off their most notable and distinctive period, the immense Mekanik Destructiw Kommandoh (MDK). This album features all the hallmarks for which Magma are recognized. Martial beats, militaristic pounding and a heavy emphasis on a huge, orchestral backdrop replete with choirs and layers of horns. The overall mood of doom, death and destruction is undeniable. The sound is carried over into a Vander solo album (in name only), Wurdah Itah, as well as their next opus, the magnificent Kohntarkosz, which features less vocal dependence but is an overall masterpiece of desolate moods and stark atmospheres. The live album, Hhai, is supposedly excellent, but I haven't heard it yet. After that, the albums from Udu Wudu on are something of a step down. Overall Magma produced some of the most important and groundbreaking music of the decade. - Greg Northrup 
The musical creative excellence which infused rock'n'roll during the mid to latesixties is difficult to describe retrospectively. It was an atmosphere of energy & sensation which one had to exprience rather than interpret This comp capturesa few of the finer rarities of that psychedelic era. Some of the tunes were locally only or privately released.
V.A. - Echoes In Time vol. 1
01. Human Expression - "Optical Sound" (2:25)
02. West Coast Branch - "Spoonful" (2:42)
03. United Travel Service - "Wind & Stone" (3:18)
04. The Deep - "Trip #76" (2:33)
05. Skunks - "The Journey" (2:13)
06. Fapardokly - "Gone to Pot/No Retreat" (4:03)
07. Unfolding - "Play Your Game" (2:50)
08. Mother Tucker's Yellow Duck - "Somebody Think" (3:43)
09. Raves - "Mother Nature" (2:21)
10. Jerry & the Others - "Don't You Lie to Me" (2:52)
11. Ferguson Tractor - "12 O'Clock High" (2:48)
12. Lemon Pipers - "Quiet Please" (2:25)
13. Blue Scepter (SRC) - "Gypsy Eyes" (4:51)
V.A. - Echoes In Time vol. 2
01. Outcasts - "Set Me Free" (2:52)
02. Nova Local - "Games" (2:06)
03. Iguanas - "Mona" (2:41)
04. King-Beezz - "Gloria" (2:49)
05. Avengers - "Reflection" (2:49)
06. British North American Act - "Don't Run Away" (2:36)
07. Mijal & White - "I'm In You" (3:52)
08. Crystal Rain - "You and Me" (3:14)
09. Fruit of the Loom - "One Hand in Darkness" (2:27)
10. Frederic - "Five O'Clock Traffic" (2:13)
11. Soulbenders - "Hey Joe" (3:30)
12. SRC - "Badazz Shuffle" (3:17)
13 - Leviathan - "Second Production" (5:01)
Monday, September 18, 2006
YOUR DOWNLOAD LINK :
Track List :
01 - 3-D Free
02 - Positive People
03 -In Flight
04 - Long Time
05 - Bowling Pin Intro
06 - Lyrics Of Love
07 - Disco American
08 - Inside The Pyramid
09 - Astro Phunk
10 - 3-D Free (Electronic)
This bizarre freaky rock album is as different from the Phantom album as Relatively Clean Rivers is from Beat of the Earth. It mixes several 70s styles and buries them under sound effects, synthesizers and weird vocal arrangements. There are a few electronic instrumentals, some lyrics that are as obtuse as the arrangements, and some very faint nods to the disco/funk trends of the time. Despite an occasional "Dark Side Of The Moon" influence, they are more psych than prog or space rock, and at times they have the same feel as some early new wave synth bands (i.e. the Units, Assassin Of Silence.) It takes a number of listens to grasp the actual songs because they're so disjointed and because the melodies are somewhat hidden behind the walls of noise. Once the songs finally sink through, it's almost a surprise to discover that they're very good, and the electronics enhance them rather than mask their weaknesses. Like the U.S.A album, even the most insane synth noises here have been well integrated into the flow of the songs and don't sound random at all. This is my idea of a synth album! [AM]
Sunday, September 17, 2006
1978 Images of Flute in Nature
track list :
01 Great Valley
02 Magic Adventure
03 Plaine Du Jura
04 Forest Spirit
07 Magnetic Blues
08 Electronic Jungle
This LP issued in Italy only on Cenacolo M721, is a different music from usual Brainticket. Idilliac landscapes with lots of keys, synths and the voice of Carole Muriel.
Swiss Joel Vandroogenbroeck has been especially confessed thanks to its link Brainticket. Beginning years seventy delivered this group three particularly vaporous albums, with as spectacular figure the intriguing ' Celestial ocean ' from 1974 - I wrote already earlier. After falling apart Brainticket Vandroogenbroeck occupied themselves with the most divergent matter. He composed music for ballet shows, learned sitar play in India, lived some years on bali (where he qualified himself in gamelanmuziek), wrote composities for several corn, went for a ride as a jazz musician the world concerning and was artistic Leader of an experimental dansgezelschap in San Francisco. The last years Vandroogenbroeck have paid themselves on new media and Internet (to see being site brainticket-art.com) and consider he technology as dé new manner yourself to develop as an artist. Were its albums vervreemdende trips psyhedelic with Brainticket, with it's solo-album stocked Vandroogenbroeck complete other. ' Images or flute in nature ' from 1978, of its first solo-albums, a rural, thoughtful album has been interlarded, with a head role for the flute, with electronic sounds, mellotron and indian rhythms. In contrast to many new age-albums that a decade later as mushrooms from the ground shoot, Vandroogenbroeck will go varied and capriciously work; ' Hobbits ' and ' Minor ' characterise themselves by a stubborn electronic rhythm and it almost 13 minutes lasting ' Magic adventure ' swings himself by almost extraterrestrial striking as, feeërieke[?] landscapes. On clincher ' Magnetic blues ' moreover Brainticket singer Carole Muriel emerges still even.
track Listing :
01 - oceans of fantasy
02 - the world to be
03 - lost in the pain
04 - check it out
05 - flight of pegasus
06 - bon jour mr. v.i.p.
07 - journey
08 - inner reflections
09 - field of lonely eyes
10 - future
MICHAEL ANGELO (Kansas City, MO)
"Michael Angelo" 1977 (Guinn 1050) [1000p]
"Michael Angelo" 1997 (Guinn, Germany) [bootleg; 450#d]
"Michael Angelo" 2005 (Void 036) [+1 track]
Fabulous dreamy psych-flavored folkrock and anglo-pop shrouded in the early hippie vibe despite the vintage. Light and melodic in an L.A '67 & Donovan direction, while the lyrics hint at darker dimensions beneath the seductive surface. Possible points of reference are Bobb Trimble and the 2nd side of Marcus-House Of Trax, and don't doubt for a minute this is just as good. Use of piano on some tracks bring in a singer/songwriter sound, while retaining the 60s feel. Very solid and well-written LP that is loved by many, one of the classics of the local/private press field, and one that may also appeal to fans of the Shoes and similar melodic mid-70s pop sounds. Sespite its deluxe profile the German reissue is somewhat inferior in sound. An album of previously unreleased material titled "Sorcerer's Dream" (Void, 1999) may be worth checking out for fans of the Guinn album. [PL]
Side one of this album is as good as anything, a truly lovely blend of pop, folk-rock and light psychedelia. Like the best music, it's of its time but evokes many great artists from before its time. He has a terrific voice too. Like Anonymous this is just plain great songwriting and performance, and whatever may or may not be psychedelic is secondary. Side two is pretty great too, but repeats a few of the ideas from the first side, and overall this maybe ends up being a notch below Zerfas or Anonymous, which still makes it in the top 10 or so for private press LPs. It's something everyone should hear. [AM]
Swans - 1991 - White Light from the Mouth of Infinity
Michael Gira - voice, acoustic guitar, sounds, samples, keyboards, arrangements
Jarboe - voice, keyboards, background vocals, choral / orchestral arrangements
Christoph Hahn - acoustic and electric guitar
Clinton Steele - acoustic and electric guitar
Jenny Wade - bass guitar
Anton Fier - drums, drum programming
Nicky Skopelitis - acoustic and electric guitar, baglama, bazouki, banjo
Vincent Signorelli -percussion
Hahn Rowe - violin
Steve Burgh - mandolin, 12-string guitar
Norman Westberg - electric guitar
Better Than You
Power And Sacrifice
You Know Nothing
Song For Dead Time
Will We Survive
Love Will Save You
Song For The Sun
Miracle Of Love
When She Breathes
Why Are We Alive?
The Most Unfortunate Lie
Crawling out of the same noisy, arty New York underground , Swans created a dark, abrasive, murky, slowed-down noise rock that served as a starting point for their ruminations about alienation, depression, depravity, and the disturbing side of human nature. Singers Michael Gira and Jarboe have been the group's only constants over the years.
The opening track "Better Than You" almost says it all: Starting with the wail of an infant, then suddenly crashing into surging music that mixes quick, energetic drums with bells and other instruments, the song turns into a dramatic acoustic guitar/percussion piece with Gira's brooding voice and Jarboe's haunting backing; after some re-developments of the themes, it ends with a beautiful restatement of the sung section with additional guitar and bell sounds. At once incredibly destructive and astoundingly life-affirming — and worth the entire Burning World album several times over — "Better Than You" demonstrates that Swans had emerged even more powerful and artistic than before, aiming for an awesome, all-encompassing majesty in their music that the admittedly hypnotic earlier versions of the band, in their brute forcefulness, simply could not have achieved. Interestingly, a number of players from Burning World and other Bill Laswell associates participate on White Light, but hereas sole producer marshals everyone's collective efforts to heights that Laswell either was unwilling or unable to do. Also notably, Westberg is all but absent on guitar, with new arrival Clinton Steele taking the fore as the major instrumentalist after Gira and Jarboe themselves. Picking out all the highlights from such a stunning disc is practically impossible, but three of the flat-out classic marvels here are: "You Know Nothing," with its simply lovely introduction and Gira's commanding singing; "Song for Dead Time," a gentle Jarboe-sung number filled out by a simple but effective string-synth arrangement; and "Failure," carried by a buried guitar strum, Gira's Sisyphean lyric, and brief, lush choruses. Simply put, this is out and out brilliant as the clear starting point for the second half of Swans' unique career.
track listing :
1 I Just Want to Make Love to You (4:19)
2 (I'm Your) Hoochie Coochie Man (4:53)
3 Let's Spend the Night Together (3:12)
4 She's Alright (6:36)
5 Mannish Boy (3:50)
6 Herbert Harper's Free Press News (4:40)
7 Tom Cat (3:42)
8 Same Thing (5:42)
In an attempt to make Muddy Waters more sellable to his newly-found White audience, Chess lumbered him with Hendrix-influenced psychedelic blues arrangements for Electric Mud. Commercially, actually, the results weren't bad; Marshall Chess claims it sold between 150,000 and 200,000 copies. Musically, it was as ill-advised as putting Dustin Hoffman into a Star Wars epic. Guitarists Pete Cosey and Phil Upchurch are very talented players, but Muddy's brand of downhome electric blues suffered greatly at the hands of extended fuzzy solos. Muddy and band overhaul classics like "I Just Want to Make Love to You" and "Hoochie Coochie Man," and do a ludicrous cover of "Let's Spend the Night Together"; wah-wah guitars and occasional wailing soprano sax bounce around like loose basketballs. It's a classically wrongheaded, crass update of the blues for a modern audience. ~ Richie Unterberger, All Music Guide.
MUDDY WATERS -- Electric Mud (MCA/Chess)MCA recently reissued the album hailed by some blues purists as the worst blues album ever recorded--Muddy Waters' Electric Mud. Originally released in the spring of 1968, Electric Mud was Waters' first excursion into the world of 'psychedelia.' Since they were marketing Waters (at the time) primarily to the white hippies, it made sense to Marshall Chess (son of Leonard Chess, founder of Chess Records) that Waters should do an album like this. Unfortunately, it presented a problem when Waters tried to play the songs live. He didn't like having to perform in front of a huge stack of amplifiers to achieve the sound of the album.
Is Electric Mud really as bad as they say? It depends on the context in which you listen to it. As a blues/rock album, it's not that bad. As with most albums from the psychedelic era, there's a lot of channel fading (vocals in one channel, music in the other, then vice versa, etc.). However, there are still some great guitar licks being thrown around, especially on "I Just Want to Make Love to You," "She's Alright" (which segues into a "My Girl" jam), and "Mannish Boy." The interesting thing here is that, according to the liner notes, none of the guitar work is by Waters himself.
As a straight blues album, it's a joke. The majority of the players on Electric Mud were actually avant-garde jazz musicians, and most of them were not able to adequately span the two genres. Gene Barge's wailing tenor sax on the album is out of place and annoying. It just doesn't work. The cover of "Let's Spend the Night Together" is probably more noteworthy than any other cut on the album. It's been called 'unintentionally hilarious,' among other less-than-flattering remarks. I'll just call it . . . different. Imagine Waters trying to sing the lyrics to the music of "Get Ready." You get the idea.
So what's the bottom line -- is this CD worth picking up or not? It depends on what type of blues you're into. If you're a purist, you probably already know to skip this one. If blues/rock is more your style, or you're just discovering the master, it's worth a listen, but check out some of Muddy's more traditional work first.© 1997 Steve Marshall
Markos was born to a poor working family on the island of Syros in 1905. His father played the greek bagpipes called Gaida and Markos would accompany him on the dog-skinned drum. When Markos was eight years old he left school to work with his mother in a cotton thread factory, which he promptly ditched and started picking up odd jobs like newspaper boy, butchers assistant, eventually getting mixed up with the underworld of the streets.
When he was fifteen years old he stowed away on a ship to Piraeus and got a job loading coals on the docks. This was tough, low-down work, but the nights were all about hashish and women. He was kept in fine clothes by an older whore and hung out at the tekes((place where underground people gathered to listen to rembetiko music and smoke hasish) every night. In 1925, Markos heard Old Nikos play bouzouki and was immediately hooked. Six months later he was playing at a teke when Old Nikos stopped by, he couldn't believe it was the same kid who'd never even played a few months earlier. Nikos said they'd show Markos something i the morning and he'd come back and play it better than them in the evening.
Because the bouzouki was considered a low-class instrument, it had not been recorded until 1932 when Yiannis Halikias (aka Jack Gregory), a greek-american, recorded his "Minor Tou Deke". The record was very popular, so Spyros Peristeris, who was working as a record producer, composer and instrumentalist for Odeon records in Greece, convinced Odeon to record Vamvakaris. In 1933, Peristeris supervised, and played guitar on Markos' first recording session (although he had recorded two songs in 1932 for Columbia, they were not released until later). Markos recorded one zebekiko, O Dervises, and one Hassapiko, O Harmanes. Markos hadn't considered himself a singer but ended up doing the vocals on these records. They were very successful and Markos' rough and powerful singing became fashionable.
Markos eventually teamed up with singer Stratos Pagioumitzis, baglamatzis Jiorgos Batis, and bouzouki player Anestis Delias to form his famous Piraeus Quartet. His popularity was sustained throughout the 1930's, despite growing political turmoil. Eventually the style of rebetika that Markos had pioneered became more mainstream, and by the 1940's Tsitsanis had started changing the subject matter to be about love and less about hashish, prison and other rebetika topics. Likewise, Hiotis started changing the sound of the music, adding strings to the bouzouki in 1956 and moving towards a more flashy, electric and westernized sound. Markos continued to record in his older style through this period. He passed away in 1972.
Vamvarakis, Markos. Autobiogrphia. Ed. Ageliki-Bellou-Keil. Athens, Greece: Ekdoseis Papazisi, 1978.
Emery, Ed; Petropoulos, Elias. Songs of the Greek Underworld: The Rebetika Tradition. London: Saqi,2000.
Holst, Gail. Road to Rembetika: Music from a Greek Sub-Culture; Songs of love, sorrow and Hashish.
Anglo-Hellenic Publishing, 1975.
1000 Travels of Jawaharlal was formed in Kita-Kyushu in the west of Japan in January 1999. Line-up was Koichiro Shimoda [Vocals, Guitar], Shinichi Iwata [Bass], Kenji Yoshida [Drum, Vocals]. This line up released a CD EP [October 1999] as well as a split CD with Minority Blues Band [November 2000]. Both records were released on the Japanese record label ImoMuShi Records, and a split with Bowfura we released ourselves [May 2000]. Among those records were released 1000 Travels of Jawaharlal had toured Japan several times. In April 2001 Kenji left the band. After half a year of looking out for a new drummer Yasuaki Nakazono was finally added in October 2001. In 2002 1000 Travels toured Japan extensively with the new line up. The band expresses the musical taste of its members. Emotive punk rock bands such as Rites Of Spring, Jawbreaker, Hüsker Dü, Leatherface were named. In early 2003 they recorded their first full length LP/CD which was released on ImoMuShi again for Japan as well as on Day After from Czech Republic for Europe. After the release of the record 1000 Travels of Jawaharlal toured Japan extensively throughout the spring, followed by a three weeks European tour with Light The Fuse And Run from the US.
demo - CT
Letter - CDS
split with Minority Blues Band - CD
split with Bowfura - CD
Owari Wa Konai - CD/LP
Light Your Way (Compilation) - CD
split with Aghast - CD
split with Aghast - 10"
split with Pear Of The West – CT
1000 Travels of Jawaharlal Owari Wa Konai
Nothing else here other than totally cheese-free, übertight, emotive and heartfelt hardcore, delivered by these jap punks. Pretty much in the vein of early DC emocore pioneers such as Rites of Spring, Dag Nasty or Ignition, with more than a passing nod to latter bands like Torches to Rome. Which means, really, really ace stuff.
Saturday, September 16, 2006
We've decided that it would be a good idea if everyone
who browses this blog could post something too. This
will help our blog grow and will contribute in
developing a better variety and imroved quality(we
That's why we've created a common account for all of
you out there.
The NEW user name is
and the NEW password is
You will make the post in a privete blog
and after you've post it we will re-post it, in the related blog.
It would be a nice idea if everyone who posts
something add and his/hers nickname in case to get the credits for the post.
If someone wants to join our team as a regular member,
feel free to contact us and we will take it under consideration.
I hope you'll embrace our idea and post great albums
Welcome to our blog,
Although the best-known band of the early Australian punk scene of the late '70s was the Saints, the first band to wave the punk rock flag in the land down under was Radio Birdman. Formed by Australian émigré Deniz Tek (originally from Ann Arbor, MI) and Aussie surfer-turned-vocalist Rob Younger in 1974, Radio Birdman's approach to rock & roll was rooted in the high-energy, apocalyptic guitar rant of the Stooges and MC5, sprinkled liberally with a little East Coast underground hard rock courtesy of Blue Oyster Cult. Their first EP,Burn My Eye released in 1976, was a great record and still remains a seminal chunk of Aussie punk. Loud and snotty, with Younger bellowing his guts out and Tek on a search-and-destroy mission with his guitar, this was a great debut that set the stage for the impending deluge of Aussie punk bands waiting in the wings. After the release of their debut LP,Radios Appear (the title comes from a lyric in the Blue Oyster Cult song "Dominance and Submission"), in Australia a year later, Radio Birdman seemed poised to break Aussie punk worldwide. And although the American label Sire (then the home of the Ramones) was quick to sign them and distribute Radios Appear internationally in 1978, there was a gap of three years before they released a second album, Living Eyes. During that time, dozens of other Aussie punk bands stole their thunder, and Radio Birdman split up almost immediately after Living Eyes was released. Sire never released the record outside of Australia, and Radio Birdman, who should have been the biggest band in Aussie punk, was now a highly regarded punk forefather. After the band split in 1978, various members were busy forming other bands:TEK formed the New Race with Younger,ex-Stooges guitarist Ron Asheton and ex-MC5 drummer Dennis Thompson, released a handful of solo singles and EPs, and became a surgeon;Younger started his own band, the New Christs, and produced records by the second generation of Aussie punk bands influenced by Radio Birdman, most notablythe Celibate Rifles; other Radio Birdman alumni ended up in assorted Aussie bands such as the Lime Spiders, Hoodoo Gurus, and Screaming Tribesmen. Now the grand old man of Aussie punk, Tek formed a part-time project with Celibate Rifles guitarist Kent Steedman that rocks with the same reckless abandon Radio Birdman did when they were changing the course of Australian rock forever. 2001 saw a renewal of interest in Radio Birdman thanks to an excellent compilation, The Essential Radio Birdman 1974-1978 released by Sub Pop in the States. Murder city Nights : live arrived in 2003, followed by the all-new Zeno Beach in 2006.
Kubano Kickasso 2003
01 - LDZ (Guacho Guara) 4:40 - Dizzy Gillespie (arr. Rick Welsh / Nik Turner) - 2:00
02 - Dangle from the Angle 9:13 - Nick Danger / Nik Turner - 3:31
03 - So What 4:26 - Miles Davis
04 - Skatrane (Last Train to Skaville) 6:06 - Ethiopians
05 - Watermelon Man 6:00 - Mongo Santamaria / Herbie Hancock
06 - Grooveyard 4:19 - Rick Welsh
07 - Gibraltar 6:16 - Freddie Hubbard
08 - Sidewinder 7:05 - Lee Morgan
09 - Phat Man 6:06 - Rick Welsh
10 - J.B. 7:35 - Nick Danger / Nik Turner
11 - Cantaloupe Island 5:19 - Herbie Hancock
12 - Jive Samba 6:08 - Nat Adderly
Nik “Thunder Rider” Turner - sax, flute and vocals
Ricky “Baby Face” Welsh - trumpet, flugelhorn and vocals
Mike “Black Notes” Jones - Hammond organ, piano
Gary “Hot Shot” Smart - bass
Meurig “D.W.” Griffiths - drums
Ben “Bad Ass” Baddoo - percussion
Simon “Samba Gales"” Preston - percussion
Raul “Rico Mambo” Speek - percussion
Christopher “Pixie” May - electric guitar
Kubano Kickasso is the long awaited studio album from Nik Turner's “Fantastic Allstars” ensemble, augmented by familiar guest percussionists. This is zoot cool jazz that begs you to dance, shaken (and occasionally stirred) with latin grooves, Afro-Cuban rave, and a healthy dose of boogie. Featuring some flash original tunes as well as several of the Allstars' own particular flavour of cherished standards, its outstanding clarity delivers all the customary sensation of their club presence. A must-have soundtrack for your next party.
From Wikipedia, the free encyclopedia
Nik Turner is a British musician, probably best known as a founder of space rock pioneers Hawkwind. Turner plays saxophones, flute, sings and is a composer. While with Hawkwind Turner was known for his experimental free jazz stylizations and outrageous stage presence, often donning full makeup and Ancient Egypt-inspired costumes. Days with Hawkwind and personality conflicts
Despite his seemingly Pleasant personality, Turner battled frequently with bandleader/guitarist Dave Brock, who felt that the former overplayed in a distracting fashion and used musical pretenses to disguise his poor playing. Turner's relationship with bassist Lemmy Kilmister gradually disintegrated throughout the early 1970s, spurned on by a feature in New Musical Express that seemed to portray Kilmister as the sole frontman of the group. Fundamentally, Turner's "quintessential hippie" persona clashed with Kilmister's identification with bikers and use of amphetamines.
After Kilmister was arrested for illegal posession of amphetamines during a 1975 North American tour, Turner instigated the bassist's dismissal from Hawkwind. Other band members, namely Brock, came to regret the reluctant decision, and Turner began to be perceived as something of a manipulator. After 1976's Amazing Sounds, Astounding Music, a poorly received fusion-oriented release heavily influenced by Turner, he ceased playing with the group. This too was a bone of contention: while Brock and lead singer Robert Calvert claimed they had dismissed Turner (with two other members), the saxophonist characterized it as more of a band mutiny against the twosome.
Over the years Turner has played with many musicians and collaborations. Much of his output continued in the Hawkwind vein, but Turner has also explored other genres. Directly after leaving Hawkwind in the mid 1970's, Turner formed the band Sphinx with Steve Hillage of Gong.
In the late 1970s when Steve Took's Horns broke up he formed Inner City Unit (ICU) from the key Horns members: Judge Trev Thoms and Dino Ferari although Steve Peregrin Took (ex-T Rex) continued to work with his former band members and guested with ICU at a number of gigs.
Turner eventually resolved his differences with Brock and rejoined various reconstituted Hawkwind line-ups throughout the 1980s. He performed at the final Stonehenge Free Festival in 1984.
Turner also worked with Twink under the name PinkWind, a group named by combining the monikers of the musicians' former groups: Turner's Hawkwind, and Twink and Steve Took's Pink Fairies. Mick Farren was also a member. PinkWind released two albums. Some line-ups also featured Judge Trev Thoms.
In 2000 Turner apologized to Kilmister and organized a one-off reunion of the seminal [[Space Ritual]] line-up of Hawkwind (excluding Stacia and Calvert). Although lofty plans included further apperances and a live album extracted from the show, as of 2006 nothing has materialized due to renewed animosity between Turner and Brock.
Recently, his two main bands have been SpaceRitual and Nik Turner's Allstars with flexible and overlapping line-ups (as was the case in the early 1970s with Hawkwind and the Pink Fairies.) At some of his gigs former Hawkwind members have guested including Ron Tree and, until his death, Robert Calvert.
Turner regularly plays with new and experimental musicians and also busks with his roadie Erv near his home in Wales.
His current musical endevours include the jazz/funk quintet Galaktikos and an album & tour with American space rockers Spaceseed.
Thursday, September 14, 2006
1. Musical witchcraft suite (19:16)
2. Music from the spheres (3:36)
3. Soleriade (4:57)
4. Morning dance in the garden of Chenonceau castle (2:03)
5. Silent man´s prayer (7:22)
6. Rocks and waves from Saint-Malo (4:32)
7. Alchemy (4:32)
- Attila Kollar / flute, recorder, whitsle, tambourine, ketboards
- Casaba Bogdan / acoustic & electric guitar
- Gabor Naszadi / acoustic guitar
- Zsolt Vamos / guitar
- Robert Erdesz / keyboads
- Laszlo Gomor / conga, percussion
- Gabor Kisszabo / bass
- Tamas Pocs / bass
- Fernc Gerdesits / vocals
- Szilvia Attila / vocals
- Zsuzsa Ullmann / vocals
Get It Here :
RapidShare or SendSpace
Attila Kollar - 2003 - Musical Witchcraft II_Utopia
1. Suite Utopia - Utopia (3:33)
2. Suite Utopia - Prophets And Daydreamers (6:42)
3) Suite Utopia - Worlds Closed Into The Stone (4:25)
4. Suite Utopia - The Light Of The Stake's Fire (5:13)
5. In The Hiding Place Of Castles (2:51)
6. Secrets Of Morus (3:52)
7. Feast On The Tournament (2:23)
8. Inquisition (4:44)
9. The Tower's Room Lost In The Fog... (4:57)
10. Utopia From The City (5:07)
11. Fairy Tale Along The Loire (3:32)
- Attila Kollar / flute, recorder, tambourine
- Gyorgy Bokor / bassoon
- Laszlo Gomor / drums
- Ferenc Kornis / percussion
- Gabor Naszadi / acoustic guitar
- Tamas Pocs / bass
- Peter Sarik / piano, organ, synth
- Edina Szirtes / violin, vocals
- Zsolt Vamos / electric and acoustic guitars
- Laszlo Vermes / drums
Get It Here :
RapidShare or SendSpace
[Hungarian flutist of Solaris]
Attila Kollár is the flute player in the seminal Hungarian progressive rock band Solaris. His first solo album Musical Witchcraft (Periferic Records BGCD 016) bears strong resemblance to Solaris' music, and actually most of the band's late-nineties line-up appear on it. The music is largely constructed around Kollár's simple enough but beautiful flute melodies, which draw from Hungarian folk music but also strongly from baroque and renaissance themes. While the melodies are not really developed to any large degree, their splendour and the strength of the arrangements surrounding them provide more than enough interest and variation to make for an enjoyable 45-minute musical work without any unnecessary padding or stretching (most songs stay below the 5-minute mark). The supporting instrumentation can range from simple acoustic guitar and tambourine to full-blown band backing. In keeping with Solaris' style, there are also a more rocking songs with chunky guitar riffs and shredding solos, and this is where Kollár can add some Ian Anderson-styled flutter and wheeze to his playing. The main difference to Solaris is the lesser attention given to keyboards which are now reduced to accompainement. Without analog synth solos and with the occasional use of programmed rhythms, the album sound is pushed slightly more towards "modern" than with Solaris who always seem to strike a delicate balance between the retro and contemporary aspects of their sound. Three songs rise above the rest: "Boleriade" carries the album's most memorable, lambent melody over martial drumming; "Silent Man's Prayer" is a full-blown symphonic rock track with various tempo and rhythm shifts and solos; and "Ba'rock'" a spirited adaptation of a few J.S. Bach themes, with guitar, keyboards and flute racing through scales in amusing unison. In many ways this is comparable to Solaris' 1999 release Nostradamus - Book of Prophecies, though exhibiting a narrower and perhaps brighter palette, and should be enjoyable to all those who like that album. ~Kai Karmanheimo
Golly gosh, here's rare one! Pure Deya. Dedicated to Daevid and Gilli and worked on at the Bananamoon Observatory in Deya. This release will be extremely limited, less than 500 copies for sale worldwide. So the only absolutely certain way of getting a copy is by pre-ordering. But as the company are still getting quotes we don't know what the final retail price will be, I guess between £20.00 - £30.00, and the postage will be quite high due to the weight. However I will let all who pre-order this release know a total price before debiting any cards and give you a chance to confirm, or decline your order. I've recently been told to expect a release date sometime later this year (2006).
2LP set in a gatefold sleeve that is actually a book with more than 100 pages, more than half of them in full colour. Plans are to print/press 500 copies only 250 of which will be for distribution. Originally projected as a 2LP + Book set, this is the first time ever this great work is released as it was conceived, since the mega rare french release from the mid-70's only included one of the LPs and was missing the great book with the beautiful engravings by Juan Arkotxa.
The reissue of the legendary Book Of Am, a unique combination of recordings and artwork which stands up as an enduring testament of the fertile hippie scene which flourished in the Baleric islands during the seventies. Known to record collectors and psych/folk/prog music aficionados alike, this multi cultural band formed in the island of Mallorca in the mid 70's recorded a beautiful (and outrageously scarce) album which has gained cult status as years passed by.
GRAB GRAB GRAB
Buy "the Book of Am" here
Tuesday, September 12, 2006
Suitably trippy (not that we're suggesting anything illegal, you understand), psyched submerged guitar work, clips and samples, dirt and heaviness. Violin comes courtesy of Graham Clark (ex-Gong), who's more in he vein of Jean-Luc Ponty than Simon House, bit jazzier. Noisy buggers!
Pretty damn good, as live stuff goes. but I'll bet it sounded much better if you were there, it always does. Must search out the EBS release, if just for my private collection. Recommended for space heads everywhere
1995- THE QUESTION REMAINS
1995- ...of STARS and TIME (EBSCD121)
1998- IN SPACE WE TRUST (DERNCD 22)
2000- ESCAPE VELOCITY PREVIEW (LAB23CD-R-23)
2001- EXPLODE INTO SPACE- INHALATIONS 1998-2000 (DERNCD 66)
HERE ARE THE REST AND WHOLE DISCOGRAPHY OF THIS LEGENDARY AND MY LOVELY 60's R'n'B GROUP,
INCLUDED THEIR RARE EP ''Jazz In Jeans'' PLUS THEIR 6 SINGLES (both sides), ONE BY ONE.
IN ADDITION YOU WILL SEE TWO EXTRA GREAT SONGS FROM THEM.
I hope to really enjoy this great group !!
ARTWOODS-Jazz In Jeans EP (Decca DFE 8654, 1966)
ARTWOODS-Goodbye Sisters/She Knows What To Do (Decca F 12206) 3rd 7'' (1965)
ARTWOODS-I Take What I Want/ I'm Looking For A Saxophonist Doubling French Horn Wearing Size 37 Boots (Decca F 12384)
4th 7'' (1966)
ARTWOODS-I Feel Good/Molly Anderson's Cookery Book
(Decca F 12465) 5th 7'' (1966)
ARTWOODS-What Shall I Do/In The Deep End (Parlophone R 5590)
6th 7'' (1967)
All the above stuff you could get them in a single folder. So,
grab and enjoy it !!!
UK R&B /Blues/Garage blaster with Jon Lord(Deep Purple) Keef Hartley(John Mayall) Mac Poole(Bakerloo) with all the right sounds!!
It's really a legendary LP that was an enjoyable mixture of club-oriented soul, R&B, and jazz with a strong organ spice, although it found them falling seriously behindtheir contemporaries in the British R&B scene in a crucial respect.
Red Bludd's Blusicians had been formed in 163 and the Artwoods were formed following the departure of Don "Red Bludd" Wilson who played bass and Red Dunnage the drummer. Jon Lord came from the Bill Ashton Combo while Art Wood has sung with Alexis Korner's Blues Incorporated. Keef had previously played with Rory Storm & the Hurricanes, replacing a certain Ringo Starr, and Freddie Starr and the Midnighters.
The Artwoods gained a reputation as the hardest working R & B band on the circuit. The live set consisted of both Chicago Blues standards and original material. Many appearances were made on the top UK pop TV show Ready, Steady Go. Originally the groups mimed to songs but, over time, more and more live performances were allowed. The Artwoods performed on the first Ready Steady Goes Live. Tom Jones mimed to It's Not Unusual on the show. The Kinks and
Donovan played live and the Artwoods promoted their first single ''Sweet Mary''.
The group was very popular in the clubs around London but they never equaled this on record despite releasing an LP, an EP and a string of singles. The only chart single was the 1966 ''I Take What I Want'' although this is not corroborated by The Guinness Book of British Hit Singles. This was a cover of a Sam & Dave song.
There was also one EP called ''Jazz in Jeans'' and an album Art Gallery. There were successful tours of Europe and Poland. Eel Pie Island was a regular gig with the band playing there about once a month. This is an island in the Thames which had to be reached over a small bridge, the
equipment requiring three trips. It was everybody's dream to walk into the Blue Boar just as their hit of the moment was playing on the jukebox."
The Artwoods were chosen to represent the 20th Century at the centenary celebrations of the State of Monte Carlo. The ball was held in the Casino. After this, the band traveled to Paris and played next door to the Moulin Rouge at The Locomotive.
The band split in 1967 and, at a time of psychedelia, there was a name change to St Valentine's Day Massacre. This was intended to "cash in" on the thirties-style gangsters craze which had been started by the film Bonnie & Clyde. Brother Can You Spare a Dime was a cover of an old Bing Crosby song. Keef Hartley left the band in 1967 to join John Mayall's Bluesbreakers and
later formed the Keef Hartley Band. Jon Lord joined the Flowerpot Men and later moved to Deep Purple. Derek Griffiths became a session player. Quiet Melon was formed in July 1969 when the Jeff Beck Group folded. Lead singer Rod Stewart was left without a band and started hanging out with Ronnie Wood, his brother Art Wood and Ronnie Lane, Kenney Jones and Ian
McLagan. Art Wood got them a recording session at the Fontana studios, where he had a contract and, according to Art, recorded four songs - Diamond Joe, Engine 4444, Right Around The Thumb, and Two Steps To Mother. They delivered the tapes to Fontana who said the tracks weren't good enough and canceled Art's contract. The group then got a promoter called Rufus Manning to try and get them a deal but nobody wanted to know. The group played quite a few gigs but the project soon folded and Art retired from the music business to
become a Graphic Designer. The remaining members - Ronnie Wood, Rod Stewart, Ronnie Lane, Kenney Jones and Ian McLagan then inherited the name the Small Faces which was soon shortened to the Faces.
Ultra Strongly Recommended !!
Vinyl ripped by Optical Sound @ 224 Klbps bitrate
grab and enjoy it !!
Monday, September 11, 2006
Yes, that's exactly how you'd think British psychedelic music recorded by Greek musicians in France would sound. Provided you'd ever think about it.
1) End Of The World;
2) Don't Try To Catch A River;
3) Mister Thomas;
4) Rain And Tears;
5) The Grass Is No Green;
6) Valley Of Sadness;
7) You Always Stand In My Way;
8) The Shepherd And The Moon;
9) Day Of The Fool;
The best way to explain a particularly unusual sound is, of course, try and do it through comparison. Like "The Flaming Lips sound like the Beach Boys trying to sound like the Beatles if Brian Wilson tried to sound like John Lennon and not like Paul McCartney". Or "Pearl Jam sound like shit". Yes, despite the numerous annoying yelps of people who contend that every piece of music should be listened to based on its own individual rules, comparison is nevertheless a mighty weapon in the hands of a reviewer. So here's to comparison.
Now then, we were going to talk Aphrodite's Child and their debut album here. And the first and foremost comparison I would offer are none other than the Moody Blues. Yes, by all means, as Vangelis and his compatriot, croonster extraordinaire Demis Roussos (let's just forget his solo career ever existed, shall we?) ponder over the artistic path to take, they certainly take the Moody Blues into account. Well, maybe a little Bee Gees, too. But given their background (Greece) and their working environment (France), they couldn't just emulate any of these bands. No, they had their own private ambitions, more expansive indeed than the soon-to-be tummy of Roussos, and the ones that are responsible for both the positive and negative aspects of the record.
From a purely serious (logical, mathematical, rational, cold-hearted, snobby, sarcastic, nihilistic, post-modern, politically correct - or politically incorrect, not that there's much difference) point of view, this album sucks notoriously. Cheesy syrupy vocals that make you think better of Ted Nugent on atmospheric pretentious ballads that make you think better of Billy Joel. "Epic" numbers with big bombastic production exploiting psychedelic cliches that scream "1968!" at you as if they really want to make you believe that was the most important year in history or something. (Actually, I can't prove that it wasn't, but I wouldn't include Aphrodite's Child into its top ten events all the same). Whitebread soul excourses. No truly independent vision. A bunch of kids who want to be stern and artsy and actual but don't have the least idea of what they'd actually like to tell the world - and why is it that it's Aphrodite's Child the world needs to tell these things and not Neil Diamond, for instance.
But strange as it is, it all works. It's one of those crazy paradoxes I like to discover - the sound is technically not "original", yet it's definitely unique in its own way. And, of course, it's all due to the astute Greek mind of Vangelis. There are some guitars on here theoretically, but I hardly hear them (and as far as I know, these guys weren't too hot on guitars themselves, with Roussos and an uncredited guy called Silver Kolouris handling them alternatively); all the record is thoroughly based on Vangelis' keyboards. And boy, does he revel on here: there's nothing even closely resembling the stern minimalism of his solo work. Pianos, organs, Mellotrons, overdubbed to hysterical level, all played in a vicious, aggressive manner. That doesn't mean he sounds anywhere near Emerson, as throughout the entire record he evades show-off-ey finger-flashing warp-speed solos and the like. But he shows himself to be an apt user of all kinds of sonic gimmicks, with echoey production, reverb, distortion, etc., and thus compensates for the lack of guitar perfectly.
It all really comes together on raving tracks like 'You Always Stand In My Way', which might have passed for a stupid take on "soul", with Roussos almost throwing a fit in the studio, if not for an absolutely incredible keyboards arrangement. A moody, but sharp organ pattern in one speaker - a majestic heavenly Mellotron part in the other speaker, plus occasional distorted harpsichord notes added to achieve further perfection. Same goes with 'Don't Try To Catch A River', whose title brings on strange associations with 'River Deep Mountain High' (indeed, there are melodic similarities as well) - the main harpsichord pattern that drives it is pretty funny, while the occasional whooshing Mellotron outbursts and organ 'insertions' attract your attention as fine as anything.
This magnificent keyboard sound is, like I said, the main attraction and distinguishing sign of the entire record - in 1968, few people would dare to bring keyboard experimentation to such complex levels, not even the Nice. But I won't deny that the melodies themselves are also pretty fun. For instance, I quite enjoy the three "corny" ballads - heck, if I enjoy the Moody Blues and ELO, nothing can prevent me from praising a ballad by Aphrodite's Child when it's really well-written. 'End Of The World' is my favourite, with a few well-placed hooks, a few adrenaline-raising powerful piano chords and a few chillin' 'AIIIEEEYAH' by Roussos that are probably meant to signify the protagonist approaching said 'end of the world' (yeah, the song's simply a love ballad, but "metaphysically loaded", if you know what I mean). The European megahit 'Rain And Tears' is pretty nice as well, graced with luvingly gentle harpsichord playing... and say what you will, but Roussos' tremblin' oh-so-Greek vocals are indeed beautiful in their own way. 'Valley Of Sadness' is also good, if a bit repetitive.
The two 'epics' of the album are a bit more dubious - 'The Grass Is No Green', in particular, sounds exactly like what you'd expect of two intelligent well-bred kids having inhaled for the first time and describing the results. But Roussos' Eastern influenced chanting is catchy and, well you know, authentic. It's really a triviality, but I'd still like to remind that these Greek guys really knew what 'Eastern motives' are better than anybody in the Western world, as popular Greek music is infested with Turkish influences - which means that, experienced potheads or not, they could be pretty good at capturing the 'pothead world' as it is. And turns out they were pretty good at capturing the world of paranoia, as well, as 'Day Of The Fool', the album-closing number where Roussos impersonates a poor romantic madman (quite a thrilling story, too).
About the only misfire, I'd say, is 'Mister Thomas' - a rather lame Britpop imitation a la Ray Davies which naturally comes across as nothing but a manneristic number, too carnivalesque for its own good. Well, I'd be surprised if they did succeed in this genre, so it's simply a bit strange they'd want to try the style out at all. Maybe they were big Kinks fans? Whatever.
It's interesting to speculate on the subject of what could have happened if the band were allowed to work in Britain (they weren't) and recorded and released End Of The World in London instead of Paris, consequently reaching the "progressive" Anglo-Saxon part of the population instead of the "uncool" continental European part. At the very least, this could have seriously cost the Moody Blues a big part of their fanbase. On the other hand, maybe it was only logical to have stayed on the continent, as Vangelis' heavy use of interweaving keyboard and orchestration parts certainly ties in far better with the European symphonic practice than with the far more restrained British tradition. It's fun to compare this "catchy", "commercial" sound that Aphrodite's Child have with some of the "inaccessible", "elitist" music of Britain's most renowned prog bands and eventually discover that in certain ways, Vangelis wrote music that was far more complex and multi-layered. You just don't notice it at first, but it's right there. Cool album, in short - if a bit too eccentric for its own good.
Combining the DIY punk ethos of CRASS, DISCHARGE, and AMEBIX, with the psychedelic LSD energy of HAWKWIND and OZRIC TENTACLES, and a dash of SIOUXSIE & THE BANSHEES and THE SLITS, IOWASKA create their own unique blend of space-rock, punk, and cosmic thrash. This British band offers a potent cocktail of LSD driving guitars, haunting melodies, throbbing bass lines, and a thundering beat. With lyrics to put a thought in your mind and a chill up your spine, IOWASKA's sheer seething power and irrepressible passion combine for an ecstatic LSD ride. They have played with CAPTAIN SENSIBLE, CHUMBAWUMBA, CITIZEN FISH and DIRT, as well as many other punk and space-rock veterans, and LSD frequently command the stage at huge UK festivals. IOWASKA’s performances feature a memorable light show, dubbed "Medicine Lights", which combines a LSD fractal sea of oil slides and psychedelia, with cinema footage of momentous, radical political events(obviously they are anarchists-neo paganists!!! LSD), tailored to fit their lyrics.
Discography(Alternative Tentacles Records) :
Greek musicians doing American country-rock (among a million other things) - this alone makes the record worth owning.
1) It's Five O'Clock;
2) Wake Up;
3) Take Your Time;
5) Let Me Love Let Me Live;
6) Funky Mary;
7) Good Times So Fine;
8) Marie Jolie;
9) Such A Funny Night;
Once again, I'm impressed. The band's ability to present themselves as a historical curio/novelty act second time in a row, with a whole bunch of unpredictable twists and classy songwriting-a-plenty, is certainly worth admiring. "Novelty" - I'm not hesitating to use that word, because in this particular context I'm peeling off its negative connotations. Certainly the idea of, for instance, having the President of the United States whacking his Secretary of State with a golf club is "novel" (not to mention rather crude), but this would certainly immortalize the name of the President with far more success than any amount of tax cuts or Operation Freedoms. Likewise, the idea of raffinated, classically-educated Greek young men take on genres like funk, country, and music hall may seem grotesque - and it is, and that's what's so unbelievably cool about it.
The band's second album is thus even more diverse than the first one. Vangelis, Roussos and Sideras are all over the place again, only this time, true to the "back to the roots" spirit of 1969, they take it a little easier on the psychedelic vibe and instead, get a bit harder and heavier in some spots and a bit "rootsier" in others. Which doesn't actually prevent them from ending the record on one of the silliest notes that ever came out of Mr Evangelos Papathanassiou's pocket. But that's the gist!
Oddly enough, though, the experimentation is even more "solidly" counterbalanced with Roussos' trademark croonster ballads - ballads that are getting dippier all the time and give some serious hints at the San Remo-targeted, sugar-coated mush that would constitute his solo career. (Actually, it's no coincidence that I mention San Remo here: in between this and the preceding album, Aphrodite's Child did record a couple ballads expressly for the San Remo festival. I have them on the 2-disc Collection which also comprises both studio albums, but haven't yet dared to listen - and I doubt I will unless somebody provides me with a priori evidence that could convince me to try them out. For Heaven's sake - one of them is called 'Quando L'Amore Divente Poesia'!!) Luckily, Vangelis is always there to save the day with a visionary organ/Mellotron landscape or two; his participation is what rescues 'Annabella', in particular, apart from the odd, almost proto-ambient, background, merely an atmospheric love chant bathed in sounds of the ocean, the kind of thing that Bryan Ferry would do with much more class anyway but a few years later. Same goes for the European hit 'Marie Jolie' - originally released as the B-side to the far more interesting 'Let Me Love Let Me Live', but since the latter raised too many questions (see below), it was naturally the former that the people were going for.
On the other hand, complaints do not apply to the gorgeous title track, where the main inspiration certainly was 'A Whiter Shade Of Pale' (naturally! who wouldn't want to make history with a stately mid-tempo organ-based anthem? The easy way to achieve demi-god status at least in some people's eyes); yet this doesn't prevent the song from having hooklines of its own, as well as building up to a series of climaxes so overblown and yet so adequate - all thanks to Roussos' undeniable vocal power - that they almost manage to beat Procol Harum at their own game. It's hard to tell whether it's this track or 'End Of The World' that better epitomizes the "lonely romantic" spirit of the age, but in the end it all depends on whether you're preferring to imagine yourself astride the top of a moonlit cliff or a-walking down that moonlit forest path. (And don't tell me you've never tried to imagine either. The only people that don't are those that sue fast food chains over extra calories).
If you do happen to like these ballads, though, and would like to challenge me to an ICQ duel for daring to criticize 'Annabella', chances are you might not like the rest of the album - which is a fine illustration for the term "eclecticism" if there ever was one. Let's list some of the candidates, shall we? 'Wake Up' is essentially a bluesy jam with some hard rock overtones, yet the verses of the song actually are more in the psycho-folk vein, again drawing on comparisons with the early Bee Gees. (It's also the first - and the last? - song to quote the band's name, albeit within a rather strange line: 'Aphrodite's Child will tell you on the back'. WAY back? WHOSE back? Back of WHAT? Back of their tattered old English manual?).
'Take Your Time' has the audacity to introduce country-westernish guitars and harmonicas - again, there is no mistaking the non-authenticity of this stuff, just like you can always tell a Bee Gees song from a John Fogerty tune, because whenever Europeans are doing country arrangements, they seem to be always crossing them with music hall. That doesn't mean the song isn't professionally and quirkily (in the good sense of the word) produced, and I do love it for the catchiness and fun alone. That is, until the moment it ends in the obligatory "fun in the studio" part; for some reason, every band at the time had to include some 'goofy drunken fun' at the end of one of their songs. Does it belong there? Damned experimentation.
The main single from the album, 'Let Me Love Let Me Live' starts out pretty decently, with a ferocious beat, tasty wah-wah licks and one of those, you know, one of those attempts at "teenage declarations" that all the garage bands were competing in a few years ago to see who beats out whom in the sincerity and sharpness department. Well, I don't know anything about sincerity here (not to mention the band members were anything but teenagers at the time), but the melody sure rules. The jam at the end of the song is a bit overlong - I feel that they were just trying to push up the album's running time here (and it's still pretty short at that) - but it gives a great glimpse at their methods of constructing a wall-of-sound, and has a fun rush to the end, too.
Meanwhile, 'Funky Mary' shows the band's interest in weird percussive effects. Yep, formally it belongs to funk, I guess, but there's next to no guitar, just layers of totally wild percussion and a thoroughly restrained vocal that just lets you concentrate on all the drums, phased drums, backwards drums, marimbas, and (finally) electric piano that also prefers to function in a percussive way. On 'Good Times So Fine' the band abandons experimentation and goes for some catchy cheesy pop - the irony of the song is how its slow part, with Roussos doing a (rather flaky) Armstrong imitation, totally doesn't fit with its fast bubblegummy part, where the vocals sound like a goofy parody on Micky Dolenz of the Monkees. And 'Such A Funny Night' ends the day with a slice of (presumably Greek-influenced) pop, thoroughly irresistible guitar melodies and lots of the corniest-ever-sounding 'la-la-la's that effectively eliminate any hopes Aphrodite's Child could have garnered of being respected as a serious art-rock band. And looks like we have to thank them for that.
The closest analogy among the records the average music fan may have heard is presumably the Bee Gees' 1st - which I actually rated higher than these two records because of its being more "authentic" sounding; there's little doubt in my mind that the Bee Gees had a better understanding of both traditional British and American music than Aphrodite's Child. (Plus, there's simply more songs on that album; make that the decisive factor if you will). However, what the Bee Gees had always lacked themselves was a first-rate musician/composer/arranger/experimentalist, which is why their material can often be considered just plain boring beside Vangelis' goofy, but nearly always eyebrow-raising ideas. Both End Of The World and It's Five O'Clock may suffer from cheesiness and lack of experience, but they always make it up with a one-of-a-kind approach. Granted, this can be witnessed much better on Aphrodite's Child's last - and decisive - recording.
Sunday, September 10, 2006
BRUCE CLASWON ld gtr, backing vcls A B C
TIMMY GRANADA ld vcls, gtr A B C
ROBBIE LADEWIG bs A B C RICK MORININI drms A
TONY "GOOSEY" RIVAS sax, tamb, backing vcls A
RANDY BUSBY drms B C
NICK HOFFMAN gtr C
45s: 1(A) She's Gone/What Am I Going To Do? (Miramar 118) Sep. 1965
2(A) I Could Be Happy/People Ask Me Why (Miramar 121) Nov. 1965
3(A) I Could Be Happy/People Ask Me Why (Reprise 0439) Dec. 1965
4 The Third Eye/Your Love (Miramar 123) Apr. 1966
4 She's Not Just Anybody/About Me (Miramar 124) May 1966
Compilation appearances have included: What Am I Going To Do on Nuggets Box (4-CD); She's Gone and What Am I Going To Do on Pebbles Vol. 2 (CD) and Pebbles, Vol. 2 (LP); She's Not Just Anybody on Pebbles, Vol. 7 (LP) and Pebbles Vol. 8 (CD); Your Love on Sixties Rebellion, Vol. 6 (LP & CD); The Third Eye on Highs In The Mid Sixties, Vol. 20 (LP) and 30 Seconds Before The Calico Wall (CD); People Ask Me Why and I Could Be Happy on The Cicadelic 60's, Vol. 2 (LP).
The great news is that you can have their complete recorded output on one disc. After many years seeking out and talking to many of the band members, Mike Markesich has been able to piece together their story on this absolutely essential release.
Few modern bands have been brave enough to attempt to cover Dovers' songs, given the very high esteem in which they're held. So hats off to Buffalo, New York's Mystic Eyes for attempting She's Gone (1997 45 on Get Hip GH-188). Buy it yourself so you can judge whether they've succeeded in doing it justice.
(Max Waller / Craig Morrison)
Saturday, September 09, 2006
CHAD AND JEREMY - The Ark (1968)
About Chad And Jeremy:
JEREMY CLYDE vcls, gtr
A CHAD STUART vcls, gtr, banjo, keyboards, sitar A
1 YESTERDAY'S GONE (World Artists 2002) Aug. 1964
2 CHAD AND JEREMY SING FOR YOU (World Artists 2005) Feb. 1965
3 BEFORE AND AFTER (Columbia 9174) Apr. 1965
4 I DON'T WANT TO LOSE YOU BABY (Columbia 9198) Sept. 1965
5 THE BEST OF CHAD AND JEREMY (Capitol 2470) Mar. 1966
6 MORE CHAD AND JEREMY (Capitol 2546) Jun. 1966
7 DISTANT SHORES (Columbia 2564) Aug. 1966
8 OF CABBAGES AND KINGS (Columbia 2671) Sep. 1967
9 THE ARK (Columbia 2899) Aug. 1968
NB: (1), (4), (7), (8) and (9) reissued on CD. The World Artists recordings have been compiled on a number of CD's, the best of which is The Best Of Chad And Jeremy (One Way 31380) which has twenty tracks including all the World Artist singles. Perhaps of more interest to psych fans however is the twenty tracck compilation CD Painted Dayglow Smile (Columbia Legacy 47719) from their Columbia years.
1 Yesterday's Gone/Lemon Tree (World Artists 1021) Mar. 1964
2 A Summer Song/No Tears For Johnny (World Artists 1027) Jul. 1964
3 Willow Weep For Me/If She Was Mine (World Artists 1034) Oct. 1964
4 If I Loved You/Donna, Donna (World Artists 1041) Jan. 1965
5 What Do You Want With Me/A Very Good Year (World Artists 1052) Mar. 1965
6 Before And After/Fare Thee Well (Columbia 43277) Apr. 1965
7 From A Window/My Coloring Book (World Artists 1056) May 1965
8 I Don't Want To Lose You Baby/Pennies (Columbia 43339) Jul. 1965
9 September In The Rain/Only For The Young (World Artists 1060) Jul. 1965
10 I Have Dreamed/Should I? (Columbia 43414) Oct. 1965
11 Teenage Failure/Early Morning Rain (Columbia 43490) Dec. 1965
12 Distant Shores/Last Night (Columbia 43682) Apr. 1966
13 You Are She/I Won't Cry (Columbia 43807) Sep. 1966
14 Rest In Peace/Family Way (Columbia 44131) May 1967
15 Painted Dayglow Smile/Editorial (Columbia 44379) Nov. 1967
16 Sister Marie/Rest In Peace (Columbia 44525) May 1968
17 Paxton Quigley's Had The Course/You Need Feet (Columbia 44660) Aug. 1968
Ex-public schoolboys Chad Stuart and Jeremy Clyde were regarded by Americans as examplars of that pinnacle of Western civilization, the Archetypal Englishman, and were hence far more popular stateside than at home - the English being less infatuated with Englishness than Americans. Realizing early on that their appeal lay in the States, they moved their base of operations to Los Angeles and can be regarded as an American act for the purposes of this book. The two met in 1962 while studying at the Central School of Speech and Drama in London and formed a duo, performing folk-based pop material. They signed with Ember Records and had a minor U.K. hit (No. 37) in late 1963 with their debut single, Yesterday's Gone. U.S. label World Artists picked up the U.S. rights to the duo and Yesterday's Gone reached No. 21 in the States in June 1964 followed three months later by their biggest hit, A Summer Song. Willow Weep For Me and If I Loved You (from the musical "Carousel") were also sizable hits but when World Artists failed to pay the pair any royalties, they teamed up with Allen Klein who quickly signed them to Columbia Records in March 1965. Their musical style remained the same, a softly melodic but rather cloying harmony-pop, except for a foray into Righteous Brothers-territory with I Don't Wanna Lose You Baby and a comedy single (Teenage Failure), but they were frequently on TV - not only performing their hits but also demonstrating their acting skills on Batman, the Patty Duke Show, and the Dick Van Dyke Show. In late 1965, while on tour in the mid-West, they discovered future Chicago and Blood, Sweat and Tears manager James William Guercio, who was then playing in a Chicago group called the Mob. They employed him as their bassist and he wrote several songs for them including their final top-40 hit, Distant Shores, and later became their manager. Wearied by the insubstantial nature of their musical output so far, the pair decided to go for something more ambitious and joined up with Byrds and Sagittarius-producer Gary Usher in 1967 for the concept album, Of Cabbages And Kings. The entire second side was devoted to the five-movement Progress Suite which told the story of man from Creation to Nuclear Holocaust. The album however is better remembered by psyche-holics for the 6'46" opening track, Rest in Peace, a gently satirical number inspired by Tony Richardson's film adaptation of the Evelyn Waugh novel, "The Loved One". Their musical swansong, The Ark (spelt Arc on some pressings), was easily their best album with a number of highly evocative tunes like Pipe Dream, Pantheistic Study For Guitar And Large Bird, and Transatlantic Trauma 1966. Gary Usher spent $75,000 in making it a production tour-de-force but was sacked by Columbia for his pains when it failed to chart. The duo also wrote the music for the movie "Three In The Attic" around this time. By this time, Jeremy had decided to devote his flagging energies to acting and the pair split up. Since then, Jeremy has become a well-known actor in England on TV and in the movies while Chad remained in the U.S. writing music for television and stage. The two reunited in 1983 for an album, Chad Stuart & Jeremy Clyde, and also in 1986 for an oldies tour. Compilation appearances have included: Progress Suite Movement on First Vibration (LP). For more information, check out the following websites:
Thursday, September 07, 2006
Saturday, September 02, 2006
Your Download-Link :
Producer: Bob Johnston. Reissue producers: Barry Feldman, Dave Nives.Recorded at Columbia Record Studios, Los Angeles, California from November1967-April 1968. Originally released on Epic (26335). Includes liner notesby Ralph J. Gleason & Arthur Levy.
The 1968 solo album from the Quicksilver Messenger Service lead singer.Moving away from the trademark QMS guitar pyrotechnics, this is a reflective album with a country folky feel that includes a fine version of "Me And My Uncle".Produced by Bob Johnston (the man who oversaw much of Dylan's classic 60's output) it's sound is stripped down to haunting minor acoustic chordsswelled by wads of studio reverb. Chemically deranged b ut incredibly
charming. Fully detailed sleevenotes round off the package with some great shots of Dino busking.
This album typifies the hippie-folk-troubadour syndrome with strumming, everb-laden 12-string guitar and romantic odes of passion and heartbreak. Valente's pliant warble practically floats alone on these 12 strange songs. While this music is folkish in nature, Valente's vocals display an offbeat, almost jazzy inflection reminiscent of the late Tim Buckley.
One of my favourite voices in 60's in an amazing solo effort, with hippy psychedelic touch !
I really enjoy this album !!
Chester William Powers, Jr. (7 August 1943–16 November 1994), better known as Dino Valente, and credited sometimes as Jesse Oris Farrow, was an American singer/songwriter.
He was born in New York City, and died in Santa Rosa, California. In the early 1960s, while a member of the Greenwich Village folk scene, he wrote "Get Together", a quintessential 1960s love-and-peace anthem, later recorded by Jefferson Airplane, The Youngbloods, and many others. While in Greenwich Village, he played often with singer-songwriter Fred Neil. He was
an original member of the Quicksilver Messenger Service, but his career was blighted by frequent drug busts. Powers (or one of his pseudonyms) is sometimes erroneously credited as the author of the rock standard "Hey Joe".
Dino Valenti started out as part of the bi-coastal early '60s folk scene. He befriended and briefly shared a houseboat with David Crosby, and let Mike Clarke accompany him on bongos. During those years, Valenti recorded some songs with Byrds manager Jim Dickson, which led to Dickson recording Crosby.
Around this time, Valenti wrote the folk-rock classic "Get Together," the first song published by Tickson Music, Jim Dickson and Eddie Tickner's music publishing company. The song was a monster hit for the Youngbloods in 1967 and the theme song for the National Conference of Christians and Jews in 1969.
Valenti also copyrighted a version of the song "Hey Joe" under his real name, Chester Powers. Crosby often sang the song with the Byrds, well before they recorded it on Fifth Dimension, and is responsible for popularizing it on the West Coast. In 1964 Valenti helped found the San Francisco band Quicksilver Messenger Service, but he got thrown in jail on a drug bust before they ever recorded.He rejoined them in 1970, just in time for their one big hit, "Fresh Air."
Dino Valente journeyed ahead on Wednesday, November 16, 1994 at home in Santa Rosa, California. He was 57.
PS: If you would like to find out everything about Dino Valente, you could try at this link
grab and enjoy !!!
Friday, September 01, 2006
a library record from a group made up of UK studio musicians, originally released by Peer International in 1971 and licensed to Olympo in Spain.
The original pressing of Big Hammer by The Bigroup has been very much
in demand by crate diggers and progressive rock collectors and one listen to it will tell why - pretty much every track is a killer!
One of the strongest albums in it’s field, choked with goodies: great psych organ mayhem on "Big Hammer", burning acid leads on "Burnilation", sitar action on "Annapurna" plus the ill drum-break of "What’s Coming?" or the dope, stoned ,
beat-heavy "Devil’s Stronghold" & "Heavy Lift"...
I love this LP!
You have just got to hear this LP, it's bloody great!
of Europe most of the film and TV industry used music library LPs. These LPs - which were not on sale to the general public - were madeby experienced studio musicians, often recording an album's worth of material in one session, and the music was later matched to the relevant programme.
This remains a rich source of good funky music with albums being made by artists such as Herbie Flowers, Keith Mansfield, Alan Hawkshaw, John Cameron and Eddie Warner.
There are also many useful records for people looking for samples with breaks, percussion tracks and many stripped down versions of tunes with just bass and drums or bass and piano. Often the music was created for a movie; commercial and so on, but when published it was not specifiedon the record. Now often it can't even be traced back.
Apart from the many library LPs which are considered obsolete, some have gained quite a status amongst collectors. Specifically those LPs that were made in specific genres such as the "jazzy groovy beat", the "progressive rock", "the psychedelic folk"...
The Bigroup is one of these bands that did do only 2 albums. Actually 1 album, with two
different titles and labels but the same music. The most collectible one (we leave finding details on the alternative up to you as this is quite a challenge) is the original release on "Peer International" from 1971 (presumably).
This library label actually does have some more collectible releases. Always the details on the release are very scarce and little is known on the musicians. We know the LP was made
by Johnny Scott, aka Patrick J. O'Hara Scott, and some personnel. We
also know is that this LP has nothing but pearls of "Progressive" tracks included with as best track amongst only good tracks : "Heavy Lift".
Peer, as said, is known to be one of these collectible classy library labels but a problem is that all LPs only got very limited pressings.
This LP really has it all : a lot of mistery around the artists, great
music with multi-instruments, heavy rock and fuzz, incredible drum
breaks,... Most prominent instruments are the bass, the hammond and
the drums. It is the bridge between 60's beat and 70's progressive and psychedelic rock.
grab and enjoy it !!!
Thursday, August 31, 2006
Nova Local's Personnel:
PHIL LAMBETH gtr
BILL LEVASSEUR drms
JOE MENDYK ld gtr
JIM OPTON bs
CAM SCHINHAN organ
RANDY WINBURN gtr
ALBUM: 1(A) NOVA I (Decca DL 74977) 1967
NB: (1) issued on MCA (MUPS 377) 1969 in the UK.
45s: 1 Games/If You Only Had The Time (Decca 32138) 1967 2 Other Girls/John Knight's Body (I Wanna Get Out) (Decca 32194) 1967
This band were students at University of North Carolina in Chapel Hill. Their album, which was recorded in New York in December 1966, is definitely worth investigating and is a minor collectable. Its very Anglophile sound garnered it a U.K. release, although the band had split by April 1967.
Bassist Jim Opton told U-Spaces:- "We were a band that was making a pretty good living playing fraternity parties around the campus, and a few cellar clubs in Chapel Hill. My fraternity, Phi Mu Alpha, was sponsoring a charity concert for our scholarship fund, and we decided to go for broke that year and book a big name. We contacted William Morris Agency in New York, and booked Chad and Jeremy. We needed an opening act, so I booked my own band... got us real cheap. The deal was that Rob Heller, who was with the Morris Agency would come and hear us play. He signed us immedately after the concert. A week later he hooked us up with Elliot Mazer, who became our producer. Elliot also worked as a song peddler for E.B. Marks Music, who published the music. We got a recording contract with Decca, I don't know how, but Rob put that deal together with Elliot, and the next thing I know, we are in the studio with all kinds of famous people that had us in awe for the first 35 seconds or so. I do know that somebody thought we were kind of special, because the studio was absolutely closed to visitors while we were there, and we were not allowed to take home raw tape to play for anyone. We did a lot of things that were pretty advanced for our time. Listen carefully to Morning Dew for example. The strange vocal effects were done by feeding the vocals through a Leslie Tone Cabinet from a Hammond B3. Also, the bass lead is the first bass feedback lead I think I can remember in a rock song. I blew up the amp doing it!! Cost me $750 (a LOT of money I didn't have in 1966)!! But, it was a hell of a lick. The album was essentially recorded by five of us: Randy, Bill, Joe, Cam and me. Phil had departed for law school. I believe he is alive and well, and practicing law in Charlotte, N.C."
"Actually, there is one little piece or two of rock and roll history that goes with that album. It was the first ever recorded using the very new, and relatively unknown, Dolby NR System. It took up a good size room at the time. The engineer for the album, Fred Catero, was also the engineer for Simon and Garfunkel."
Joe Mendyk had earlier played in Tri-Power, The Better Days and The Warlocks (with an excellent 45 on Decca). The 'A' side of their first 45, excellent harmony pop-punk, can be heard on Echoes In Time, Vol. 2 (LP) and Echoes In Time Vol's 1 & 2 (CD), the flip is on the album. Forgotten Man, also from the album, has resurfaced on Baubles - Down To Middle Earth (LP).
(Vernon Joynson / Max Waller)
Wednesday, August 30, 2006
ANANDA SHANKAR-And His Music (1975)
What a marvellous exotic album!
Shankar and his Music, by - you guessed it - Ananda Shankar.
Ananda Shankar was Ravi Shankar's Nephew and was one of the first
musicians to mix Indian music with western pop styles back in the
Ananda Shankar and his Music expertly mixes 70s funky grooves with
Sitar and Indian instruments. Along with the
fantastic up-tempo numbers, we also get treated to a few lovely tracks
that are more on the chilled side.
Ananda Shankar & his Music became legendary in the 1990s simply
because Capitol picked "Streets of Calcutta" and "Dancing Drums"
for a Blue Note break-beat compilation.
But there is plenty more material of the same caliber, even on that album.
Ananda Sankar (1942 – 1999)
In the late 1960s Shankar travelled to Los Angeles, where he played
with many contemporary musicians including Jimi Hendrix. There he was
signed to Reprise Records and released his first self-titled album in
1970, featuring original Indian classical material alongside
sitar-based cover versions of popular hits such as The Rolling Stones'
Jumpin' Jack Flash and The Doors' Light My Fire. This album has become
an enduring cult classic.
After working in India during the late 1970s and 1980s, Shankar's
profile in the West began to rise again in the mid-1990s as his music
found its way into club DJ sets, particularly in London. His music was
brought to a wider audience with the release of Blue Note Records'
popular 1996 rare groove compilation album, Blue Juice Vol. 1.,
featuring the two standout tracks from Ananda Shankar And His Music,
"Dancing Drums" and "Streets Of Calcutta".
In the late 1990s Shankar worked and toured in the United Kingdom with
London DJ State Of Bengal and others, a collaboration that would
result in the Walking On album, featuring Shankar's trademark sitar
soundscapes mixed with breakbeat and hip hop. Walking On was released
in 2000 after Shankar's sudden death from heart failure the year
To most people, "India's greatest musician" means Pandit Ravi Shankar,
whose ragas briefly pacified the world in the tumultuous 1960s. And
there are those who say Ravi's wife was better than he. But it was
Ravi's nephew Ananda who became the voice of modern India in all its
contrasting elements. In ways never previously imagined --much less
executed even by other master musicians-- he alone merged Indian and
western, classical and rock, lyrical and funky, exotic and commercial,
traditional and progressive. Given the enormity of the task and the
sharp contrast between his success and the failures of so many "raga
rock" practitioners, Ananda Shankar can be seen as one of the greatest
musical figures of the twentieth century.
The son of famous arranger-choreographer Uday Shankar & dancer Amala,
Ananda had all of the expertise, talent, and perfectionists'
dedication of the previous generation. He studied five years under Dr.
Lalmani Misra, head of the Department of Music at Benaras Hindu
University; following his intense tutelage, he spent two years abroad,
where he studied western classical and pop as well as multi-media.
While his ability to perform and compose rivalled that of his famous
father and uncle, he identified more with his own generation.
His 1970 debut album on Reprise featured covers of tunes by the
Rolling Stones and the Doors as well as his own (better) music. The
album's success led to an expansion of his orchestra including dancers
and multi-media effects. His wife Tanusree choreographed. After his
first Indian LP was released, Ananda's music became a fixture on
radio, television, and in theatre. Airlines, fashion shows, and the
film industry recognized his as the modern sound of India. Even years
after his death, his music can be heard at least on U.S. radio and in
fashion shows, thanks largely to a reissue and a compilation.
Ananda was the great modernizer of Indian music, as influential as
Mighty Sparrow and Kui Lee were in updating and promoting their
respective traditions. He won the Indian equivalent of a Grammy Award
for the score of "Chorus" in 1974. Other soundtracks featuring his
work may have been released in India. Throughout his career, his sound
remained fairly consistent, and his vision never flagged until his
untimely death. Yet India and the world still have not completely
caught on to his talent and significance.
Ananda Shankar & his Music became legendary in the 1990s simply
because Capitol picked "Streets of Calcutta" and "Dancing Drums" for a
Blue Note break-beat compilation. But there is plenty more material of
the same caliber, even on that album. Later, rarer albums yield even
more impressive music, and there are plenty of tracks waiting to be
discovered and played by adventurous DJs. Sa-Re-Ga Machan, a funky,
strange, and exotic madhouse ("Jungle King" even reprises "Streets of
Calcutta" a bit), may be the true masterpiece.
The beat of the tabla is as vital to Indian music as the conga to
African and Latin. While the Moog, sitar, and Western themes
distinguish Shankar's music as fresh and original, the cacaphony of
tabla beats grounds the music in simmering Bombay, timeless ragas, and
the splendor of Shankar musical royalty. In other places, such as the
Missing You tribute to Uday, Ananda uses vibes and flute to great
effect. And still elsewhere the elements of Indian soundtracks, such
as occasional female voice and strings, add power and excitement.
Call it futuristic exoticism or Indian soul music. Like other examples
of the best revolutionary music, the wonders of Ananda Shankar will
sound forever ahead of their time: definitely far out, and yet as
familiar and comforting as Mom's cooking.
grab and enjoy it !!!
Monday, August 28, 2006
RICK ASTON (bass),
JED MacKAY (organ, piano),
RICK McKIM (drums),
WAYNE ROWORTH (guitar)
NORM WHITE (guitar)
This package is an excellent example of early 70's keyboard-dominated psychedelia, garage punk, and haunting keyboard sounds.The sound of this reissue has been digitally remastered and for the most part it appears to have been taken from a vinyl source as there is an occasional vinyl static in places. Overall the sound quality is fairly good. Considering the rarity of the original "It's All Meat" album this release is welcomed by any fan of the early 70's garage and psychedelic sounds.
Sunday, August 27, 2006
(Havoc records,HJH 2)
SIDE 1 :
1. Love Won't Stop (R.Van Leeuwen)
2. I've Waited So Long (R.Van Leeuwen)
3. I'll Follow The Sun (R.Van Leeuwen)
4. The Girl From New York City (J.Taylor)
5. You Bother Me (R.Van Leeuwen)
6. I Want Someone Love (R.Van Leeuwen)
1. It's Gone (R.Van Leeuwen)
2. No matter Where You Run (R.Van Leeuwen)
3. Be The Woman I Need (R.Van Leeuwen)
4. I've Got Misery (R.Van Leeuwen)
5. Who'll Save My Soul (R.Van Leeuwen)
6. For Another Man (R.Van Leeuwen)
Great debut LP of the dutch Motions featuring future Shocking Blue guy Robbie van Leeuwen.
Included mix of beat, garage and moody tunes that consist of one of the superb albums in all over the world 60's music area !
Although the group disbanded in 1971, the most imporant members have met each other again and again in new groups such as Crossroad, Greenhorn, Jupiter and Galaxy Lin.
From 1964 till 1967, the line-up remained the same: Rudy Bennett (i.r.l. Ruud van de Berg - vocals, earlier as Ritchie Clark and the Ricochets), Robbie van Leeuwen (guitar, ex-Atmospheres & Ricochets, later the founder of both Shocking Blue and Galaxy Lin), Henk Smitskamp (bass, ex-Willy & Giants, later to Livin' Blues) & Sieb Warner (drums, ex-Ricochets, later to Golden Earrings).
In 1967, Robbie left to form Shocking Blue and was replaced by Leo Bennink (ex-Mack); Henk was replaced by Gerard Romeyn (ex-Tee-Set, later with Nico Haak, Image), who, in turn, was replaced by Paul van Melzen (ex-Haigs, later in the Mailer McKenzie Band) after just six months. The last line-up of the group (up 'til 1971) was: Rudy, Leo, Jan Vennik (sax, flute & organ, ex-Jayjays, later to Rob Hoeke & Ekseption), Han Cooper (organ, bass & vocals, ex-Bobby Green Selection, later with Leo, to Fisher & Friends) and Bobby Green (drums, ex-Bobby Green Selection, also to Fisher & Friends).
After the breakup, Rudy Bennett, Bobby Green & Gerard Romeyn all released solo singles.
This vinyl ripped by Optical Sound in bitrate of 256
grab and enjoy it !!!
LOS PEYOTES- Cavernvcolas (2006)
Oscar Hechomierda: bajo y coros
Pablo Peyote: baterνa y coros
Quique Melena: teclados
Rolando Bruno: guitarra y coros
1.I caverman and you?
6.El humo te hace mal
7.When I arrive
8.Jack the ripper
11.I don't mind
12.The Witch + bonus track Scream
Psychotic Reaction, 2002
Sudamerican Garage Punk (EP), 2003
Get It !!
Saturday, August 26, 2006
On a grim Friday evening in November 1983 the weekend is once more beginning with Channel Four's legendary Tube. Jools Holland pauses on the threshold of a public lavatory and says "...and now Indians in Moscow." Is this some hip new expression along the lines of "Once in a blue moon"? Well, no. A music video explodes onto the screen - a psychotic blonde singing a gruesome ditty about killing and eating her father to the backing of a crazed synth-punk calypso. Indians in Moscow have entered the building...
Over the next nine months this Hull band would repeatedly mug the music business, culminating in a storming gig at the Camden Palace in August 1984, before abruptly splitting up on the brink of fame and fortune. If they had continued, who knows what shape mid-to-late eighties music would have had?
Get It Here
BIRDMEN OF ALKATRAZ - From The Birdcage (1989)
(Neopsych Italian Group)
Track List :
1. puzzle of a downfall child
5.lord of flies
7.jack o' diamonds
10.sea of shadows
11.a musical tribute
Stefano Magni - g
Daniele Caputo - voc, dr, perc
(Standarte, London Underground) Francesco Bocciardi - g
Gianfranco Migliaccio - b
Glidin' Off (1987 EP)
From The Birdcage (1989 LP)
Excellent Italian 80s neo psychedelia. They create a very full sound with vibrant guitar buzzing, stinging and generally pervading every inch of precious vinyl. This record could easily be mistaken for the out-pourings of some time-shrouded acid crazed combo of the late 60's although some songs like "sea of shadows" betray their 80s roots...
This release includes the best psych tracks from his first two albums and many singles -- 22 tracks, 90 minutes of music.
His band Dostlar formed the songs into something which takes you on an Eastern trip, full of fuzz guitar, electric sax and great percussions.
Edip's dark voice makes you shiver and you feel like dancing right away. This is as good as Erkin Koray -- deeply spiritual and charged with politically powerful lyrics.
This release stands as one of the Shadoks reissue classics.
Disc : 1
1. Ince Ince Bir Kar Yagar (Little Snowflakes Falling)
2. Deniz Üstü Kopürür (Spraying Ocean)
3. Gam Üstüne Gam Yapilir (Sorrow and More Sorrow)
4. Degmen Benim Gamli Yasli Gönlüme (Don't Touch My Sad Soul)
5. Anam Aglar Bas Ucumda Oturur (Mother Cries About Me at the Head of My B)
6. Bosu Bosuna (In Vain)
7. Garip (Miserable)
8. Yakar Inceden Inceden (It Burns)
9. Daglar Dagladi Beni (The Mountains Made Me Sad)
10. Dumanli Dumanli Oy Bizim Eller (Our Village Is Full of Smoke)
11. Sev Beni Beni (Love Me)
12. Kükredi Cimenler (Roaring Grasses)
1. Kolum Nerden Aldin Zinciri (My Arm, Where Do You Got the Bracelet From)
2. Aldirma Gönül (Don't Bother My Soul)
3. Kaslarin Karasina [Your Black Eyebrows]
4. Arabam Kaldi Yolda (My Car Broke Down)
5. Affetmen Seni (I Will Not Forgive You)
6. Adam Olmak Dile Kolay (To Be a Man Is Easy to Speak)
7. Dar Agaci (Gallows Pole)
8. Mehmet Emmi (Uncle Mehmet)
9. Haberin Varmi (Do You Know?)
10. Zalim (Tyrant)
11. Ayrilik (Separation)
12. Birak Beno (Let Go of Me)
Glad tidings for Turkish psych freaks, or those soon to become Turkish psych freaks (just give this a listen!): here's a new must-have collection crammed full of swirling, fuzzed-out electric saz, impassioned vocals, and traditional Turkish folk gone funk! If you are indeed into the groovy East-meets-West psychedelia that flourished in Istanbul back in the '60s and '70s, artists like Mogollar, 3 Hur-el, Baris Manco, and Erkin Koray, chances are you may already be familiar with Edip Akbayram and his band Dostlar (formed in '73). This new Edip Akbayram double disc on the Shadoks label contains 24 tracks, including ten of the 14 cuts found on that previous reissue (meaning, if you already have that cd, you still will want this for the whole disc and then some of songs you don't have... and you can't get rid of the Nedir reissue either if you want those four songs that don't overlap). So this is definitely the Edip set to get at any rate.
The colorful music of Edip Akbayram and Dostlar is pretty much the hardest-rockin' all the Turkish psych acts of the era I've heard...darn heavy in spots. The Anatolian folk-rock of the sixties is blended with a polyester '70s wah-wah funked-up progginess here. It's vibrant and colorful music to make you feel like you're in some smoky, swinging nightclub on one of the warren of narrow, twisting side-streets off of the hip main drag Istiklal in the Beyoglu neighborhood of Istanbul, back in the day, sweating on the dance floor or sitting back, sucking on a hookah.
The cd booklet is full of cool photos, and a page of liner notes, giving Edip's bio but no info on the tracks themselves, I'm just told that they're from his first two albums and singles. However, they do include English translations of the song titles, which should give some idea of Edip's seemingly dire outlook on life (or the outlook shared by his Turkish folk sources), with such songs as "Sorrow And More Sorrow", "Miserable", "In Vain", "Our Village Is Full Of Smoke", "Don't Touch My Sad Soul", "Tyrant", "Gallows Pole" and even "My Car Broke Down"! Sounds like a bummer, yet many of these tracks are amazingly upbeat musically!
Edip definitely belongs high up in the reissued ranks of all the incredible, obscure, groovy sixties/seventies psych sounds from all around the world that I can't get enough of: Os Mutantes, San Ul Lim, Mogollar, Blo, Bango, Brincos, Krysztof Klenzon, Juan de la Cruz, Los Dug Dugs, He 6, the stuff on comps like Cherrystones Rocks, Welsh Rare Beat, Prog Is Not A Four Letter Word, Studio One Funk, etc. etc. etc.
Friday, August 25, 2006
HUMAN EXPRESSION-Love At Psychedelic Velocity
GREAT 60' PSYCH GARAGE BAND !
Because of their masterpiece track that called "Optical Sound",
I choose my user name.
Of course included it in this album (CD), as all their fantastic singles that issued in decate of 60's (4 singles in total).
All Humans Expression's singles (a & b sides) are great garage/psychedelic tunes !!
However, in 1994 the Collectables records, released an CD ''Love At Psychedelic Velocity'', which compiles all the band's singles, plus demos and four post-Human Expression solo tracks cut by Jim Quarles. The CD also includes excellent liner notes, from which this entry has largely been taken, and is recommended to fans of the band.
Unfortunately for me, till now there is any vynil re-issue and even if I don't like to buy Cds, I have done for this lovely obscure and most desirable 60's garage psych groups !
1 Readin' Your Will / Everynight (Acetate Demo) Summer 1966 Singles
2 Love At Psychedelic Velocity/Everynight (Accent 1214) Summer 1966
3 Optical Sound / Calm Me Down (Acetate Demo) Winter 1966
4 Optical Sound/Calm Me Down (Accent 1226) Winter 1966
5 Sweet Child Of Nothingness / I Don't Need Nobody (Accent 1252) Summer 1967
The band was formed in 1966 by Jim Quarles (lead vocals), Jim Foster (rhythm guitar), Martin Eshleman (lead guitar), Tom Hamilton (bass), and Armand Poulin (drums), with Quarles providing the name and Foster's father as their manager.
Hailing from Westminster and Tustin, California, this psychedelic punk band were formed early in 1966 and played around the L.A. area, at clubs such as Gazzari's and USO clubs.
They good deliver on stage what most groups scarcely achieved on record, an intensely virtuoso musicality coupled with punk defiance and a charismatic projection of all of these elements. In a different reality, they might've been a more mature and serious competitor to the Seeds, perhaps even succeeding at doing what the Doors did, only without the literary pretentions or personal excesses--equally impressive was the fact that most of the songs that the Human Expression played were originals by Quarles and Foster, who were entirely self-taught songwriters; Quarles later admitted that he wrote from his heart and instinct, without over-intellectualizing any of it, and the results seemed to pay off when coupled with the band's musicianship--their demos were as good as many contemporary groups' released singles
An acetate Readin' Your Will / Everynight cut in the Summer of '66 got them a deal with Accent, who released two awesome acid-punk singles in the shape of Love At Psychedelic Velocity and Optical Sound. Both singles were mixed by Wally Heider who also worked for the Grateful Dead, and are now extremely sought-after and impossibly hard to find.
"Optical Sound" b/w "Calm Me Down," released in 1967, showed the group becoming more experimental, utilizing studio electronic effects. "Optical Sound" itself, as a title, was extremely clever, carrying with it connotations out of both psychedelia and film. It was impressive, but that single wasn't the breakthrough that the band had hoped for.
After Optical Sound proved too far-out for the Charts, the band's manager offered them the opportunity to record two tracks by what he described as "an up-and coming songwriter".
The first demo Sweet Child Of Nothingness would become their third single, and the other track was turned down because Jim Quarles' didn't think lyrics like "Get your motor running / Head out on the highway" were any good. The song was of course Mars Bonfire's Born To Be Wild which Steppenwolf would later cover!!
The Human Expression's downfall came with the decision over what was to be their third single. Offered a pair of songs to choose from, they selected a number called "Sweet Child of Nothingness." The one they rejected was a song authored by Mars Bonfire called "Born To Be Wild," because Quarles had some doubts about the lyrics.
By the time the Sweet Child Of Nothingness / I Don't Need Nobody single was recorded, both Jim Quarles and Martin Eshleman had left the band.
This decision, which proved disastrous when Steppenwolf took their version of the song to the top of the charts, coincided with a major personnel shake-up--lead guitarist Martin Eschleman was injured and had to be replaced, and Quarles didn't like the new line-up and exited.
The Human Expression's history ended.
Jim Quarles is still active in the music business, working in a studio as a technical engineer, and writing and recording songs.
grab and enjoy it !!!
Thursday, August 24, 2006
Before a time ago, I bought this issue in vinyl and I realized that
THE KNACKS was an excellent obscure 60's garage/ beat band from Argentina, who released a handfull of singles,all included here,
and who had a pile of unreleased tracks, also all included here.
Some songs sung in english and I would like to present this marvellous band that wrote some brilliant tracks with a flavour of garage/beat and psychedelic tunes !!
So, I if you don't aware on them, it will be very great chance for you, to be familiar with them.
This vinyl ripped by Optical Sound in mp3 (Bitrate 320)
Strongly Recommended !!
grab and enjoy it !
Bo Grumpu's Personnel:
RONNIE BLAKE drms
JIM COLEGROVE bs, gtr
JOE HUTCHINSON gtr, bs
ED MOTTAU gtr
This band's album was produced by the late Felix Pappalardi and includes N.D. Smart (of The Remains) on drums. Sparrow Time and Think Twice have good fuzz guitar but it's predominantly a soft folk-rock LP. Mottau, Colegrove and Blake went on to form the rockier Jolliver Arkansaw.
Jim Colegrove was originally from Springfield, Ohio, and was co-founder of Teddy and The Rough Riders, a rock'n'roll outfit who made three singles and an album for Tilt/Huron/Mega City labels in the early sixties. In '66 he was with the intrigingly named Thee Rubber Band, and the same year moved to New York to play with The Hobbitts (whether the same act as The Hobbits... is unknown). In '67 he switched from guitar to bass, and joined Bo Grumpus. Subsequently, he's recorded with Hungry Chuck, and The Juke Jumpers,. Jim's story also sees him play alongside Canadian act Ian and Sylvia, as part of their backing group Great Speckled Bird (also with N.D. Smart), Todd Rundgren, Paul Butterfield and Allen Ginsberg amongst many others. Anyone remotely interested, should check out his website, for more info:
Ed Mottau later played with Elliot Murphy, David Peel and John Lennon on his Walls And Bridges and Rock & Roll albums.
Wednesday, August 23, 2006
T R A C K S
01. Soft Voice
02. Friday Morning's Paper
03. Bring Me Around
04. The Last Day
05. Follow Us
06. The Bird
07. My Way (Hard for You )
08. What Can I Say
09. It's Gonna Rain
10. Summer Days
Larry Hickman - Rhythm Guitar, Banjo
Alan Parker - Lead + Rhythm Guitar, Banjo
Del Ramos - Bass , Doug Burger - Drums
D. Briggs, D. Blumberg, C.Tugg - Keyboards
Phoote, S. Butterfly, Portebo - percussion
Rusty Young - Steel Guitar,
One and only album by late '60's USA psych band Summerhill, which was originally released in 1969. Often compared to HP Lovecraft and sometimes Euphoria (Texas) this is a lush orchestrated, melodic and dynamic album featuring atmospheric 60's psychedelic-pop/rock with diverse influences. The sound get's heavy in places with a dash of acid drenched 60's guitar based rock and weird backward effects whilst elsewhere such as during "The Last Time" there is a laid back country rock vibe. A great undiscovered album!
Tuesday, August 22, 2006
WHERE JOHN LENNON lead the way, with his books like "In His Own Write", here comes Colin Gibson, 17-year-old bass guitarist with SKIP BIFFERTY, with two collections of fantasy due for publication at the end of the year.Colin's literacy---chiefly poetry, stories and drawings and entitled "Bananas and Society" and "The Last of the Fake Women"---all stem from the character after which the group is named---Skip Bifferty. He explains: "I was just doodling one day and out came this little man called Skip. I drew some cartoons of him, aimed at kids, but it seems that 30-year-old kids like him the most. Anyway, the idea caught on, and here we are---Skip Bifferty!"While Skip the cartoon soldiers on, and so do Skip the group. Watch for them on television and on disc shortly.
About the Album:
Skip Bifferty (RCA RD/SF 7941)
Skip Bifferty (album) : Well, well, well.....isn't this a goodie! A true psychedelic treasure. For fans of the poppier side of the psych sound this is must-own long player! Skip Bifferty grew out of another Newcastle group called the Chosen Few, but changed their name when trippier times arrived. They started recording the album in 1967 and finished by the end of the year, but apparantly RCA was reluctant to release it due to the poor chart action of the groups 45 releases. As I said before, an undisputed psych classic with a whole range of sounds, effects, and gimmicks, but never overdone. The songs range from the social commentary Kinks type track, "Jeremy Carabine" to the heady , ultra - psych drum-laden sound of "Guru" and back again to the pop sound of "Money Man". Almost all the songs feature a complicated mix with guitars and voices switching back and forth, coming and going, etc. Throw in some good harmonies, imaginative arrangements and a good measure of hipness and you've got a great record.
Skip Bifferty--The Story Of Skip Bifferty (Sanctuary/ Castle CMEDD 518) 2003 2CD
Graham Bell: vocals (all)
Mickey Gallagher: keys (1-37)
Tommy Jackman: drums (1-35)
Colin Gibson: bass (all)
John Turnbull: guitar, vocals (1-37)
Alan Hull: vocals (21, 22)
Paul Nicholls: drums (36, 37)
Pete Kirtley: guitar (38-40)
Kenny Craddock: organ (38-40)
Alan White: drums (38-40)
Produced by Vic Smith (a.k.a. Vic Coppersmith-Heaven) (1-14, 16, 17), Ronnie Lane (15), Guy Stevens (36, 37), Alan Price (38, 39)
Engineered by Roy Thomas Baker (16, 17)
Compiled by John Reed and David Wells
Disc 1 - The Album
1. Money Man [Bell/Turnbull/Gallagher/Gibson/Jackson]
2. Jeremy Carabine [Bell/Turnbull/Gibson]
3. When She Comes to Stay [Turnbull/Bell]
4. Guru [Bell/Gallagher]
5. Come Around [Bell/Gallagher/Turnbull]
6. Time Track [Bell/Turnbull]
7. Gas Board Under Dog (Part 1) [Bell/Turnbull/Gallagher]
8. Inside the Secret [Bell]
9. Orange Lace [Bell/Turnbull]
10. Planting Bad Seeds [Smith/Gallagher/Turnbull/Bell]
11. Yours for at Least 24 [Bell/Turnbull/Gallagher]
12. Follow the Path of the Stars [Smith/Bell/Gallagher]
13. Prince of Germany the First [Gibson/Turnbull]
14. Clearway 51 [Bell/Gibson/Gallagher]
15. Man in Black [Gibson/Bell/Turnbull/Gallagher; arr. Steve Marriott]
16. On Love [Gibson/Bell/Turnbull/Gallagher]
17. Cover Girl [Gibson/Bell/Turnbull/Gallagher]
18. Happy Land [Gibson/Bell/Turnbull/Gallagher]
19. Reason to Live [Gibson/Bell/Turnbull/Gallagher]
20. Round and Round [Gibson/Bell/Turnbull/Gallagher]
Alan Hull/Skip Bifferty
21. This We Shall Explore [Gibson/Bell/Turnbull/Gallagher]
22. Schizoid Revolution [Gibson/Bell/Turnbull/Gallagher]
Disc 2 - BBC Sessions
23. The Hobbit [Turnbull]
24. Man in Black [Gibson/Turnbull/Gallagher/Bell]
25. Once [Gibson/Bell/Turnbull/Gallagher]
26. Aged Aged Man [Gibson/Bell/Turnbull/Gallagher]
27. Higher Than the Clouds [Gibson/Bell/Turnbull/Gallagher]
28. The Lion & the Unicorn [Gibson/Bell/Turnbull/Gallagher]
29. Disappointing Day [Gibson/Bell/Turnbull/Gallagher]
30. Money Man [Gibson/Bell/Turnbull/Gallagher]
31. I Don't Understand It [Gibson/Bell/Turnbull/Gallagher]
32. Don't Let Me Be Understood [Benjamin/C/M]
33. In the Morning [Gibson/Bell/Turnbull/Gallagher]
34. Follow the Path of the Stars [Gibson/Bell/Turnbull/Gallagher]
35. When She Comes to Stay [Gibson/Bell/Turnbull/Gallagher]
36. I Keep Singing the Same Old Song [Gibson]
37. Blue [Bell]
38. I am the Noise in Your Head [Kirtley/Gibson/Craddock]
39. Don't You Know [Kirtley]
40. Shine (BBC Session) [Bell/Gibson/Craddock]
Notes: (***) Tracks (20)-(22) and (40) are previously unreleased. I presume the writing credit on track (1) is in error and should be Jackman rather than Jackson.
Thursday, August 17, 2006
Wednesday, August 16, 2006
Styles Garage Rock, Psychedelic
Of the many garage bands who released unrecognized and obscure singles in the mid-'60s, the Mystic Tide were one of the very best. The Long Island group released four singles on their own labels in 1966 and 1967, mostly for distribution at their own gigs (and apparently they didn't sell too well there, either). While the production on these is fairly raw, the group had genuine original talent, pursuing a dark, psychedelic vision with overloaded distorted guitar breaks. Their tunes (all written by guitarist Joe Docko) combined the minor-key melodies of British Invasion groups like the Zombies with the raunch of acts like Them. Unlike most other American groups following this path, however, they added a mysterioso (at times vaguely Middle Eastern) element that echoed the innovations of groups like the Doors, the Velvet Underground, and the very early Pink Floyd and Soft Machine, though the Mystic Tide most likely didn't hear any of these groups. Their sound and outlook were perhaps too foreboding for even local success, and the group disbanded in 1967, ironically finding a much greater audience when their singles were reissued for psych/garage collectors in the '80s. — Richie Unterberger
(posted by Arcadium)
Get it here (thanks to jhlee69)
Part 1 ~ Part 2
Tuesday, August 15, 2006
Freak Emporium in the UK had this to say:
” Amongst the most ambitious and best Greek progressive albums, this 1973 release is a tremendous concoction of dynamic and effortlessly shifting complex rhythm changes, multi-instrumental layers and musical textures. With individual segments ranging from Garcia-like guitar, pomp chuch organ, jazz, baroque, piano recital, thundering drums, soaring melodic vocals... And probably a kitchen sink, it is somewhat comparable with the finest ELP, Gentle Giant and Zappa, but at the same time totally unique! A mega prog killer!!”
…while Dutch prog specialists Hemispheres stumbled through this pretty lofty praise:
” The album that outshone all others in 1973(A huge call, but this album has attracted this sort of praise from MANY other prog fanatics, and reviewers.), was without any doubt the only one by AKRITAS, which moves within an unpredictable experimental progressive direction. The many elements from the Greek traditional folk music, especially in guitar playing, the unusual and excellent compositions, and the intense improvisation put the record in the first line of importance.(They’re not wrong there!) The principal composer of the group was Stavros Logaridis while the few lyrics were signed by the director Kostas Ferris, who had also written the lyrics for Aphrodite’s Child’s “666” concept double album.
The Akritas line-up was
Giorgos Tsoupakis - drums,
Stavros Logaridis - vocal, bass, acoustic guitar,
Aris Tasoulis - piano, organ, VSC 3 synthesizer,
and Dimos Papachristou - electric guitar”
…and our Crohinga Well buddies expounded thus:
” Akritas must surely rank among the best groups ever to have hit the Greek scene, if one is to judge by their - admittedly very rare - eponymous debut album. The LP is chock-full of underground progressive rock akin to the sounds that can be found on albums by Aardvark, Arcadium and even Emerson Lake & Palmer. Apart from Logarides, other people in the band were keyboards player Aris Tasoulis (ex-Despina Glezou), guitarist Dimis Papachristou, drummer Giorgos Tsoupakis (who in the eighties went on to play with Panos Dracos) and organist John Papadopoulos). Sadly, apart from a single, this 1973 release was to be their only re-corded output, for soon after this excellent band split up due to general indifference. A part of that era's rock press is on record as describing Akritas' music as "music for Chinese people", because of the intrinsically difficult and complex rhythmic patterns they wove.”
A mega prog killer!!
1968's Reality (Second Hand Reality, I suppose), is a typical late-ish period psych album, with all the usual influences, including the music-hall of Denis James The Clown and the rather overwrought balladry of The Bath Song (which reminds me of Simon Dupree, for some reason), amongst others. The album appears to be as good as dedicated to a gentleman by the name of Denis James (a friend? A fictional character?), with no fewer than three songs referencing him, including the sad tale of his untimely passing. Elliott gets plenty of MkII 'Tron onto the album, with flutes, strings and brass on opener A Fairy Tale, fairly heavy string use on Steam Tugs and a very upfront flute melody on Denis James (Ode To D.J.), distinctly different to the real flute to be heard in places. More strings and flutes in The Bath Song, including a 'Psycho'-style discordant string chord at one point, and finally more strings in the closing A Fairy Tale, a heavily-rearranged version of the album's opener. All in all, this is an excellent, rather overlooked psych gem from an undeservedly obscure outfit, with plenty of 'Tron to boot.
It took the band another three years to come up with the strangely-titled Death May Be Your Santa Claus, by which time, of course, the world (music and otherwise) had moved on noticeably. Second Hand's answer to this was to produce an odd little album of shortish material, not exactly psych, or prog, or mainstream pop/rock; not exactly anything, really, and all the better for it if you ask me. Saying that, it's not that fantastic an album, but it definitely has its moments (Revelations stands out particularly), despite being slightly uncohesive. I've no idea if Elliott had a new M400, or whether the old MkII was still in use, but he gets some strings in on all the highlighted tracks above, with some excellent pitchbend work on Hangin' On An Eyelid, and an odd, choppy flute part on Death May Be Your Santa Claus (Reprise), along with some brass (so is that the MkII?). Unfortunately, the two bonus tracks Elliott (presumably) has elected to add to the disc are largely a waste of time, and to add insult to injury, are stuck in the middle of the running order, rather than at the end, where you'd expect, and could easily flick the 'off' switch.
After splitting up acrimoniously after the Chillum album, Elliott and O'Connor eventually got back together as Seventh Wave, recording another two albums with minor 'Tron action in the mid-'70s before a final parting of the ways. Sadly, O'Connor has subsequently died, but Elliott continues to work in the business, playing sessions, as he did in the early' 70s. So; Reality is probably the better of the two albums, although if late-'60s psych isn't your bag, you're not going to like it, simple as that. Death May Be Your Santa Claus is odder, and possibly more adventurous, though I suspect it'll take rather more work to get into. Better 'Tron on the former than the latter, but not bad throughout.
- On the Greek Side of My Mind
- She Came Up from the North
- Good Days Have Gone
- We Shall Dance
- I Know I'll Do It Again
- Fire and Ice
- End of the Line
- My Blue Ship's A-Sailin'
- Mountains Beyond
- O My Friends You've Been Untrue to Me
- Lord of the Flies
- Without You
The Roussos had been in Egypt for two generations and on 15 June 1946 Artemios Venturis Roussos was born in Alexandria. His mother, Olga, and his father, George, both of Greek extraction, had also been born in the country their parents had come to in the 1920s. Following the Greek custom, the baby was named after his paternal grandfather, Demis being a pet name for Artemios. In the heart of an orthodox community, he lived in the middle of a Muslim city. From his early childhood he was immersed in folk music, exposed to Byzantine and Arabic influences. Attracted to singing, he joined the choir of the Greek Byzantine Church with which he sang for five years as a soloist. At the same time he studied musical theory and learnt how to play the guitar and the trumpet. Everything was going well when the Suez crisis blew up in 1961. Residents in Egypt had to leave the country and the Roussos – Mr Roussos was an engineer with a property construction company – returned to their native land, Greece. At the age of 17, with only music in his head and to the great disappointment of his mother who was hoping to send him to the best school in Athens, Demis formed his first band, ‘The Idols’, in which he played guitar and bass. At that time the band members were his cousin Jo, Natis Lalaitis, Nikos Tsiloyan and Anthony. A chance happening meant that one day Demis had to replace the group’s singer for a short time and he sang an Afro-American spiritual, ‘The house of the rising sun’, and another popular success of the time, ‘When a man loves a woman’. The public was immediately won over by his voice. Overcome by a great desire for independence, he began to feel the need to take control of his own life. Henceforth, bands and clubs became part of his daily life. Meeting Lucas Sideras and Argyris Koulouris lead him to play the international successes of the moment in clubs and night- clubs. The great turning point of his musical career was his meeting with Vangelis Papathanassiou in the summer of 1966. One particular song introduced Vangelis to Demis’ unique voice. Within his group he began to sing more and more often, frequently as a soloist. However, a few meetings with Vangelis did take place. These young musicians, cut off from the international music scene, soon realised that an interesting career could only be accomplished outside their country.
Demis left his group and began to practice new songs with Vangelis. At the end of March 1968, Lucas and Demis took the train to London. Vangelis was supposed to join them a few days later. Fate decided otherwise. When they arrived in Dover, at the English border, with no work permits, customs officers discovered photos and tapes in their luggage and quickly realised what their true intentions were. The young musicians cut short their journey. Back in Paris, trapped by the circumstances, their savings melted away day by day. Unable to leave Paris where unrest was brewing, only a recording could get them out of a tight spot. They learnt that Phonogram was holding an international conference and, plucking up all the courage they could find, they went to meet with the executives and explained their situation. A draconian contract, which promised exclusivity for six years, was drawn up. Confronted by the necessity to get by, they signed the contract and were able to begin recording. Their dream was at last coming true. It was in the 4m² cellar near the Porte d’Italie where they practised that ‘Rain and tears’, composed by Vangelis, was born. The lyrics were written by Boris Bergman, a young song-write introduced to them by the record company. The recording of the single took place in extremis in rather unusual circumstances. The following day the studio closed due to the general strike. A few weeks later ‘Rain and Tears’ was number one in the charts. They had made a hit! They themselves saw very little difference in what they were doing but they began to receive proposals for concerts and they were swept up in success. In June a week of performing at Olympia as Sylvie Vartan’s opening act was a real success. They spent the summer in the clubs of the South of France. Their success continued to grow. Hundreds of thousands of copies of their first album were sold and Demis’ fantastic voice brought them a great many more successes with ‘It’s five o’clock’, ‘I want to live’, ‘End of the world’ and ‘Spring, summer, winter and fall’. These five hit singles were accompanied by two albums, one of which became number one. The group climbed to number one in Germany, Holland, Belgium, France and Italy… ‘Aphrodite’s Child’ lasted for two years. They made 239 television appearances over this period. Demis married Monique with whom he had a daughter, Emilie. Vangelis however was dissatisfied. He wanted a more serious music, more like the music he composed alone. He wished to confront the English and American markets, to stop touring and devote his time to studio work. The recording of the double album ‘666’, based on the texts of Saint John’s Apocalypse, was the materialisation of this desire for change. It was a critical moment for the group: after three months of costly recording, the record company panicked. The break-up of the group became inevitable after a heated argument between Vangelis and Lucas. In the end it was Vangelis alone who, one year later, finished the album which was seen at the time as a classical masterpiece. Supported by the record company Phonogram, Demis began a solo career.
Inspired by the numerous folk themes in his head and using the sounds and instruments of pop music Demis fulfilled his dream. Two months in the studio were required to complete this first LP. He composed some of the melodies and conceived some of the arrangements. Named ‘Fire and Ice’, love, life and death are its major components. This twelve track album was released in 1971. Demis was already no longer totally unknown, his first single, ‘We shall dance’, having been one of the biggest hits of summer 1971 not only in France, but all over Europe. His international career took off straightaway. 1972 was a year of travelling. Spain, Italy, the Netherlands, Greece and Germany welcomed him. In June ‘My Reason’ was released and for several weeks Demis was once again at the top of the singles’ charts in France. In September he achieved national consecration with a performance at Olympia that revealed his talent. His vocal potential was fantastic and his stage presence extraordinary. In front of 30 000 people he performed ‘Velvet Morning’, a song composed specially for the occasion by Lakis Vlavianos, a Greek born in Athens on 7 July 1947. He composed most of Demis’ songs, ‘My friend the wind’, ‘Someday, somewhere’… Accompanist and conductor, he played the organ, Melotron and Moog Synthesizer. A trip to South America lead to a big tour in 1973, the year which saw the release of his second album, ‘Forever and ever’ comprising songs that would nearly all become great hits just like ‘Forever and ever’, ‘My friend the wind’, ‘Lovely sunny days’, ‘My reason’, ‘When I was a kid’, ‘Goodbye my love, goodbye’… Two million records had already been sold in one year of solo career and the Demis Roussos phenomenon was only just beginning. That year I heard a lot about him on the radio and I often listened to old Aphrodite’s Child records and to my great surprise I learnt that he was going to give a recital in my home town as the opening act for Joe Dassin. That was my first meeting with Demis. Until then I had never seen him on stage but he was in my imagination, omnipresent, all-powerful. His entrance was announced by an instrumental from his orchestra, a mixture of Wagnerian and Byzantine music added to by an impressive sound system. Demis appeared on stage. His stature was impressive, his long tousled beard flowing like a prophet’s, lightning in his eyes, his smile confident and satisfied. Demis, the Pope of pop, with the physique, the majestic gestures, the lofty allure, appeared shrouded in a cloud of smoke. That night he mixed a harmonious cocktail of both Greek and Byzantine music with sublime nuances. Steeped in this music, the public was captivated by his technical perfection. Demis Roussos had a musical style without improvisation, full of finesse and beauty. On stage the colours were perfectly matched to the music: tender, gentle, nothing aggressive. One of the songs, the unknown ‘Thousand years of wondering’, lasted six minutes. Composed by Lakis Vlavianos, it fluctuated between Bach, Led Zeppelin and the Yardbirds. This fantastic recital ended with a journey through Greece with ‘My reason’. His music moved the public, stirring in peoples’ hearts the strange charm procured by religious chants and the aggressive rhythm of Arabic chants. People let themselves be overcome by his extraordinary voice.
Really amazing voice !!
In Future we are gonna upload the first two marvellous albums of Aphrodite's Child that that constituting from more well international psychedelic records of 60's !!
grab and enjoy it !!!
3. Silk Road
4. Woman in South Island
5. Pink Butch (Lalala)
6. Sound 3
7. Rock Baby in Meadow
8. Sound 3
9. Majorica Resistance Song
10. Sound 3
11. Cosmos Sandglass
12. Sound 3
13. Sound, Mother Earth
14. Sound 3
amazingly dusted psych LPs for the Japanese Polydor label in the 70s,
sometimes referred to in terms of "the Japanese Faust". His first 2 records
in particular, the Magical Power debut from 1973 & Super Record from 1975
are as excellent as it gets.
Realized in Mako's private studio on a quadraphonic tape machine, the eccentric
multi-instrumentalist created the definitive document of mid-'70s far
eastern rock exploration.
Mako was born in Shuzeni Izu in Japan in 1956, and after commencing his musical education at a young age, making his first public performance in 1973 at the age of 16 with his band genge in the famous Shibuya club.
Based on these impressive public performances, the precocious Mako was invited to play with one of Japan's foremost contemporary composers, Toru Takemistu, playing alongside the composer in 3 film scores, inheritance for the future, petrified forest and himiko. The response to his performances was overwhelmingly enthusiastic, elevating Mako to almost god-like status in his native country.
Mako's music has often baffled pundits keen to place him in a particular musical slot.
As one perplexed scribe opined "Mako's music possesses a certain strange kind of texture.
It is certainly what they call rock, but contains elements we can't describe so succinctly.
It clearly goes beyond the various genres of music and while full of them all, it sends forth a fierce glow".
Another critic wrote "adding to the variety of folk music from India, Turkey and Russia, his mandolin or taisho koto, and especially his marvellously-performed guitar, expresses fully the odour of the soil and mankind's universality".
Jimmy Page himself calls Kaleidoscope “my favorite band of all time,” and no wonder—with the multi-instrumental wizardry of David Lindley leading the way, Kaleidoscope weaved ethnic music exotica into rock songs better than anybody before or since (including Led Zep—where do you think they got the idea for 'Kashmir'?!). This 3-CD set presents their COMPLETE recordings, including all four albums—'Side Trips, Beacon from Mars, Incredible Kaleidoscope' and 'Bernice'—they recorded for Epic, plus a bunch of hard-to-find singles and B-sides. 45 mind-and string-bending tracks!
01. Egyptian Garden
02. If the Night
03. Hesitation Blues
05. Keep Your Mind Open
06. Pulsating Dream
07. Oh Death
08. Come on In
09. Why Try
10. Minnie the Moocher
11. Elevator Man
12. Little Orphan Nannie
13. I Found Out
14. Greenwood Sidee
15. Life Will Pass You By
17. Baldhead End of a Broom
18. Louisiana Man
19. You Don't Love Me
01. Beacon from Mars
02. Rampι, Rampι
04. Love Games
05. Egyptian Candy
06. Hello, Trouble
07. Just a Taste
08. Lie to Me
09. Let the Good Love Flow
10. Killing Floor (AKA Tempe Arizona)
11. Petit Fleur
14. Seven-Ate Sweet
02. Chocolate Whale
03. Another Lover
04. Sneakin' Thru the Ghetto
05. To Know Is Not to Be
06. Lulu Arfin Nanny
07. Lie and Hide
08. Ballad of Tommy Udo
10. Soft and Easy
11. New Blue Ooze
12. Why Try [Single Version]
It's a little surprising that a cult band like Kaleidoscope would get honored with an all-out three-CD set, considering the limited market. But here it is, and it certainly leaves no stone unturned, including the entire recorded output of the band while they were on Epic. That essentially covers the entire period of interest to most fans, spanning the band's formation to their breakup in the early '70s (though they subsequently reunited for some albums that aren't represented here). In addition to everything from their albums Side Trips, A Beacon from Mars, Incredible, and Bernice, it has quite a few tracks that only showed up on non-LP singles or as outtakes on posthumous compilations. And some of those extras aren't even easily found on Kaleidoscope compilations, namely the old-timey psychedelia of the early B-side "Little Orphan Nannie" and the less impressive, heavily bluesy 1968 B-side "Just a Taste." The problem with this compilation is not so much to do with the music as whether it might be suitable for either the completist or neophyte. The completist might well already have virtually all of this on the albums and scattered comps, and resent having to fork out for a three-CD set just to get those two B-sides; the neophyte might find it way too much to start (and end) with, both in length and expense. But — if you want the complete works of Kaleidoscope in their first and best incarnation, it's all here, down to the crazy psychedelic soul single they did with Larry Williams and Johnny "Guitar" Watson, "Nobody." It's also well annotated, and contains plenty of exhilarating psychedelic world fusion highs, though the band's incredibly eclectic scope means there are some turkeys as well. Plus, some of those non-LP items aren't mere frivolities — the B-side "Rampe, Rampe," for instance, is a superb Greek-like instrumental that winds itself up into a frenzy.~AMG
Part 1 Part 2 Part 3 Part 4
Monday, August 14, 2006
Loads of exotic instruments including lashings of oud and clay drum percussion. A trippy mixture of European rock and Middle Eastern promise.
Real Trippy Album!
My fave track from this album is ''Cobra Fever''
(Do you agree ?)
Stongly recommended !
Members of Orient Express are:
GUY DURIS sitar, electric oud, vocals
BRUNO GIET electric minitar, vocals
FARSHID GOLESORKHI electric melodica, dumbek, tympani, vcls
This act should not be confused with Liz Damon's Orient Express, who were from Hawaii and played cabaret music. They issued one album Liz Damon And The Orient Express (Anthem) 1970, and at least three singles.
1 Mazy/Your Servant, Steven (Polydor BM 56196) 1967
2 Esprit De Corps/Mino In A Mix-Up (Polydor BM 52226)
This obscure London-based four-piece group is best remembered for Mazy, a dreamy, rather haunting slice of flower power. Apparently, their 45s were jointly produced by Peter Meadon, who'd helped mould The Who in their early days as The High Numbers, and Norman Jopling, who worked at 'Record Mirror'. Your Servent, Steven was also recorded by The Blues Magoos.
Compilation coverage has included:
Mazy on Rubble Vol. 13: Freakbeat Fantoms (LP), Rubble Vol. 7 (CD),
Visions Of The Past, Vol. 2 (LP & CD),
We Can Fly (CD)
and The Best Of Rubble Collection Vol. 1 (CD).
01 - Your Servant Stephen
02 - Maze
03 - Big Giant Man
04 - Lost My Lover
05 - Lovey Dovey Feeling
06 - Silver Queen Of The Screen
07 - When You're Getting Tired
08 - Rum Sensation
09 - Called And Chosen
10 - Esprit De Corps
11 - The Hovercraft Song
12 - Goodbye Child
13 - Morning
14 - Do Not Wait For Better Times
15 - Maze # 2
16 - My Friends And I
Tenth Planet TP043
Saturday, August 12, 2006
Mr. Flood's Party
 Northern Travel/Déjà Vu/Advice/The Prince Of Darkness/Simon J. Stone//Stanley's Tea/The Liquid Invasion/Garden Of The Queen/The Mind Circus
I was surprised to find myself liking this album as much as I did. It's a great psych album from 1969 that is fairly difficult to find. It's found some following among psych collectors, but never really took off, perhaps because of the creepy old man on the cover and the questionable choice of the groups name "Mr. Flood's Party." It certainly doesn't scream excitement. Very heavily influenced by British bands like the Beatles, it's a great listen all the way through and well worth checking out.
Mr. Flood's Party
Our detectives suspect this is a Long Island band because of exhibit A, which we'll get to in a second. Mr. Flood's Party was on the Cotillion label. Members included Jay Hirsh, Michael Corbett, Rick Mirage, Tom Castagnora, Marcel Thompsen, and Freddy Toscano. This last name brings us to exhibit A, the back of an album by a band called Frogs For Everybody. Freddy Toscano's name and picture are clearly seen on this on this Long Island band's jacket leading us to believe that Mr. Flood's was also a bunch of Islanders. Both albums are on the country side; Frogs For Everybody more so.
Friday, August 11, 2006
1. I'm Going Ahead - The Thingies
3. Rainy Sunday Moring - The Thingies
4. Merry-Go-Round of Life - The Thingies
5. It's a Long Way Down - The Thingies
6. English Eyes - The Thingies
7. Surfin T.R. - TR4
8. Peter Rabbit - TR4 Listen Listen
9. I'm Going Ahead [Early Take] - The Thingies
10. I Was Alone - Exotics
11. Hymn to Her - Exotics
12. Queen of Shadows - Exotics
13. Come With Me - Exotics
14. Fire Engine Red - Exotics
15. Morning Sun - Exotics
16. I Was Alone [Single] - Exotics
17. No More - The Morning Dew
18. Look at Me Now - The Morning Dew
19. Be a Friend - The Morning Dew
20. Go Away - The Morning Dew
21. Sycamore Dreamer [#] - The Morning Dew
22. Then Came the Light - The Morning Dew
23. Sing Out - The Morning Dew
24. This Sportin' Life - The Morning Dew
25. I Was Alone - Exotics Listen Listen
26. Morning Sun [Demo Version] - Exotics
27. Exotics Radio Ad for "Mitchell's Department Store" - Exotics
28. Exotic's Radio Ad for "Bill McKay Chevrolet" - Exotics
29. I'm Going Ahead [Early Take] - The Thingies
GET PART_1 PART_2
After Powder fizzled and a short stint in Sonny & Cher's touring band, Thomas & Richard Frost tried their hand at the soft rock sound, inspired by how folk rock heroes like Donovan had gone twee pop. Between 1968 and 1970, they recorded a handful of singles for Imperial Records, and finally recording an album in 1969. Sadly, this album was also shelved. It wasn't until Joe Foster at Rev-Ola did some footwork in 2002, that the entire album Visualize was finally released for the very first time, as Thomas & Richard Frost would have released it.
Visualize is that amazing lost classic we always dream of finding. It combines the remnants of a dreamy folk rock sound, couple it with loungey horns and soft pop harmonies, and combine it all in a mesmerizing blend. Think Kim Fowley or Michael Lloyd, if they worked with Salt Water Taffy or Jan and Dean, and you get an idea of how Visualize sounds.
The exquisite psych pop opener of She's Got Love (once you get past the 30 second album introduction, Prelude), which was one of the singles released in 1969, is by far the best track here. Where Did Yesterday Go? is the kind of song I dream of finding, an early morning soft pop gem lost in a hazy shuffle. Both December Rain, April Laughter and The Word Is Love have shades of Donovan hovering over them. With Me My Love reminds of the pleasures of the Twinn Connexion's Turn Down Day. Where Are We? is a twee ballad that could be right off of the latest Belle and Sebastian album. If I Can't Be Your Lover is a bouncy sing-along Beatles-esque album closer (just watch for that outro!).
All of the bonus tracks (13-16) are superb additions, and all except Everyday Judy were released as singles. They all have a similar vibe to She's Got Love (the album's starting track, which was also released as a single) and rate amongst my favorite tracks on the disc. Hello Stranger is a super charged LA pop tune with great horns to emphasize the quirky rhythms. Fairy Tale Affair is an adrenalin inducing pop song, thanks to those harmonies. I love gummy tunes like Open Up Your Heart, this song reminds me of the Rock Flowers, because of the soaring strings and melody. Everyday Judy is a nice slow, soulful number and a great way to end the cd.
I don't know what we would do without people like Rev-Ola or Sundazed. People who keep unearthing these wonderful, lost pop gems. It's great to know that not only are there still lost pop gems not yet heard or re-discovered yet, but also that there are still people who appreciate great pop music.
Wednesday, August 09, 2006
1 The Avengers - Be A Cave Man (San Bernardino, CA, U.S.A.)
2 The Colony - All I Want (Ventura, CA, U.S.A.)
3 Sean & The Brandywines - She Ain't No Good (Los Angeles, CA, U.S.A.)
4 The Epics - Louie Come Home (Los Angeles, CA, U.S.A.) *
5 Limey & The Yanks - Guaranteed Love (Los Angeles, CA, U.S.A.)
6 The Standells - Someday You'll Cry (Los Angeles, CA, U.S.A.)
7 The Spats - Tell Ya All About It, Baby (Garden Grove, CA, U.S.A.) *
8 The Grains Of Sand - That's When Happiness Began (Los Angeles, CA, U.S.A.)
1 Gypsy Trips - Ain't It Hard (Los Angeles, CA, U.S.A.)
2 The Rumors - Hold Me Now (Los Angeles, CA, U.S.A.)
3 Warden & His Fugitives - The World Ain't Changed (San Bernardino, CA, U.S.A.)
4 The Road Runners - Goodbye (Fresno, CA, U.S.A.)
5 The 4 Making Do - The Simple Life (Los Angeles, CA, U.S.A.) **
(** indicates that the track only missing from this compilation)
6 The Answer - I'll Be In (Berkeley, CA, U.S.A.)
7 The Starfires - Linda (Los Angeles, CA, U.S.A.)
8 The Lyrics - They Can't Hurt Me (San Diego, CA, U.S.A.)
Highs In The Mid Sixties #2 [L.A. '66 - Riot On Sunset Strip] - LP
1 Terry Randall - S.O.S. (U.S.A.)
2 People Of Sunset Strip - Sunset Symphony (Los Angeles, CA, U.S.A.) *
3 The Sandals - Tell Us Dylan (Los Angeles, CA, U.S.A.) *
4 The Chymes - He's Not There Anymore (Los Angeles, CA, U.S.A.)
5 The Bees - Trip To New Orleans (Los Angeles, CA, U.S.A.)
6 The Roosters - One Of These Days (Los Angeles, CA, U.S.A.)
7 Tangents - Hey Joe, Where You Gonna Go? (Los Angeles, CA, U.S.A.)
8 Ken & The Fourth Dimension - Rovin' Heart (Los Angeles, CA, U.S.A.) *
1 W.C. Fields Memorial Electric String Band - I'm Not Your Stepping Stone (Los Angeles, CA, U.S.A.)
2 The Satans - Lines And Squares (Fullerton, CA, U.S.A.)
3 The Dirty Shames - I Don't Care (Los Angeles, CA, U.S.A.)
4 The No-Na-Mee's - Gotta Hold On (Los Angeles, CA, U.S.A.)
5 Opus 1 - Back Seat '38 Dodge (Long Beach, CA, U.S.A.) *
6 The Second Helping - Let Me In (Los Angeles, CA, U.S.A.)
7 The Grim Reepers - Two Souls (Los Angeles, CA, U.S.A.)
8 The Nite Walkers - High Class (Downey, CA, U.S.A.)
Highs In The Mid Sixties #3 [L.A. '67 - Mondo Hollywood A Go-Go] - LP
1 The Giant Sunflower - February Sunshine (Los Angeles, CA, U.S.A.) *
2 Limey & The Yanks - Out Of Sight, Out Of Mind (Los Angeles, CA, U.S.A.)
3 The Search - Climate (San Diego, CA, U.S.A.)
4 Research 1-6-12 - I Don't Walk There No More (Los Angeles, CA, U.S.A.)
5 The Lyrics - Wake Up To My Voice (San Diego, CA, U.S.A.) *
6 Kim Fowley - The Canyon People (Los Angeles, CA, U.S.A.) *
7 The Flower Children - Mini-Skirt Blues (Los Angeles, CA, U.S.A.) *
8 Somebody's Children - I'm Going Back To New York City (Los Angeles, CA, U.S.A.) *
1 Hunger - Colors (Portland, OR, U.S.A.)
2 The Fantastic Zoo - Light Show (Los Angeles, CA, U.S.A.)
3 Time Of Your Life - Ode To A Bad Dream (Los Angeles, CA, U.S.A.)
4 The Human Expression - Everynight (Los Angeles, CA, U.S.A.)
5 Hamilton Streetcar - Invisible People (Los Angeles, CA, U.S.A.) *
6 The Grains Of Sand - Golden Apples Of The Sun (Los Angeles, CA, U.S.A.)
7 The Painted Faces - I Think I'm Going Mad (Fort Myers, FL, U.S.A.) *
8 The Love Exchange - Swallow The Sun (Los Angeles, CA, U.S.A.)
Highs In The Mid Sixties #4 [Chicago] - LP
1 The Little Boy Blues - The Great Train Robbery (Chicago, IL, U.S.A.)
2 The Omens - Searching (Chicago, IL, U.S.A.)
3 The Shaprels - Dare I Weep, Dare I Mourn (Milwaukee, WI, U.S.A.) *
4 The Boyz - Come With Me (Chicago, IL, U.S.A.)
5 The Misty Blues - I Feel No Pain (Chicago, IL, U.S.A.)
6 Reasons Why - All I Really Need Is Love (Chicago, IL, U.S.A.)
7 Buzzsaw - I Live In The Springtime (Chicago, IL, U.S.A.)
8 The Todds - I Want Her Back (Chicago, IL, U.S.A.)
1 The Group, Inc. - Like A Woman (IN, U.S.A.)
2 The Foggy Notions - Take Me Back And Hold Me (Chicago, IL, U.S.A.)
3 The Pattens - Say Ma, Ma (Wheaten, IL, U.S.A.)
4 The Malibus - La Da Da (Chicago, IL, U.S.A.) *
5 The Delights - Long Green (Chicago, IL, U.S.A.)
6 The Untamed - Someday Baby (Chicago, IL, U.S.A.)
7 Dalek/Engam: The Blackstones - Never Feel The Pain (Hammond, IN, U.S.A.)
8 The Warner Brothers - Please Mr. Sullivan (Peoria, IL, U.S.A.)
Highs In The Mid Sixties #5 [Michigan] - LP
1 The Mussies - 12 O'Clock, July (South Haven, MI, U.S.A.)
2 The Roadrunners - Roadrunner Baby (Jackson, MI, U.S.A.) *
3 The Unknown - Shake A Tail Feather (Detroit, MI, U.S.A.)
4 The Bossmen - I'm Ready (Flint, MI, U.S.A.) *
5 Underdogs - Surprise, Surprise (Detroit, MI, U.S.A.)
6 The Run-A-Rounds - I Couldn't Care Less (Owosso, MI, U.S.A.)
7 The Boss Five - You Cheat Too Much (Detroit, MI, U.S.A.)
8 The Rationals - Turn On (Detroit, MI, U.S.A.) *
1 The Quest's - Shadows In The Night (Grand Rapids, MI, U.S.A.)
2 Peter & The Prophets - Don't Need Your Lovin' (Detroit, MI, U.S.A.)
3 The Jammers - You're Gonna Love Me Too (Dearborn, MI, U.S.A.)
4 Undecided? - I Never Forgot Her (Dearborn, MI, U.S.A.) *
5 The Rationals - Little Girls Cry (Detroit, MI, U.S.A.)
6 Legends - I'll Come Again (Holland, MI, U.S.A.)
7 The 4 Of Us - Baby Blue (Grosse Pointe, MI, U.S.A.)
8 The Blues Company - Experiment In Color (Bay City, MI, U.S.A.)
Highs In The Mid Sixties #6 [Michigan Part Two] - LP
1 The Yorkshires - And You're Mine (Detroit, MI, U.S.A.)
2 Underdogs - Friday At The Hideout (Detroit, MI, U.S.A.)
3 Jimmy Gilbert - Believe What I Say (MI, U.S.A.)
4 Jimmy Gilbert - So Together We'll Live (MI, U.S.A.) *
5 The 4 Of Us - I'll Feel A Whole Lot Better (Grosse Pointe, MI, U.S.A.)
6 The Masters Of Stonehouse - If You Treat Me Bad Again (MI, U.S.A.) *
7 Renegades V - Wine Wine Wine (Grand Rapids, MI, U.S.A.)
8 The Bossmen - Fever Of Love (Flint, MI, U.S.A.) *
1 The Blues Company - Love Machine (Bay City, MI, U.S.A.)
2 The Blokes - All American Girl (MI, U.S.A.)
3 Underdogs - Don't Pretend (Detroit, MI, U.S.A.)
4 The Chosen Few - It Just Don't Rhyme (Muncie, IN, U.S.A.)
5 The Bed Of Roses - Hate (Bay City, MI, U.S.A.) *
6 The Chocolate Pickles - Hey You (MI, U.S.A.) *
7 The Pleasure Seekers - Never Thought You'd Leave Me (Detroit, MI, U.S.A.)
8 The Blues Company - She's Gone (Bay City, MI, U.S.A.)
Highs In The Mid Sixties #7 [The Northwest] - LP
1 Jack Bedient & The Chessmen - Double Whammy (Wenatchee, WA, U.S.A.)
2 The Jolly Green Giants - Busy Body (OR, U.S.A.)
3 H.B. & The Checkmates - Louise, Louise (Springfield, OR, U.S.A.)
4 The Wilde Knights - Just Like Me (Los Angeles, CA, U.S.A.)
5 The Chambermen - Louie Go Home (Spokane, WA, U.S.A.) *
6 Jack Eely & The Courtmen - Louie, Louie '66 (Portland, OR, U.S.A.)
7 The Squires - Don't You Just Know It (U.S.A.) *
8 Jack Bedient & The Chessmen - I Want You To Know (Wenatchee, WA, U.S.A.) *
1 The Sires - Come To Me Baby (Eugene, OR, U.S.A.) *
2 The Lincolns - Come Along And Dream (Bonniville, Canada) *
3 The Express - Long Green (Oklahoma City, OK, U.S.A.)
4 The Pastels - Why Don't You Love Me (Pasco, WA, U.S.A.) *
5 The Night Walkers - Sticks & Stones (Longview, WA, U.S.A.)
6 Mr. Lucky & The Gamblers - Take A Look At Me (Newport, OR, U.S.A.)
7 The Bootmen - Ain't It The Truth Babe (Tacoma, WA, U.S.A.)
8 The Rock-N-Souls - Not Like You (Pasco, WA, U.S.A.) *
Highs In The Mid Sixties #8 [The South] - LP
1 Ravin' Blue - Love (Nashville, TN, U.S.A.)
2 The Gaunga Dyns - Rebecca Rodifer (New Orleans, LA, U.S.A.)
3 The Midknights - Pain (Chattanooga, TN, U.S.A.)
4 The Fly-Bi-Nites - Found Love (Atlanta, GA, U.S.A.)
5 The Original Dukes - Ain't About To Lose My Cool (U.S.A.)
6 Skeptics - Turn It On (Bartlesville, OK, U.S.A.)
7 The Moxies - I'm Gonna Stay (Paducah, KY, U.S.A.)
8 The Rogues - I Don't Need You (Lafayette, LA, U.S.A.)
1 The Hazzards - Hey Joe (Richmond, VA, U.S.A.)
2 The Vikings - Come On And Love Me (Birmingham, AL, U.S.A.)
3 The Surrealistic Pillar - I Like Girls (Lafayette, LA, U.S.A.)
4 The Rugbys - Walking The Streets Tonight (Louisville, KY, U.S.A.) *
5 The Sants - Leaving You, Baby (On The Midnight Train) (Paris, TN, U.S.A.)
6 Ravin' Blue - It's Not Real (Nashville, TN, U.S.A.)
7 The Guilloteens - Crying All Over My Time (Memphis, TN, U.S.A.) *
8 The Gaunga Dyns - No Ones Cares (New Orleans, LA, U.S.A.)
Highs In The Mid Sixties #9 [Ohio] - LP
1 The Deadlys - On The Road Again (Columbus, OH, U.S.A.)
2 The Gillian Row - Gloria (Dayton, OH, U.S.A.)
3 The Squires - Batmobile (Youngstown, OH, U.S.A.) *
4 The Denims - The Adler Sock (Queens, NY, U.S.A.)
5 Bocky & The Visions - The Spirit Of '64 (Cleveland, OH, U.S.A.)
6 The Statesmen - Stop And Get A Ticket (OH, U.S.A.) *
7 The Pied Pipers - Hey Joe (Youngstown, OH, U.S.A.) *
8 The Tree Stumps - Jennie Lee (Cleveland, OH, U.S.A.) *
1 The Dagenites - I Don't Want To Try It Again (Oxon Hill, MD, U.S.A.)
2 The Chylds - Hay Girl (Canton, OH, U.S.A.)
3 The Choir - I'm Going Home (Cleveland, OH, U.S.A.)
4 The Outcasts - Loving You Sometimes (Ashland, KY, U.S.A.)
5 The Sound Barrier - Hey Hey (Salem, OH, U.S.A.)
6 The Dantes - Can't Get Enough Of Your Love (Columbus, OH, U.S.A.)
7 The Human Beinz - Evil Hearted You (Youngstown, OH, U.S.A.)
8 The Possums - Stepping Stone (Columbus, OH, U.S.A.)
Highs In The Mid Sixties #10 [Wisconsin] - LP
1 The Shag - Stop & Listen (Milwaukee, WI, U.S.A.)
2 The Wanderer's Rest - Anytime Anywhere (Milwaukee, WI, U.S.A.)
3 The Young Savages - The Invaders Are Coming (Chicago, IL, U.S.A.)
4 The Faros - I'm Cryin' (Neenah, WI, U.S.A.) *
5 Lord Beverley Moss & The Mossmen - Please Please What's The Matter (Appleton, WI, U.S.A.) *
6 The Noblemen - Dirty Robber (Milwaukee, WI, U.S.A.) *
7 The Hinge - Come On Up (Appleton, WI, U.S.A.) *
1 Jack & The Beanstalks - Don't Bug Me (Milwaukee, WI, U.S.A.)
2 Jack & The Beanstalks - So Many Times (Milwaukee, WI, U.S.A.)
3 The Trodden Path - Don't Follow Me (Mequon, WI, U.S.A.)
4 Joey Gee & The Come-Ons - She's Mean (Milwaukee, WI, U.S.A.)
5 The Deverons - On The Road Again (WI, U.S.A.)
6 The Love Society - You Know How I Feel (And Why) (Plymouth, WI, U.S.A.) *
7 The Rehabilitation Cruise - I Don't Care What They Say (WI, U.S.A.)
Highs In The Mid Sixties #11 [Texas Part One] - LP
1 Larry & The Blue Notes - In And Out (Fort Worth, TX, U.S.A.)
2 The Buccaneers - You Got What I Want (Dallas, TX, U.S.A.)
3 Kit & The Outlaws - Don't Tread On Me (Dallas, TX, U.S.A.)
4 The Chants - Hypnotized (Dallas, TX, U.S.A.)
5 The Visions - Route 66 (Mineral Wells, TX, U.S.A.)
6 The Esquires - Judgement Day (Irving, TX, U.S.A.)
7 The Four More - Problem Child (Kingsville, TX, U.S.A.)
1 Terry & Tommy - It Ain't No Good To Love Anybody (TX, U.S.A.)
2 The By Fives - I Saw You Walking (Dallas, TX, U.S.A.)
3 Chaz & The Classics - Girl Of The 13th Hour (TX, U.S.A.)
4 The Staffs - Another Love (San Antonio, TX, U.S.A.)
5 Five Of A Kind - Never Again (Fort Worth, TX, U.S.A.)
6 Nobody's Children - Good Times (Irving, TX, U.S.A.)
7 The Bourbons - Of Old Approximately (San Antonio, TX, U.S.A.)
Highs In The Mid Sixties #12 [Texas Part Two] - LP
1 Tommy Jett - Groovy Little Trip (San Antonio, TX, U.S.A.)
2 The Derby-Hatville - Turn Into Earth (Lubbock, TX, U.S.A.)
3 The Mind's Eye - Help, I'm Lost! (San Antonio, TX, U.S.A.)
4 The New Roadrunners - Tired Of Living (TX, U.S.A.)
5 The Remaining Few - Painted Air (San Angelo, TX, U.S.A.)
6 The Stereo Shoestring - On The Road South (Corpus Christi, TX, U.S.A.)
7 Thursday's Children - Air Conditioned Man (Houston, TX, U.S.A.)
1 The Buckle - I've Got Something On My Mind (Corpus Christi, TX, U.S.A.) *
2 The Brentwoods - Babe You Know (TX, U.S.A.) *
3 The Crabs - Chase Yourself (Houston, TX, U.S.A.)
4 The Trackers - You Are My World (New Braunfels, TX, U.S.A.)
5 The Soul Seekers - Good Revelations (Corpus Christi, TX, U.S.A.) *
6 The Y'Alls - Run For Your Life (Amarillo, TX, U.S.A.) *
7 Leo & The Prophets - Parking Meter (Austin, TX, U.S.A.)
Highs In The Mid Sixties #13 [Texas Part Three] - LP
1 The Chessmen - No More (Dallas, TX, U.S.A.)
2 The Briks - Foolish Baby (Dallas, TX, U.S.A.)
3 Robb London & The Rogues - Gloria (San Antonio, TX, U.S.A.) *
4 The Fanatics - I Will Not Be Lonely (Houston, TX, U.S.A.)
5 Venturie '5' - Good 'N' Bad (TX, U.S.A.)
6 Mustache Wax - I'm Gonna Get You (Bronx, NY, U.S.A.) *
7 The Bards - Alibis (Fort Worth, TX, U.S.A.)
1 The Barons - Don't Burn It (Fort Worth, TX, U.S.A.)
2 Theze Few - Dynamite (Dallas, TX, U.S.A.) *
3 The Madison Revue - Another Man (San Antonio, TX, U.S.A.)
4 The Roots - Lost One (Greenville, SC, U.S.A.)
5 The Night Crawlers - Let's Move (Lubbock, TX, U.S.A.)
6 The Zone V - I Cannot Lie (Shickshinny, PA, U.S.A.)
7 The Moon-Dawgs - Baby As Time Goes By (New Orleans, LA, U.S.A.) *
Highs In The Mid Sixties #14 [The Northwest, Part Two: Out Of The Slime] - LP
1 Lord Dent & His Invaders - Wolf Call *
2 The Night People - Istanbul (Parma, OH, U.S.A.) *
3 The Volk Brothers - Wash Don't Soak (Tacoma, WA, U.S.A.) *
4 The Raymarks - Louise (Bremerton, WA, U.S.A.)
5 J. Michael & The Bushmen - I Need Love (Corvallis, OR, U.S.A.)
6 The Statics - Tell Me The Truth (Seattle, WA, U.S.A.) *
7 The Talismen - She Was Good (Wenatchee, WA, U.S.A.)
1 Sir Raleigh & The Cupons - Tomorrow's Gonna Be Another Day (Seattle, WA, U.S.A.)
2 Jack Bedient & The Chessmen - Rapunzel (Wenatchee, WA, U.S.A.) *
3 Tom Thumb & The Casuals - I Should Know (Seattle, WA, U.S.A.)
4 The Scotsmen - Tuff Enough (Ellensburg, WA, U.S.A.)
5 The Scotsmen - Sorry, Charlie (Ellensburg, WA, U.S.A.)
6 The Rooks - Bound To Lose (Tacoma, WA, U.S.A.) *
7 The Rooks - Gimme A Break (Tacoma, WA, U.S.A.) *
Highs In The Mid Sixties #15 [Wisconsin, Part 2] - LP
1 The Baroques - There's Nothing Left To Do But Cry (Milwaukee, WI, U.S.A.)
2 The Shaprels - A Fool For Your Lies (Milwaukee, WI, U.S.A.) *
3 Gord's Horde - I Don't Care (Rhinelander, WI, U.S.A.) *
4 The Cannons - Days Go By (Madison, WI, U.S.A.)
5 Family - I Wanna Do It (WI, U.S.A.) *
6 The Wanderer's Rest - You'll Forget (Milwaukee, WI, U.S.A.)
7 The Challengers - The Challengers Take A Ride On The Jefferson Airplane (Waukesha, WI, U.S.A.)
1 The Mustard Men - I Lost My Baby (Milwaukee, WI, U.S.A.) *
2 The Spacemen - Same Old Grind (Antigo, WI, U.S.A.) *
3 The Impalas - Spoonful (Milwaukee, WI, U.S.A.) *
4 The Mid-Knighters - Charlena (Milwaukee, WI, U.S.A.) *
5 Joey Gee & The Come-Ons - You Know - 'Til The End Of Time (Milwaukee, WI, U.S.A.)
6 The Fugitives - Come On And Clap (Madison, WI, U.S.A.)
7 The Medallions - Leave Me Alone (Oak Park, IL, U.S.A.) *
8 The Rehabilitation Cruise - Mini Skirts (WI, U.S.A.)
Highs In The Mid Sixties #16 [The Northwest Part 3] - LP
1 The Raymarks - Work Song (Bremerton, WA, U.S.A.)
2 Thee Unusuals - I'm Walkin' Babe (Bellingham, WA, U.S.A.)
3 Rocky & His Friends - Riot City (Seattle, WA, U.S.A.)
4 The Dominions - I Need Her (Eugene, OR, U.S.A.) *
5 The Bumps - Hey Girl (Seattle, WA, U.S.A.)
6 The Live Five - Move Over And Let Me Fly (Salem, OR, U.S.A.)
7 The Express - You Gotta Understand (Oklahoma City, OK, U.S.A.)
1 The Navarros - Tomorrow Is Another Day (Ashland, OR, U.S.A.)
2 The Gentlemen Wild - You Gotta Leave (Portland, OR, U.S.A.)
3 Wheel Of Fortune - Before You Leave (Salem, OR, U.S.A.) *
4 Pembrook LTD - Sleepy John (Trail, Canada)
5 The City Zu - Too Much, Too Soon, Too Fast (Bellevue, WA, U.S.A.) *
6 The United Travel Service - Wind And Stone (Portland, OR, U.S.A.)
7 International Brick - You Should Be So High (Seattle, WA, U.S.A.) *
Highs In The Mid Sixties #17 [Texas Part. 4] - LP
1 The Sparkles - The U.T. (Lubbock, TX, U.S.A.) *
2 S.J. & The Crossroads - Ooh Poo Pah Doo (Beaumont, TX, U.S.A.)
3 S.J. & The Crossroads - Darkest Hour (Beaumont, TX, U.S.A.) *
4 The Souncations - Exit (Dallas, TX, U.S.A.) *
5 The Visions - Humpty Dumpty (Mineral Wells, TX, U.S.A.)
6 The Spectrum - Bald Headed Woman (Houston, TX, U.S.A.) *
7 Gentlemen - Come On (If You Can) (U.S.A.)
1 Kempy & The Guardians - Love For A Price (Dallas, TX, U.S.A.)
2 The Roks - Hey Joe (TX, U.S.A.)
3 The Lost Generation - They Tell Me (Baton Rouge, LA, U.S.A.) *
4 The Spades - We Sell Soul (Austin, TX, U.S.A.)
5 Neal Ford & The Fanatics - Bitter Bells (Houston, TX, U.S.A.) *
6 The Iguanas - Leaving You Baby (Baytown, TX, U.S.A.)
Highs In The Mid Sixties #18 [Colorado] - LP
1 The Astronauts - Come Along Baby (Boulder, CO, U.S.A.) *
2 The Soul - Have It All Your Way (Colorado Springs, CO, U.S.A.) *
3 The Trolls - I Don't Recall (Pueblo, CO, U.S.A.)
4 The Trolls - Stupid Girl (Pueblo, CO, U.S.A.)
5 The Poor - She's Got The Time (She's Got The Changes) (Denver, CO, U.S.A.)
6 The Soothsayers - I Don't Know (Greeley, CO, U.S.A.) *
7 The Moonrakers - I Don't Believe (Denver, CO, U.S.A.) *
8 Sur Royal Da Count & The Parliaments - Scream Mother Scream (U.S.A.)
1 Our Gang - Careless Love (Colorado Springs, CO, U.S.A.) *
2 The Moonrakers - Baby Please Don't Go (Denver, CO, U.S.A.)
3 The Moonrakers - I'm All Right (Denver, CO, U.S.A.)
4 The Lidos - Since I Last Saw You (CO, U.S.A.)
5 The Rainy Daze - Fe Fi Fo Fum (Denver, CO, U.S.A.)
6 The Doppler Effect - God Is Alive In Argentina (U.S.A.)
7 Monocles - Psychedelic (That's Where It's At) (Greeley, CO, U.S.A.)
8 The Elopers - Music To Smoke Bananas By (Manitou Springs, CO, U.S.A.)
Highs In The Mid Sixties #19 [Michigan Part 3] - LP
1 The Tempests - Look Away (Elkart, IN, U.S.A.)
2 The Saharas - This Mornin' (MI, U.S.A.) *
3 The Decisions - Tears, Tears (Kalamazoo, MI, U.S.A.) *
4 The Royal Shandels - Be Careful With Your Carful (MI, U.S.A.) *
5 The JuJus - I'm Really Sorry (Grand Rapids, MI, U.S.A.)
6 The French Church - Without Crying (MI, U.S.A.) *
7 Oxford 5 - Gloria (Birmingham, MI, U.S.A.)
1 The Iguanas - Again And Again (Detroit, MI, U.S.A.)
2 The Beaubiens - Times Passed (MI, U.S.A.)
3 The Bells Of Rhymny - She'll Be Back (MI, U.S.A.)
4 The Chessmen - You Can't Catch Me (Fort Wayne, IN, U.S.A.)
5 The French Church - Slapneck 1943 (MI, U.S.A.)
6 The Assortment - Bless Our Hippy Home (Lansing, MI, U.S.A.)
7 The Orange Wedge - From The Womb To The Tomb (Grand Rapids, MI, U.S.A.)
Highs In The Mid Sixties #20 [L.A. Part 4] - LP
1 Rain - E.S.P. (Los Angeles, CA, U.S.A.)
2 The Mugwumps - Bald Headed Woman (Los Angeles, CA, U.S.A.) *
3 The Green Beans - Who Needs You (Los Angeles, CA, U.S.A.)
4 The Gigolos - She's My Baby (Los Angeles, CA, U.S.A.)
5 The Human Expression - Calm Me Down (Los Angeles, CA, U.S.A.)
6 The Rumblers - I Don't Need You No More (Norwalk, CA, U.S.A.) *
7 Aftermath - Gloria (Los Angeles, CA, U.S.A.) *
1 The Agents - Gotta Help Me (Los Angeles, CA, U.S.A.)
2 The Avengers - It's Hard To Hide (San Bernardino, CA, U.S.A.)
3 The Avengers - It's Hard To Hide (San Bernardino, CA, U.S.A.)
4 Bees - Forget Me Girl (Los Angeles, CA, U.S.A.) *
5 The Dovers - The Third Eye (Santa Barbara, CA, U.S.A.)
6 The No-Na-Mee's - Just Wanna Be Myself (Los Angeles, CA, U.S.A.) *
7 The Last Word - Sleepy Hollow (Las Vegas, NV, U.S.A.)
Highs In The Mid Sixties #21 [Ohio Part 2] - LP
1 The Backdoor Society - I'm The Kind (Avon Lake, OH, U.S.A.) *
2 The Unknown Kind - Who Cares (South Amherst, OH, U.S.A.) *
3 It's Them - Baby I Still Want Your Lovin' (Cincinnati, OH, U.S.A.) *
4 The Epics - White Collar House (Columbus, OH, U.S.A.)
5 The Endless - Prevailing Darkness (Springfield, OH, U.S.A.)
6 The Endless - Tomorrow's Song (Springfield, OH, U.S.A.)
7 The Beau Denturies - Straight Home (Akron, OH, U.S.A.)
1 The Pictorian Skiffuls - In Awhile (Dayton, OH, U.S.A.)
2 Baron Thomas & The Blue Crystals - Tension (Bowling Green, OH, U.S.A.) *
3 The Panicks - Treat Me Right (Akron, OH, U.S.A.)
4 The Hazards - Tinted Green (Youngstown, OH, U.S.A.) *
5 The Wild Things - A.C.I.D. (Cleveland, OH, U.S.A.)
6 The Four O'clock Balloon - Dark Cobble Street (Columbus, OH, U.S.A.) *
7 Thee Young Generation - Paperback Minds (OH, U.S.A.) *
Highs In The Mid Sixties #22 [The South Part 2] - LP
1 The Daze Of The Week - One Night Stand (Tacoma, WA, U.S.A.) *
2 The Dick Watson Five - Cold Clear World (NJ, U.S.A.)
3 The Nomads - Time Remains (U.S.A.)
4 Creatures, Inc. - Letters Of Love (Oxon Hill, MD, U.S.A.)
5 Evil Enc. Group - Hey You (Beckley, WV, U.S.A.)
6 Evil Enc. Group - The Point Is (Beckley, WV, U.S.A.)
7 The Flys - Reality Composition No. 1 (McLean, VA, U.S.A.)
1 The Counts IV - Spoonful (NC, U.S.A.)
2 Jimmy & The Offbeats - Stronger Than Dirt (Baton Rouge, LA, U.S.A.) *
3 Jimmy & The Offbeats - I Ain't No Miracle Worker (Baton Rouge, LA, U.S.A.)
4 The Rondells - One More Chance (Louisville, KY, U.S.A.)
5 Rick & Ronnie - Don't Do Me This Way (Memphis, TN, U.S.A.)
6 The 5 - I'm No Good (Mobile, AL, U.S.A.)
7 The Countdowns - Cover Of Night (West Monroe, LA, U.S.A.) *
Highs In The Mid Sixties #23 [Texas Part 5] - LP
1 The Wind - Don't Take Your Love Away (Dallas, TX, U.S.A.)
2 The Lost Generation - Let Me Out (Baton Rouge, LA, U.S.A.) *
3 Gaylon Ladd - Her Loving Way (Waco, TX, U.S.A.)
4 Kenny Wayne & The Kamotions - A Better Day's A Comin' (Texarkana, TX, U.S.A.) *
5 Larry Mack - Last Day Of The Dragon (Tyler, TX, U.S.A.)
6 Wilshire Express - Lose Your Money (Dallas, TX, U.S.A.) *
7 Jimmy C. & The Chelsea Five - Leave Me Alone (Dallas, TX, U.S.A.) *
1 The Blox - Hangin' Out (Houston, TX, U.S.A.)
2 Gaylon Ladd - Repulsive Situation (Waco, TX, U.S.A.) *
3 Sterling Damon - Rejected (Houston, TX, U.S.A.)
4 The Shayds - Search The Sun (TX, U.S.A.) *
5 The Children - Enough Of What I Need (San Antonio, TX, U.S.A.)
6 Sweet Smoke - Morning Dew (Minot, ND, U.S.A.)
* indicates that the track only appears on this compilation
Get Highs in the Mid-Sixties Here :
vol.1 ~ vol.2 ~ vol.3 ~ vol.4 ~ vol.5 ~ vol.6 ~ vol.7 ~ vol.8
vol.9 ~ vol.10 ~ vol.11 ~ vol.12 ~ vol.13 ~ vol.14 ~ vol.15
vol.16 ~ vol.17 ~ vol.18 ~ vol.19 ~ vol.20 ~ vol.21 ~ vol.22 ~ vol.23
From Italy, to Chile, Poland to Singapore the kids were going crazy over fuzzed out guitars, primitive drum beats and wild tambourines. It is with great pleasure that we give you the instalments of theworld beaters series.
As far as international 60s garage compilations go,
WORLDBEATERS IS TOPS!!!
Get it before it's gone, these bands ALL rock like crazy - and there's even some groups here from PAPUA NEW GUNIEA - i don't get no more obscuro than that, freak fanz!!!
Submitted by elroy (Wallingford, CT, USA)
We are dealing with a very good collection of later 60’s beat, freakbeat, punk and 60’s psych from various places from all over theworld (Latin America, Europe, Australia and New Zealand, Canada, the East). The compilation is well done also because the styles and songs fit well together.
An excellent approach to beat music from outside the Anglofile countries,is what this compilation is all about !
Vol. 1 @ 224
1 Hubb Kapp & The Wheels - I'm Happy Too (Invercargil, New Zealand)
2 The Divorced - I'm Gonna Leave You Satisfied (Sarpsborg, Norway)
3 Los Shain's - A Donde Fuiste (Lima, Peru) *
4 Los Buitres - Sensacion (Torremolinos, Spain)
5 The Out Cast - You've Gotta Call Me (Tokyo, Japan)
6 The Bentbeaks - Think (Adelaide, Australia)
7 The Dynamites - Lonely Baby (Basel, Switzerland)
8 The Roulettes - Tell Tale Tit (U.K.) *
9 Los Shakers - It's Not Bad (Montevideo, Uruguay) *
10 Los Salvajes - Al Capone (Barcelona, Spain) *
11 The Zipps - Roll The Cotton Down (Dordrecht, Holland)
12 Les Sinners - Nice Try (Montreal, Canada)
13 Isy & The Dynamics - Let Bygones Begone (Australia) *
14 Les Problemes - Passe Ton Chemin (Puteaux, France) *
15 The Teenagers - You Don't Love Me (Athens, Greece)
16 The Cocks - Sia Che Tornero (Turin, Italy)
17 Les Sauterelles - Janet (Zurich, Switzerland)
18 The Clique - Stop, Look And Listen (Perth, Australia)
19 The Golden Cups - This Bad Girl (Yokohama, Japan)
20 The Sevens - The Love Of A Bird (Basel, Switzerland)
21 Little Darlings - Easy To Cry (U.K.)
22 Los Brincos - Flamenco (Madrid, Spain) *
23 The La De Da's - Little Girl (Auckland, New Zealand)
24 Los Cheyenes - No Pierdas El Tiempo (Barcelona, Spain) *
25 The Loubogg - She Is Cool (Greece)
26 I Delfini Di Siena - L'ora Delta Verita (Siena, Italy)
27 The Lords - Don't Mince Matter (Berlin, Germany)
* indicates that the track only appears on this compilation
Vol. 2 @ 256
1 The Tages - The One For You (Gothenburg, Sweden)
2 The Deakins - Look And Learn (Geelong, Australia)
3 The A-Cads - Hungry For Love (Johannesburg, South Africa) *
4 Los Brincos - Dance "The Pulga" (Madrid, Spain) *
5 The Boots - Jump Back (Berlin, Germany) *
6 Ciros - Un Tipo Come Te (Italy)
7 The Sevens - What Can I Do (Basel, Switzerland)
8 The Beatmen - The Enchanted Lie (Czechoslovakia)
9 The Bunnys - Taiyou Yaro (Tokyo, Japan)
10 The Rabbits - I'm Looking In The Universe (Rhodes, Greece)
11 Los Shakers - Only In Your Eyes (Montevideo, Uruguay) *
12 The Rhythms - Everytime (Utrecht, Holland)
13 Les Sauterelles - Springtime (Zurich, Switzerland) *
14 Los Cheyenes - Bla Bla Bla (Me Cansas) (Barcelona, Spain)
15 The Bintangs - Walkin' The Boogie (Beverwijk, Holland) *
16 The Slaves - Slaves Time (Vienna, Austria)
17 Paul & Johnny With The Blue Jets - I Like It (Belgium)
18 Bobby James & The Esquires - Don't You Do That (Adelaide, Australia) *
19 Los 5 Del Este - Look At This Boy (Palma de Mallorca, Spain)
20 The Golden Earrings - Lonely Everyday (The Hague, Holland)
21 The Tielman Brothers - Love So True (The Hague, Holland)
22 The Walflower Complextion - Sapphire (Bogota, Colombia) *
23 Los Shain's - Enfermedades (Lima, Peru) *
24 Les Problemes - Si C'est La Nuit (Puteaux, France)
25 I Sofisti - Non Verra (Italy)
26 The Tomcats - A Tu Vera (London, U.K.)
27 The Roulettes - Soon You'll Be Leaving Me (U.K.) *
* indicates that the track only appears on this compilation
Vol. 3 @ 320
1 Cyclones - She's Mine All Mine (Singapore) *
2 I Tremendi - Together We're Strong (Florence, Italy)
3 Double Pairs - Foutez-moi La Paix (Canada) *
4 Los Vidrios Quebrados - Que Importa El Tiempo (Chile)
5 The Gentlemen - It Feels So Good (Geneva, Switzerland)
6 Terry Dean & The Nitebeats - If I Can (Auckland, New Zealand)
7 Alan Y Sus Bates - Pronto Un Doctor (Chile) *
8 The Bunnys - Burning, Burning (Tokyo, Japan)
9 Los Gatos Salvajes - Yo Soy El Mejor (Rosario, Argentina) *
10 The Entertainers - Little Girl (Heerlen, Holland)
11 The Gents Inc. - Gettin' The Blues (Germany)
12 The Honeycombs - Can't Get Through To You (London, U.K.) *
13 Jormas - The Locomotion (Finland)
14 Los Saicos - Cementerio (Lima, Peru) *
15 The Mystrys - Witch Girl (Melbourne, Australia)
16 Los Shakers - Diles (Montevideo, Uruguay) *
17 Profetas - A Donde Iras (Mexico) *
18 Polanie - Nie Wiem Sam (Lodz, Poland) *
19 The Robots - Soldier Beat (Germany)
20 Los 007 - Nunca Mas (Caracas, Venezuela) *
21 Bar Six - It's My Loving (Hong Kong)
22 The Blue Beats - She's Coming Home (Sydney, Australia)
23 Los Cheyenes - Devuelveme El Corazon (Barcelona, Spain) *
24 Cinqetti - Always Near Me (Italy) *
25 Jonah Ark - Things Will Change (New Zealand)
26 Bryan Davies - I Need Help (Help! Help!) (Sydney, Australia) *
27 Los Yorks - Solo Pido Amor (Lima, Peru) *
* indicates that the track only appears on this compilation
Vol. 4 @ 320
1 The Galaxies - Right Now (Athens, Greece)
2 Los Shakers - Stop The Game (Montevideo, Uruguay) *
3 The Gentlemen - Scotch (Geneva, Switzerland)
4 Les Lutins - Pretty Girl (Montreal, Canada) *
5 I Nobil's - Lasciami Star (Italy)
6 The Knacks - Te Extranare (Buenos Aires, Argentina) *
7 Los Gatos Salvajes - Donde Vas (Rosario, Argentina)
8 Perkins - C'est Ca Le Monde (France)
9 Derek Lee With The Del-Fi's - What Can I Do (Australia) *
10 Polanie - Dlugo Sie Znamy (Lodz, Poland)
11 Renato Y Seus Blue Caps - Voce Nao Soube Amar (Rio de Janeiro, Brazil) *
12 The Epics - Too Late (Sydney, Australia) *
13 Los Sirex - Cantemos (Barcelona, Spain) *
14 Danny Diaz & The Checkmates - She's So Fine (Hong Kong)
15 The Spies - What Kind Of Love (Greece) *
16 Los Beat 4 - Todo Terminado (Chile) *
17 Dragons - The Forest Of My Place (Greece)
18 The Somers - Yet (I Don't Forget You) (Toya, Japan)
19 Los Belmont - Brinquen (Mexico)
20 The Blizzards - Hab' Keine Lust Heut Aufzustehn (Stade, Germany)
21 4PK - Down And Out (Eindhoven, Holland)
22 The Cherokees - That's If You Want Me To (Melbourne, Australia)
23 Pharaohs - Don't You Know Little Girl (Canada) *
24 I 5 Gentlemen - Quel Che Ho Fatto (Italy)
25 Le Ombre D'Oro - Buio In Sospensione (Italy)
26 The Dynamos - You Make Me Go 'Oooh' (U.K.)
27 Kontinentals - I Want You To Know (Hong Kong)
* indicates that the track only appears on this compilation
Vol. 5 @ HQ VBR
1 Secrets - You're Wrong (Christchurch, New Zealand)
2 Cyclones - Oh No, She Didn't Say (Singapore) *
3 The Stalemates - Easy As Can Be (Papua New Guinea) *
4 The Lords - Please Don't Bring Me Down (Berlin, Germany) *
5 Los Cheyenes - Valgame La Macarena (Barcelona, Spain) *
6 Les Tallmud - Avoir Raison (Quebec, Canada)
7 Los Claners - Pronto Te Arrepentiras (Venezuela) *
8 Profetas - Vivir En Paz (Mexico) *
9 Los Sicodelicos - I Am Feeling Down (Santiago, Chile)
10 The Speakers - Glendora (Bogota, Colombia)
11 Los Shakers - What A Love (Montevideo, Uruguay) *
12 Los Doltons - Santo (Lima, Peru)
13 The Slaves - You Are The Only One (Vienna, Austria)
14 The Somethings - Le Monde Infernal (France)
15 Les Sauterelles - Routine (Zurich, Switzerland)
16 Les Miserables - Chemises A Pois, Cravates A Fleurs (Montreal, Canada)
17 I Tremendi - If You Don't Come Around (Florence, Italy)
18 The Youngers - Hanashitakunai (Tokyo, Japan)
19 The Kopy Kats - Maryanne (Papua New Guinea) *
20 The Pogs - The Pogs' Theme (Sydney, Australia)
21 Zoe & The Stormies - Girl Of Ye Ye (Greece)
22 The Savages - He's A Man (Bermuda) *
23 Firebeats, Inc. - I Can't Find Nobody (Oslo, Norway)
24 The Friends - Empty Handed (Stockholm, Sweden)
25 The Downbeats - You Gotta Tell Me (Hong Kong)
26 Johnny Kendall & The Heralds - Fool (Amsterdam, Holland)
27 The Freebeats - Please Tell Me (Papua New Guinea) *
* indicates that the track only appears on this compilation
Vol. 6 @ HQ VBR
1 The Freebeats - Midnight Mover (Papua New Guinea) *
2 Los Claners - Verguenza (Venezuela) *
3 M.P.D. Limited - Her Favourite Song (Melbourne, Australia) *
4 The Olympians - Go Man Go (Thessaloniki, Greece)
5 Steve & The Board - Margot (Sydney, Australia)
6 Les Lutins - Je Suis De Bois (Montreal, Canada)
7 The Strangers - I'd Never Be Blue (Christchurch, New Zealand) *
8 Los Chijuas - Estan Cambiando Los Colores De La Vida (Ciudad Juarez, Mexico) *
9 Mod East - Angelita (Hong Kong)
10 The Nightbirds - Quelli (Switzerland)
11 Les Boots - Laissez Briller Le Soleil (France)
12 unknown - Don't You Know *
13 The Knacks - Si, Quiero Vivir (Tema De Cronopios) (Buenos Aires, Argentina) *
14 Les Chevelles - Ton ombre me suit (Canada)
15 The Saints - Let Me Know (Athens, Greece)
16 Kontikis - I'll Make You Happy (Papua New Guinea) *
17 Les Loups Blancs - Je Sais Que Tu Mens (Montreal, Canada)
18 The Steadtfasts - Girl Be Steadfast (Germany)
19 Thunderbirds - Hey! Girl (Singapore) *
20 Los Shakers - For You, For Me (Montevideo, Uruguay) *
21 Brightness - But Why I Can't (Greece)
22 Les Asteks - Oui Je T'aime (Quebec, Canada)
23 Freddie Cook & The D-Men - I Just Can't Stop My Tears (Sydney, Australia) *
24 Los Yorks - No Puedo Amar (Lima, Peru) *
25 Los Rollings - No Tienes Mi Querer (Granada, Nicaragua)
26 Zoo - I Cry (Athens, Greece)
27 Os Baobas - Bye Bye My Darling (Sao Paulo, Brazil)
* indicates that the track only appears on this compilation
Vol. 7 @ HQ VBR
1 Tony Worsley - How Can It Be (Brisbane, Australia)
2 Les Senders - Le cheveux longs (Vernon, France)
3 The Motions - I Want Someone To Love (The Hague, Holland)
4 Les Lutins - Petit Joe (Montreal, Canada)
5 Pacifics - Smile Again (Greece)
6 Gift Of Love - Take A Trip (Sydney, Australia)
7 The Playboys - Pourquoi (Greece)
8 Los Vidrios Quebrados - Ficciones (Chile)
9 The Chicks - Rebel Kind (New Zealand)
10 Los Cheyenes - He Perdido Este Juego (Barcelona, Spain) *
11 Telstars - Tu Sei Lontana (Florence, Italy)
12 The Rhythms - Go With Him (Utrecht, Holland)
13 Les Loups - Pour Tout Dire (Montreal, Canada)
14 Diplomats - You Didn't Want To Give Your Love (Australia) *
15 The Kopy Kats - Let Me Be (Papua New Guinea) *
16 The Knacks - Me Siento Mal Y Deprimido (Buenos Aires, Argentina)
17 Les Sparks - Rien n'a d'importance (Paris, France)
18 Mystics - I Want To Walk With You (Hong Kong)
19 Les Witackers - Un ami (France)
20 Bobby & Laurie - Not My Girl (Melbourne, Australia) *
21 Alex Fontaine - Tu N'es Pas Sincere (Quebec, Canada)
22 Spectros - Ven Que Estoy Hirviendo (Peru) *
23 I Titans - Non Vale Piu (Genoa, Italy)
24 Normand Frechette & Les Hou-Lops - J'Etudie Mon Grec (Montreal, Canada)
25 The Gremlins - Listen To Me (Auckland, New Zealand)
26 Los Yorks - Have Mercy (Lima, Peru)
27 The Forminx - Until The End (Greece)
* indicates that the track only appears on this compilation
Vol. 8 @ HQ VBR
1 The Breakaways - All For One (New Plymouth, New Zealand) *
2 Cyclones - The Dew (Singapore) *
3 Steve & The Board - I Want (Sydney, Australia)
4 The Kopy Kats - Today (Papua New Guinea) *
5 The Roadrunners - LSD (Wellington, New Zealand)
6 Dragons - Because Of A Man (Greece)
7 Los Shain's - Un Profundo Sentimiento (Lima, Peru) *
8 Les Miserables - Vivre Avec Toi (Montreal, Canada)
9 Jason Deane - Ain't Got No Love (U.K.)
10 The Persons - John's Flight (Piraeus, Greece)
11 The Gremlins - But She's Gone (Auckland, New Zealand) *
12 The Gentlemen - You Never Try (Geneva, Switzerland)
13 The Birds - No Good Without You (Perth, Australia)
14 Noi Tre - Don't Lie To Me (Florence, Italy)
15 The Blizzards - Stranger In Town (Stade, Germany) *
16 The Executives - Wander Boy (Sydney, Australia)
17 Los Nivram - Sombras (Barcelona, Spain)
18 The Pleazers - Can't Pretend (Brisbane, Australia)
19 Los Yorks - Muy Facil (Lima, Peru) *
20 The Mascots - I Want To Live (Stockholm, Sweden)
21 Thursday's Child - I Want You Back (Germany)
22 Les Bowlers - Il est trop tard (Paris, France)
23 The Sunsets - Don't Get Around Much Anymore (Newcastle, Australia) *
24 Los Doltons - La Ventana (Lima, Peru)
25 The Twilights - Night Of Fear (Adelaide, Australia) *
26 Los Vidrios Quebrados - Una Manera De Vivir (Chile) *
27 Kontikis - Gloria (Papua New Guinea) *
* indicates that the track only appears on this compilation
Download Links (RapidShare.com) :
Part 1 ~ Part 2 ~ Part 3 ~ Part 4
Part 5 ~ Part 6 ~ Part 7
Part 8 ~ Part 9 ~ Part 10
missing track :
Persons - John's Flight
Mirror Download Links (RapidShare.de) :
Part 1 ~ Part 2 ~ Part 3 ~ Part 4
Part 5 ~ Part 6 ~ Part 7
Part 8 ~ Part 9 ~ Part 10
Also, there a some particularly groovy instrumentals.
In addition there are some r'n'b tunes with the moody psychedelic flavour.
Nice laminated sleeve front (not on the back) and excellent quality sound.
One of the greatest groovy Dutch albums that ever issued in 60's !
It's simply a marvellous album !!
Strongly Recommended !!
1.I Was Wrong (Gary O' Shannon-Peter Shot)
2.Real Love (Gary O' Shannon-Peter Shot)
3.Frankie's Blues (Frank Muyser)
4.Troubles (Ted Powder)
5.Too Long (Gary O' Shannon-Peter Shot)
6.O-O, Baby, Give Me That Show (Gary O' Shannon-Ted Powder)
1.My Destiny (Gary O' Shannon-Peter Shot)
2.Silky (Ann Derson-Gary O' Shannon)
3.Cascard (Rene Krijnen)
4.Why Did She Go (Gary O' Shannon-Peter Shot)
5.Too Shy To Say Hello (Gary O' Shannon-Peter Shot)
6.Girls enough (Gary O' Shannon-Peter Shot)
Recorded in 19 and 21 July 1966
Technicians : Gerard Beekers-Jan Audier
Prerecording Control: Ted Powder
Les Baroque's Story:
In 1959, this formation from Baarn had already been playing under the names: Modern Teenage Quartet and Hurricane Combo, but they remained unknown until 1965 that name is changed as Les Baroques.
The first single ''Silky'' flops.
With actions in the Netherlands and West-Duitsland the band works in the course of the year steadily for live a reputation.
In the winter of 1965/1966 directs Frans Ruhl the twenty minutes lasting Brake down film, with Les Baroques in the head role. The group plays among other things ''Such a Cad'', the single which ends up at the same time with the film.Already also the characteristic that Rob Out of the then still omnipotent veronica behind the prerecording buds zat has not worked, certainly to the prejudice of the success. ''Such a Cad'' has not yet disappeared from the top 40 if the continuator appears.
''I Know'' become the hit of Les Baroques.
After having recorded a handful of excellent singles, they appeared at the Grand Gala du Disque in 1966. Members at that time were:
Frank Muyser (Leader, Battle Jet Ear, Mouth Organ, Saxophone)
Rene Krijnen (Organ, Piano, Clavecimbel)
Robin 'oaks'Muyser (Bass)
Gerard Schoenmakers (Gary O'Shannon) (Vocals),
Hans van Embden (Solo guitar, Electric Balalaika),
Raymond Geytenbeek (Vocals,Drums).
In September 1966 singer Gerard Schoenaker (Gary o Shannon) must in military service.
In 1967, Ferdy Karmelk temporarily joined the group, playing guitar. Michel van Dijk (ex-Minds, Mads and James Mean) replaced Gerard, who started his own Gary O'Shannon Group.
Furthermore,in 1967,the first single of Les Baroques with Van Dijk, ''Working On a Tsjing-Tsjang'',only stands beginning 1967 only one week in the top 40 of the four singles which appear the remaining two years.
As from 1968 the later Herman Brood-guitarist Ferdy Karmelk determine hamper milk part of the band. If tests Krijen in May 1968 no longer come show up, Robin Muyser after the actions in Zermatt and Montreux go away and Raymond van Geytenbeek gets a good job as graphic designer it has been done with Les Baroques. With two other one band's members (John Dankmeyer and Bartter Lak) goes hamper milk briefly further under the band name Island.
The bezetting changes in this period continuously. Guitarist Hans van Emden plays during its last concerts rather behind curtains or beside the podium because he wants performance no longer in public. Publicly him cannot see for this reason during its solos. He loses its interest for headstock music and changes to end 1967 the band for the academy in Hilversum where he studies traditionally jet ear and lesson will give. Frank Muyser take over the role of Van Emden. To be game is such that during an action in Nieuwkoop in December its brother Robin puts him from the band. With that are Les Baroques manager also their lost and go it rapidly bergafwaarts with the band.
In 1969, after a considerable period of inactivity, the group was in imminent danger of breaking up.
Still for a few more months, it featured the line-up of:
Ferdy Karmelk (Guitar,ex-Tee Set)
Bart Terlaak (Drums, ex-Daddy's Act)
Jan Dankmeyer(Bass, ex-Flower and Nonesuch),
and also Michel, Rene and Frank.
When the group finally folded, remaining members Jan, Ferry and Bart changed the name to Island.
SINGLES: (Original Issues)
Silky/My lost love 1965,Europhon Records
Silky/A new life born 1965,Europhon Records
Such a cad/Summerbeach 1966,Europhon Records
I know/She's mine 1966,Whamm Records
I'll send you to the moon/Troubles 1966,Whamm Records
Working on a tsjing-tsjang/Dreammaker 1966,Whamm Records
Bottle party/Bread 1967,Whamm Records
Love is the sun/I dreamed my dreams away 1967,Whamm Records
Indication/When you're feeling good 1968,Whamm Records
Without feeling without mind/
Pardon me I think I'm falling 1968,Whamm Records
Such a cad/Silky/
Bottle party/I dreamed my dreams away 1972, EP
Without feeling without mind/Indication 1974
Albums: (Original Issues)
Les Baroques LP, 1966 Whamm Records
Barbarians With Love LP, 1967 Whamm Records
Vinyl ripped by Optical Sound in wma file
If you like, make a comment(s), to not feel absolutely lonely......
grab and enjoy it !
Tuesday, August 08, 2006
"Roaming in the sounds of Mediterranean with a classic guitar" S.P.
06 Joy Came
This is the first self-release from Spiros Petroniou.
This album contains various music influences (basically Mediterranean music).
Most of the songs are played with a Classic Guitar
get it here
Recommended to leave comments !!!
Friday, August 04, 2006
I just wanted to let you know that my dear friend and brother
Robert J. Ott aka. DARIUS has passed away today on the 3rd of August 2006 at 1:15 am.
He had been suffering from cancer for quite some time now.
His wife Barbara and I will continue to complete his life's work, since there´s still
a huge musical legacy left by him for the world to discover.
Rest in peace Bobby, you will be deeply missed!
So, honoris causa again,
would like to give you a chance to get and enjoy his 1st amazing psychedelic album of year 1968 !
02 - Dawn
03 - Mist-Veiled Garden
04 - I´m The Man
05 - I Feel The Need To Carry On
06 - Dirty Funky Situation
07 - Blow My Mind
08 - Sweet Mama
09 - Ancient Path
10 - Hear What I Say
11 - Don´t You Get The Feeling (Bonus)
12 - A Woman Like You (Bonus)
13 - Peace & Love (Bonus)
Darius was based in Hollywood, California and was backed by Goldenrod andMike Deasy.
The album is all originals and the music very melodic with upfront vocals and a style veering towards progressivism. Particularly stunning are Mist-Veiled Garden and I Feel The Need To Carry On. Funk and blues influences are more evident on Side two of the album.
Producer Pat Glasser went on to work with Three Dog Night.
Darius went on to record a 45 for Metromedia as Bobby Joe Ott, Flint River Inn, but the company was bought out by Bell, and the track sank in the changeover.
He then returned to his home town of Cleveland, Ohio and under the name of Darius James played the club circuit.
In 1974 a bad automobile accident put his musical plans on hold and he spent the next six years having re-constructive surgery.
In 1980 he put a band called The Earthlings together and went back to Hollywood to play the Showcase Club Circuit and despite many recordings, no deal was forthcoming.
In 1990 Darius went back to Cleveland and met Barbara McFaul aka: Honeygirl. He then concentrated his efforts on recording and producing Honeygirl, also producing/directing three music videos with her.
In 2000 he started singing/writing and recording again along with Honeygirl and The Earthlings...
WE INFORM YOU THAT LEGENDARY FRONTMAN OF LOVE,HAS PASSED AWAY AT THE AGE OF 61
Artur Lee was suffering from acute lymphoblastic leukemia
Lee's manager, Mark Linn, sent out the following email just minutes ago:
"Arthur Lee died peacefully at Methodist Hospital in Memphis, a little after four in the afternoon Aug 3, 2006 with his wife Diane by his side. His death comes as a shock to me because Arthur had the uncanny ability to bounce back from everything, and leukemia was no exception. He was confident that he would be back on stage by the fall.
"When I visited with him recently, he was visibly moved by the stories and pictures from the NYC benefit concert. He was truly grateful for the outpouring of love from friends and fans all over the world since news of his illness became public. We watched the DVD of the great House of Blues concert from '03, and he told me how much he appreciated [backing band] Baby Lemonade's dedication to his music.
"Arthur always lived in the moment, and said what he thought when he thought it. I'll miss his phone calls, and his long voice messages, but most of all I'll miss Arthur playing Arthur's music."
WE PRESESTING YOU, THE THREE AMAZING ALBUMS OF HIS GROUP, LOVE, THAT CONSIDERED AS MASTERPIECES OF LOVELY 60'S DECATE !
UNFORTUNATELY , SUCH A MOMENT WE HAVE TO REMIND TO OURSELVES HIS MARVELLOUS ABILITY TO COMPOSE SUCH A MUSICAL HYMNS.
HAVE A NICE TRIP, ARTHUR !
WE WILL REMEMBER YOU TILL TO MEET YOU IN HELL !!
- My Little Red Book (B. Bacharach/H. David)
- Can't Explain (A. Lee/J. Echols/J. Fleckenstein)
- A Message to Pretty (A. Lee)
- My Flash on You (A. Lee)
- Softly to Me (B. Maclean)
- No Matter What You Do (A. Lee)
- Emotions (A. Lee/J. Echols)
- You I'll Be Following (A. Lee)
- Gazing (A. Lee)
- Hey Joe (D. Valenti)
- Signed D. C. (A. Lee)
- Coloured Balls Falling (A. Lee)
- Mushroom Clouds (A. Lee/J. Echols/K. Forssi/B. Maclean)
- And More (A. Lee/B. Maclean)
- Arthur Lee: lead vocals, harmonica, percussion (drums on "Can't Explain", "No Matter What You Do", "Gazing" and "And More")
- John Echols: lead guitar
- Bryan MacLean: rhythm guitar, vocal (lead vocal on "Softly to Me" and "Hey Joe")
- Ken Forssi: bass
- Alban "Snoopy" Pfisterer: drums (except on "Can't Explain", "No Matter What You Do", "Gazing" and "And More")
Love - 1967 - Da Capo
- Stephanie Knows Who (mono mix) (A. Lee, 2:38)
- Orange Skies (mono mix) (B. MacLean, 2:54)
- ¡Que Vida! (mono mix) (A. Lee, 3:43)
- Seven & Seven Is (mono mix) (A. Lee, 2:26)
- The Castle (mono mix) (A. Lee, 3:05)
- She Comes in Colors (mono mix) (A. Lee, 2:47)
- Revelation (mono mix) (A. Lee/B. MacLean/J. Echols/K. Forssi, 19:02)
- Stephanie Knows Who (stereo mix) (A. Lee, 2:34)
- Orange Skies (stereo mix) (B. MacLean, 2:53)
- ¡Que Vida! (stereo mix) (A. Lee, 3:43)
- Seven & Seven Is (stereo mix) (A. Lee, 2:19)
- The Castle (stereo mix) (A. Lee, 3:03)
- She Comes in Colors (stereo mix) (A. Lee, 2:48)
- Revelation (stereo mix) (A. Lee/B. MacLean/J. Echols/K. Forssi, 19:04)
- Seven & Seven Is (*) (A. Lee, 3:13)
- Arthur Lee: lead vocals, harmonica, guitar, percussion
- Johnny Echols: lead guitar
- Bryan MacLean: rhythm guitar, vocal
- Ken Forssi: bass
- Alban "Snoopy" Pfisterer: organ, harpsichord (drums on "Seven and Seven Is")
- Michael Stuart: drums, percussion
- Tjay Cantrelli: saxophone, flute, percussion
Love - 1967 - Forever Changes (Deluxe Edition)
- Alone Again Or (Maclean, – 3:16)
- A House Is Not a Motel (Lee, – 3:31)
- Andmoreagain (Lee, – 3:18)
- The Daily Planet (Lee, – 3:30)
- Old Man (Maclean, – 3:02)
- The Red Telephone (Lee, – 4:46)
- Maybe the People Would Be the Times or Between Clark and Hilldale (Lee, – 3:34)
- Live and Let Live (Lee, – 5:26)
- The Good Humor Man He Sees Everything Like This (Lee, – 3:08)
- Bummer in the Summer (Lee, – 2:24)
- You Set the Scene (Lee, – 6:56)
- Hummingbirds (Lee, – 2:43)
- Wonder People (I Do Wonder) (Lee, – 3:27)
- Alone Again Or (alternate mix) (MacLean, – 2:55)
- You Set the Scene (alternate mix) (Lee, – 7:01)
- Your Mind And We Belong Together (tracking session highlights) (Lee, – 8:16)
- Your Mind And We Belong Together (Lee, – 4:28)
- Laughing Stock (Lee, – 2:33)
- Arthur Lee: lead vocals, guitar, arranger
- John Echols: lead guitar
- Bryan MacLean: rhythm guitar, vocals, arranger (lead vocals on "Alone Again Or" and "Old Man")
- Ken Forssi: bass
- Michael Stuart: drums, percussion
- Billy Strange: guitar on "Andmoreagain" and "The Daily Planet"
- Don Randi: piano on "Andmoreagain" and "The Daily Planet"
- Hal Blaine: drums on "Andmoreagain" and "The Daily Planet"
- Carol Kaye: bass on "Andmoreagain" (presumably)
- David Angel: arranger, orchestrations
- Orchestra: Robert Barene, Arnold Belnick, James Getzoff, Marshall Sosson, Darrel Terwilliger (violins); Norman Botnick (viola); Jesse Ehrlich (cello); Chuck Berghofer (double bass); Bud Brisbois, Roy Caton, Ollie Mitchell (trumpets); Richard Leith (trombone)
but the most important is,
that included their 7th single ''Your Mind And You Will Belong Together / Laughing Stock
(1968, Elektra EK 45633 )
PERSONAL VIEW: This album is a classic masterpiece of the 60's and one of the greatest albums ever made !
posted by Opa-Loka and Optical Sound
reviewed by Optical Sound.
1. Just Like Stone (6:30)
2. Don't Make Me Cry (8:48)
3. Flying South In Winter (6:26)
4. Dreams (3:57)
5. You Make My Jelly Roll (7:58)
6. Natural High part 1 (6:55)
7. Natural High part 2 (3:53)
- Paul French / acoustic & elelectric pianos, organ, vibes, vocals
- Chris Gavin / bass, acoustic & electric guitars
- Dave Knowles / Alto & Tenor saxes, flute, clarinet, vocals
- Nigel Reveler / drums, percussion
A little-known band. Musically in the progressive-jazz genre, the album was released on RCA's now collectable Neon label. It's quite unusual and includes a number of woodwind solos. Despite being recorded under the supervision of Howard and Blaikley it's musically miles away from that duo's sixties pop format. Paul French went on to play in Voyager in the late seventies and early eighties.
Wednesday, August 02, 2006
1. Medina (8:29)
2. Morning (3:32)
3. Changing (6:46)
4. Cynghanedd (7:49)
5. A Very Sarcastic Song (6:43)
6. Carnivore (4:02)
7. Mignon (1:51)
8. Lady Mary (3:48*)
Edbert Froese - guitar, Keyboard, Vocals, Sitar, Psalter
Matthias Mertler - Guitar, Vocals, Percussion, Glockenspiel
Ulrich Nahle - Flute, Guitar, Vocals, Percussion
Lang'syne appear to be another one-album wonder as they released an interesting self titled folk album in 1976. Lang'syne sing in English and their brand of folk bares little resemblance to the earlier kraut-folk bands like Broselmaschine, Holderlin, and Witthuser and Westrupp. Throughout the album, there are small touches of a German and Eastern ethnic feel to the music, but for the most part their sound is a bit more Anglo influenced. Many of the lyrics and much of the music appear to have a dark, longing quality which results in the album sounding a bit mystical, and occasionally even Renaissance-style. The standout track is the instrumental 'Cynghanedd'. 'Cynghanedd' begins like an Eastern-influenced ballad, or "Melodie der Natur" as described in the CD sleeve. This track utilizes natural sound of birds and insects and ends with an interesting interplay of 'dueling'-guitar chord sequences. Another track worth mentioning is 'Medina' which has sporadic touches of Witthuser and Westrupp sprinkled throughout.
Get It Here
I Think I Should Know
Lysergic Mental Vibrations
I Am A Whale
Last In Line
Engineered By Scott Godwin
Recorded At Island Studios, North Royalton, Ohio
Cover By Vince Rancid
"Syd Barrett acolytes from Ohio! This tasty goblet of swirling, bubbling psych slips down a treat. The heavily acid etched instrumental 'Lysergic Mental Vibrations' is am excellent contrast to the more whimsical joys of the opening 'We Are' and the aquatic lunacy of 'I Am A Whale.' Over on side two, 'Last In Line' is pretty flawless Chocolate Watchband respray job while 'Colors' employs backwards tape jiggery-pokery as an eerie voice creeps in and out of the mix having escaped from somewhere you probably don't want to know about. 'Psilocybin Spot' fulfills the same role as side one's 'Lysergic...' and is as effective. Finally, 'The Lizard' is an acoustic based trip into the mynd of the vocalist who is driven to bizarre flights of fantasy by a brief, and unexpected, FX bombardment. Sensibly, and probably to avoid the unwanted attentions of like minded space cadets, the band members remain anonymous and the murky photo on the sleeveadds to the mystery of this wickedly warped caboodle of crazed vignettes."
Dark Reflections (7:00)
Weeping May Endure (4:50)
Indian Mediation (4:10)
Tin's Song (1:40)
The Year's At The Spring (4:35)
Pan-Am Flight 249 (5:15)
Jutta Nienhaus - vocals
Hermann-Jürgen "Mops" Nienhaus – drums
Wolfgang Schoene – bass
Martin Thurn - guitars, flute and bongos
Nikola Pankoff - keyboards (mainly Hammond organ)
Analogy The Suite (Rec. 1980, Rel 1993 (Ohrwaschi) /2000 (Akarma)
25 Years Later (1996, Ohrwashi)
Analogy's sound is thick and heavy in a psychedelic way rather than a hard rock way, with Schoene's bass tone very deep, matching the sometimes sultry vocals of Neinhaus. The instruments of focus, other than Nienhaus' voice, are the guitar of Thurn and Schoene's bass. Except when they are in a solo setting, Pankoff's organ is back in the mix, and yet very much present. Lyrically, the album is fairly sparse, and without a lot of reading between the lines, or, in the case of "Pan-Am Flight 249," some context, they don't seem to make a lot of sense. But they don't have to, as the ear is drawn to how Neinhaus sang, not what she sang.
The centerpiece of the album is the nearly 10 minute "Analogy" – the track from which the band took their name. It begins as a subtle atmospheric piece with just Pankoff's organ, but gradually fades in to become a full on rocker, bringing to mind The Who a bit. Of the core album's 7 tracks, this is the one that is, perhaps, the most proggy in nature, though it gets there by way of psychedelia. The watery organ work recalls Ray Manzarek's in tone a bit, as on The Doors' "Riders On The Storm." The Doors played extended, arty, pieces like this. In another passage, Thurn's initially delicate guitar lines recall Pink Floyd ("Us And Them" came to mind), before a sweet, but high-toned guitar takes the lead voice, playing in sad, melancholy notes.
They follow this up with the upbeat, energetic "The Year's At The Spring," which made think of something from the early days of Jefferson Airplane, though Neinhaus doesn't sound like Grace Slick exactly, I could easily see Slick singing this way stylistically. Again, it is a showcase for Thurn, Schoene and Pankoff, but mostly Thurn, as he plays a brassy toned solo, leaned into a distinctively Hammond organ solo from Pankoff. Haven't mentioned drummer Nienhaus much, but his performance is solid throughout, keeping everything moving along. Nienhaus's story has a tragic ending, as he committed suicide in 1984 while he was in the end stages of his fight against AIDS.
The other thought that came to me as I was listening to Analogy was anachronistic as I thought of The Red Masque during the dark, gloomy, and some times funereal, "Dark Reflections" as well during the equally dark and gloomy "Pan-Am Flight 249" -- whether this song is in response to some specific incident around the time, I don't know. I did "Google" it, but found only references to the track in the tracklisting of various reviews of this album. This comparison was not just in the vocals of Jutta Neinhaus, which are richly ethereal and lilting, but rather in the whole vibe of each piece.
Another of the album's highlights is "Weeping May Endure" which, aside from some brief lilting vocals from Nienhaus, is an instrumental with Thurn's guitars leading the way. Here, too, Pankoff's organ gets a moment in the spotlight.
Once you "get past" finding some of vocals "flower child" like -- but pleasant to the ear -- and so very much of the 70s, you realize that the band combined all their respective talents to create a solidly good album. Produced by Aldo Pagani, who permitted the band only two recording days (all he was willing to invest), the album seems far from hurried or rushed. It's easy to see why this gem in it's original vinyl version is a sought-after item, potentially fetching US$1500.
Ain’t none ever seen the face of his foe no
He ain’t made of flesh & bone
He’s the one who sits up close beside you
An when he’s there you are alone
Every man is evil yes an every man is a liar
An unashamed with the wicked tongues sing
In the black soul choir
Yes an no man ever seen the face of my lord no
Not since he left his skin
He’s the one you keep cold on the outside girl
He’s at your door let him in
O I will forgive your wrongs
Yes I am abel
An for my own I feel great shame
I would offer up a brick to the back of your head boy
1. POLL MEANS LOVE
2. FOVOI MOU
3. PSAHNO NA VRO TO FILO MOU
4. STIN PIGI MIA KOPELA
5. 2.000 LOGOI
6. PARASKEYAS KAI THOMAS
7. KAI MILONTAS GIA ANTHROPOUS
8. O GEROS
10. PICCADILLY CIRCUS
11. GIATI EHEI MAKRIA MALLIA
12. SIMERA KAI AYRIO
13. PESTE MOU TI THELO - POLL SIMAINEI AGAPI - POIOS THA DEIXEI
14. I GENIA MAS
15. ELA ILIE MOU
16. ANTHROPE AGAPA
Kostas Tournas (Guitar, Vocals)
Stavros Logaridis (Bass, Vocals)
Robert Williams (Guitar, Vocals)
Kostas Papaioanou (Drums)
[many guest artist and singers...]
Great Psychedelic Folk-Pop Album !!!
Στον απόηχο της «εποχής των λουλουδιών» και της γενιάς του Woodstock εμφανίσθηκε ένα από τα πιο αγαπημένα γκρουπ της δεκαετίας αυτής, οι POLL, που κατ’ εξοχήν προσπάθησαν να μεταφέρουν κάτι από τη χίπικη αισθητική στον ελλαδικό χώρο. Μετά το θαυμάσιο 1ο τους single του ‘71 «Άνθρωπε αγάπα/Ελα ήλιε μου» που συνάντησε προβλήματα με τη λογοκρισία της χούντας λόγω των στίχων του, κυκλοφορεί την ίδια χρονιά και το 1ο τους άλμπουμ «Άνθρωπε…» με εξώφυλλο ένα……..ταγάρι. Το LP είναι πέρα για πέρα εκπληκτικό. Όλα τα τραγούδια είναι υψηλού συνθετικού επιπέδου, ώστε δύσκολα μπορείς να ξεχωρίσεις κάποιο. Δεν μπορώ όμως να μην επισημάνω ιδιαιτέρως το «Στην πηγή μια κοπέλα», ένα μοναδικό κομμάτι, κατ’ εμέ το καλύτερο που έγραψαν ποτέ κι ένα απ’ τα καλύτερα που έβγαλε ποτέ η χώρα μας. Μετά από ένα 2ο single «Η γενιά μας/Αετοί» που αποτελεί και το μανιφέστο μιας ολόκληρης γενιάς βγάζουν το ‘72 το 2ο τους ομώνυμο LP πρωτοτυπώντας πάλι στο εξώφυλλο που περιείχε 12σέλιδο έγχρωμο βιβλίο κόμικ με ήρωες τα μέλη του γκρουπ. Κατώτερο από το πρώτο, παρ’ όλ’ αυτά όμως ένα πολύ καλό LP. Το ύφος των POLL ήταν το φολκ-ροκ. Το γκρουπ ολοκλήρωσε την παρουσία του μ’ ένα τελευταίο single «Μολυβιές φωτογραφίες/Όσες φορές». Βασικός πυρήνας του ήταν οι Κώστας Τουρνάς, Ρόμπερτ Γουίλλιαμς και Σταύρος Λογαρίδης. Για ένα διάστημα πέρασε απ’ τις τάξεις του ως τραγουδίστρια και η Δέσποινα Γλέζου. Πρώτος που ακολούθησε προσωπική καριέρα ήταν ο Τουρνάς. Από τα LP’s που έβγαλε καλύτερο ήταν τα «Απεραντα Χωραφια» (‘72), ένα δομικώς σύνθετο για την εποχή του concept άλμπουμ με επιρροές από προοδευτικό ροκ. Η υιοθέτηση αργότερα ενός πιο απλουστευμένου ύφους θα τον φέρει και πιο κοντά στην εμπορική επιτυχία. Απ’ τα επόμενα LP’s του σε ποπ-ροκ φόρμες πιο αξιόλογα ήταν τα «Αστρόνειρα» (’73), «Κυρίες και κύριοι» (‘74) και «Λευκά φτερά» (‘75). Ο Γουίλλιαμς έβγαλε μερικά LP’s σε soft ποπ-ροκ ύφος. Ο Λογαρίδης σχημάτισε τους ΑΚΡΙΤΑΣ που μετά από ένα single κυκλοφόρησαν το ‘73 και το μοναδικό τους ομώνυμο LP, ένα από τα κορυφαία στον ελλαδικό χώρο όλων των εποχών. Το άλμπουμ κινείται στο χώρο του προοδευτικού ροκ και χαρακτηρίζεται από τις συχνές αλλαγές θεμάτων. Ειδική μνεία πρέπει να γίνει για τα εξαιρετικά κιθαριστικά μέρη του guest Δήμου Παπαχρήστου, πρώην μέλους των ΕΞΑΔΑΚΤΥΛΟΣ. Πρωτοποριακό άλμπουμ και δισκάρα!!! Οι ΑΚΡΙΤΑΣ μπορούν να θεωρηθούν ως οι Έλληνες EMERSON, LAKE+PALMER. Μετά τη διάλυσή τους ο Λογαρίδης ακολούθησε σόλο καριέρα ηχογραφώντας το 1ο του ομώνυμο LP (‘78) και το «Σε άλλη γη» (‘80) σε προοδευτικό ροκ πιο εμπορικού ύφους από το παρελθόν.
Tuesday, August 01, 2006
John Dover – Bass
Nigel "Zed" Jenkins – Guitar
Jo Meek – Vocals
Roger Odell – Drums
Julian Jay Savarin – Keyboards
Waiters On The Dance (Birth RAB 2) 1973
(reissued on Five Hours Back (TOCK 002) in 1987)
Akarma AK 161, 2001
I Am You/Kizeesh (Lyntone LYN 3426) 197?
(issued as a Corgi Books sampler)
Julian Jay Savarin was the leader and main songwriter in Julian's Treatment. He wrote, directed, and played on the 1970 double concept album, ‘A Time Before This’. It is based on the book, ‘Lemmus, A Time Trilogy - Waiters On The Dance’, which Savarin wrote. A poet and writer, as well as a musician, he used his multi-talented focus to his advantage on many different projects.
‘Waiters On The Dance’, originally released in 1971 and re-released by Akarma Records in 2001, comes attractively packaged with the original artwork in the vinyl and CD formats.
A concept album with excellent music seems to be more ear catching than any other type of recording. When you know that there is a story behind the music, better yet an entire book, the entire picture begins to formulate in your mind’s eye. When you then take that formula and add powerful guitar riffs, grinding organ and Lady Jo Meek's (later with Catapilla) voice to tell the story and set it all in motion with feeling, you have all the elements for a successful musical endeavour that spells progressive rock. This LP is a classic that deserves an abundance of attention by those that appreciate what this captivating genre has always had to offer its devout listeners. I am like many of you; I had never heard of this album before and felt entirely blown away by its impact. I am sure you will be too, and then you will wonder why you had not heard of this sooner. As the saying goes… better late then never, get it now!
The books in Savarin's trilogy are:
Lemmus One: Waiters on the Dance,
Lemmus Two: Beyond the Outer Mirror and
Lemmus Three: Archives of Haven, all in the sci-fi genre.
OUT OF THIS WORLD RELEASE ON THE ITALIAN ‘PSYCH-OUT’ LABEL. THIS IS A REAL ACID PSYCHEDELIC MASTERPIECE THAT GATHERS INFLUENCES FROM ‘SYD BARRETT’, ‘RORY GALLAGHER’ TO ‘NINO ROTA’..
01 To The Morning Blue
02 Europes Blues
04 3 O'clock
06 Hey Mr. Paul Smith
07 Inian Side
08 Something To Say
09 All Tomorrows Parties
Ludovico Ellena- g, voc
Konrad Giolito - voc
Aldo Casciano - dr
Lorenzo Proverbio - keyb, voc
Sergio Monti - b, voc