Sunday, December 31, 2006
(Louis Tillett's first band - Vinyl LP_Test Pressing)
Who the hell are Wet Taxis ?
Louis Tillett's first band, the Wet Taxis, commenced life as an experimental outfit in the manner of fellow Sydneysiders Severed Heads and Scattered Order before taking on a tougher 1960s-influenced direction. Their classic debut single on the Hot label, ‘C’mon’ (1984), boasted an authentic garage/R&B sound heavily influenced by such American garage/punk bands as the Moving Sidewalks, We the People and the Chocolate Watchband plus legendary Australian group the Atlantics (who originally issued the song as ‘Come On’ in 1967). Alongside the likes of Died Pretty, the Celibate Rifles, the Lime Spiders, the New Christs, the Hoodoo Gurus and the Eastern Dark, the Wet Taxis came to epitomise the Australian garage rock sound and aesthetic of the 1980s. The band’s only album was the appropriately named From the Archives (Hot, 1984). [From Louis Tillets Web Site]
And thats's what this is.
Track listing is unknown. The test pressing did not have a listing on the label. A rough copy of material that appears to have been destined for the album cover does not contain a track listing.
01. Last Time Around
02. Unchain My Heart
03. You Burn Me Up And Down
04. I Wanna Come Back (from the World of LSD)
05. Rich With Nothing
06. Clock On The Wall
07. Its Gonna Rain
09. In The Past
10. Bucktooth Gobbler
~Simon Knuckley (lead guitar)
~Penny Ikinger (rhythm guitar)
~Nick Fisher (drums)
~Tim Knuckley (bass, vocals)
~Louis Tillett (vocals, piano)
After the Vietnam Veterans
Ex-members of the of French Psychedelic legends and a unknown German mod-metal band, the Daisy Chain collaborating once in the studio. The outcome is one of greatest psych-rock album all time.
Mark Enbatta - vocals, guitars
Lucas Trouble – keyboards
Martin Joyce – drums
The Daisy Chain
Jani Egloff – vocals
Sven Anders – guitar
Tom Budnewski – guitar, vocals
Roland – drums
Arch – bass
Hoodoo (T. Budnewski)
Sunny Sunday (M. Enbatta)
Lumberjack Blues (M. Enbatta)
I Walked With Doro Pesch (instrumental) (T. Budnewski)
Before I Go (vocals: Jani) (T. Budnewski)
Banana Split (Hagen Dierks/Jay Alanski)
Beast In Me (T. Budnewski)
Before I Go (vocals: Mark)(T. Budnewski)
Cold Turkey (John Lennon)
The Vietnam Veterans also happen to be French but they are coming from different age and time.
There Ain’t No Cheatin’
Tears In My eyes
I Don’t Care
I’ll Be Gone
Not Good enough For You
She Ain’t Nobody
Don’t Try To Change Me
Never Coming Back
She Can Get It
Captain Of My Ship
Mathias Lilja: lead vocals, guitar
Henrik Wind: farfisa organ, vocals
Peter Kalin: bass guitar
Martin Karlsson: drums
"In '92, a gang of 13-year-olds started out playing Chuck Berry covers under the name Free Force," reads a press release from Low Impact Records, the band's label. "They soon changed personnel and became The Strollers." Taking its name from the Yardbirds' "Stroll On," the band now includes frontman/guitarist Lilja, Henrik Wind on (Farfisa) organ, bassist Joakim Dimberg, and drummer Karlsson. Now, with two albums under its belt, the band seems to be the only one willing to put forth the effort to find a new way to say what's already been said countless times.
"We listen to a lot of English bands," the band told Shade. "The Who, Pretty Things, Kinks, and stuff. There's probably more American influences when it comes to making music. You get inspiration from all kinds of things. Rock'n'roll in general."
The band's first album, Falling Right Down (1999), was all edge. Where the Chocolate Watch Band and The Standells were pop groups, The Strollers were an assault force. Falling Right Down's tonal palette was dominated by Lilja's lacerating fuzztone (a Fitta Fuzz pedal on the band's first album), throaty tenor, and Wind's piercing Farfisa. The propulsive drive of the album is unrelenting, even when the band attempts to swing, as it does on the album's closer, "Memories." Falling Right Down is the sound of a hungry band.
If the album's production suffers from an almost complete lack of bottom and the sheer energy of the songs takes a few listenings to keep everything straight, Falling Right Down is nevertheless an exhilarating CD. Lilja's fuzz is skin-flayingly hot and his vocal is vintage garage, but the band brought a new intensity and a few modern touches to the material. The album's sound is as refreshing as it is effortlessly classic.
With Captain of My Ship, the band's 2000 sophomore effort and it's last album with bassist Peter Kalin (who has recently replaced by Dimberg), expanded the band's sound and added much-needed bottom to the album's mix. More melodic if less intense, Captain's diversity points to bigger things.
The band doesn't know which CD it likes better. "It depends on what mood your in," they told Shade. "They're both pretty neat. You don't wear the same clothes every single day do you? If you feel for some straight, simple garage, you listen to the first one. And if you're in some strange fucking mood, and you want a mix of our personal influences pick up the second one."
Those influences run from '50s rock and American punk to Alice Cooper and English thrash pioneers Venom. Captain is warmer and less abrasive than it's predecessor, but for all its supposed blend of the band's influences, it's not that different from Falling Right Down. Which is a little like being not all that different from Michael Jordan on a basketball court. Still, there are worries that the band could start belching stale air if it keeps up this garage thing. This is 2001 after all.
"Now that you've nailed the garage-band approach are there any plans to broaden your sound? Maybe get psychedelic?" Shade asked the band.
"Maybe," came the reply. "You never know. Or maybe we'll write a good piece of rock-opera. He he."
source : http://www.furious.com/Perfect/strollers.html
Head Candy - 1991 - Starcaster
First and, unfortunately, last album from an incredible Iowa quartet that traded in medium-loud, complex guitar rocka la Television or Dumptruck. Almost psychedelic in its shifting textures and lyrical imagery, but always melodic, this is an important album. (WWW Music Database)
Iowa has long been a fertile breeding ground for driving pop bands. With guitarists Mike Sangster and Doug Roberson coming from two such bands, the Hollowmen and the Dangtrippers respectively, Head Candy is poised to carry on the tradition. Sangster's vocals oscillate between an uneasy tension and a mellow smoothness in much the same way that Head Candy's songs reflect both a world-weary callousness and a vulnerable sweetness. Witness the brash groove of the opening cut "Soul Grinder" segued into catchy riffs embedded in "In The Night Kitchen." Starcaster's uncomplicated production gives it an even mesh, comprised of grinding guitars and fuzzy vocals vibrating over a firm rhythm section. Every sound falls neatly into place without being jelled into a sticky gloss, creating a steadfast sound throughout. Start with the afore-mentioned two cuts, and move along to the frail melodies and lyrics of "Part Of The Earth," the sinister jangle of "Watching The Sun's Trail," the jagged melodies of "Rocket Transfer Warehouse" and the delicate instrumental "Invitation To A Beheading." (CMJ)
I would add to the above the incredibly strong, guitar-driven "Mona Lisa Overdrive", and you have a great album. Why it went unnoticed, is beyond the knowledge of God or even Captain Beefheart.
Mike Sangster: gtr, vcls, tapes
Doug Roberson: gtr, tapes
Jim Vallet: bs
Jim Viner: drms
1. Soul Grinder
2. In The Night Kitchen
3. At The Controls
4. Words To Live By
5. Part Of The Earth
6. Watching The Suns Trail
7. Sideways Laughing
8. Mona Lisa Overdrive
9. Rocket Transfer Warehouse
10. Invitation To A Beheading
11. Black Spirits And White
Saturday, December 30, 2006
Sona Diabate - leadvocals (2,3,4,5,6) - acc. guitar (3)
Fiadelia King Sockuh - leadvocals (2,4,6) - keyboards (1,2,4,5,6,8,9)
Barry Sangare - leadvocals (8) - n'goni (8) - djembe (1,7)
Ramata Conde - backing vocals (3) & dance
Kaba Kouyate - balafon (3,4,5,6) - djembe (2,5)
Dieter Weberpals - flute (1,2,4,5,6,8) - bassflute + voice (9)
Stefan Hergenröder - e-bass (1,2,3,4,5,6,8,9)
Charles Blackledge - drums (2,4,5,6,8) - talking drum (1) - djembe (7)
Kabiné & Djibril Dramane - djembe (7)
Fadjimba Sacko - dundun (7)
Live recordings from Ivory Coast, Togo, Germany & Italy 97/98
Ευοί Ευάν - Το τέλος 8ά'ναι πάλι αρχή(2000)
Evi Evan - To Telos Tha'nai Pali Arhi(2000)
01 - Σ'αυτόν τον κόσμο(In This World)
02 - Φωτιά στην καρδιά(Fire In The Heart)
03 - Τρικυμία(Storm)
04 - Ένας(One)
05 - Χτυπάς φέυγεις πετάς(You Hit You Leave You Fly)
06 - Χορέυω(I'm Dancing)
07 - Το δώρο(The Present)
08 - Προσφορές(Offerings)
09 - Busytone
10 - Και πάλι απ'την αρχή(Again From The Start)
Fotis Siotas:vocals,violin,electric violin.synthesizers
Vaggelis Tsotridis:electric guitar,acoustic guitar,midi guitar,programming
Nektarios Karantzis:electric bass,contrabass,piano
01 Under The Cafe Table
02 Down To A Proton
03 The New Emotional Twist
04 Kiwis Come In Close
05 You Took The Blue One
06 You Think I'm A Car
07 Eat Molten Death
08 Hitler's Knees
09 Funny Monsters
10 Matter Over Mind
11 The Damage
12 Ammonia Suction
13 Everlasting Lollipop
15 Saw A Ranch House Burning Last Night
16 Phylis #2
17 I Met A Man Who Spoke Like An UCCA Form
18 Peter Smith Is A Banana
19 My Geraniums Are Bulletproof
20 The Gates Of Lunch
21 A Ten Legged Beast (or An Eight Legged Beast With Feelers)
22 Teenage Head In My Refrigerator
24 Ammonia Suction
25 The New Emotional Twist
Alan Jenkins: singing, guitar, clarinet
Sherree Lawrence: keyboards, singing
Michael Bunnage: bass
Graham Summers: bass
John Grayland: trumpet
Dawn Leeder: pecussion
Geof Griffith: singing
The Deep Freeze Mice were an English New Wave band that were active between 1979 and 1989. They were based in Leicester, and consisted of the core members Alan Jenkins (guitars and singing), Sherree Lawrence (organ and other keyboards), and Mick Bunnage (bass guitar). The band had two different drummers over the years: Graham Summers and Pete Gregory. The band released 10 albums during their existence on their own Cordelia Records label. Their music was odd, often consisting of absurd and surreal lyrics delivered in Alan's deadpan voice accompanied by bouncy pop/progressive rock music. Favoured lyrical concerns included animal rights, conformity, and science fiction. Alan Jenkins was also a member of The Chrysanthemums in the late 1980's, and joined up with members of Po! and The Ammonites in Jody & The Creams (later as "Alan Jenkins & The Creams") and Ruth's Refrigerator. He has played guitar with The Thurston Lava Tube since 2001.
03 I Don't Want Nobody
04 Day Tripper
05 Mother and Chil Reunion
06 Things Yet to Come
Randy California: guitar and lead vocals
Clit McTorius: bass
Henry Manchovitz: drums
Tim McGovern: drums and backing vocals
Charlie Bundy: bass and backing vocal
Roger Dollarhide: hideous laughter
Randy California (born Randy Craig Wolfe; February 20, 1951 – January 2, 1997) was a guitarist, singer and songwriter and one of the original members of the rock group Spirit, formed in 1967.
Randy was born into a musical family in Los Angeles, and spent his early years studying varied styles at the family's Hollywood nightclub, the Ash Grove. He was fifteen years old when they moved to New York and he met Jimi Hendrix in 1966. He played in Hendrix's band Jimmy James & the Blue Flames that summer. The stage name "Randy California" was given to him by Hendrix to distinguish him from another Randy in the band (who Hendrix dubbed "Randy Texas"). When Hendrix was invited to come to England by Chas Chandler, Randy was not allowed to go (by his parents) and so missed out on what became the Jimi Hendrix Experience.
Together with his stepfather Ed Cassidy, California founded the band Spirit in 1967 and wrote their biggest hit, 1968's "I Got a Line on You". The band's music still stands as a unique sound mixing ethereal notes, hard beats, and a satirical view of the world.
Randy California left Spirit in 1971 to begin a solo career, but periodically returned to various reincarnations of the group over the years until he was lost in the ocean January 2, 1997 while rescuing his twelve-year-old son from a rip current near their home at Molokai, Hawaii.
* Kapt Kopter And The (Fabulous) Twirly Birds (1972)
* Euro-American (1982)
* Restless (1985)
* Shattered Dreams (1986)
2. Losing Track (Of Time)
4. There's Always Now
6. Not Knowing
7. Deadly Weapons
8. Burnt-Out Hotel
9. Howling Hole
10. Next One Is Real
11. Not Knowing Remix
12. Babylonian Tower (Remix)
13. Hole Version Accidental (Remix)
14. Next One Is Real (Extended Remix)
During the recording for a speculative 7" in a little studio in the Belgian countryside, it became quickly evident that the trio had hit upon something worthy of development and a their first, self-titled, mini album was the fruit of this. Their burgeoning style was a heavily Middle-Eastern coloured brand of post New Wave, based on driving rhythms, scratchy guitars and their own very un- "Anglo-American" style of vocalisation. In this way they both prefigured "indie-dance" and later fascinations with so called "world music".
One by One, the second album, was recorded in London in 1982, and like it's predecessor co-produced by Dick Polak (from Dutch band Mecano) and Crammed supremo Marc Hollander. It includes tracks such as "Babylonian Tower", "Disguise" (another live staple) , "It Takes a Lifetime". With this release Minimal Compact had become a "real band" with the adddition of the native Amsterdammer Max Franken on drums. Now Minimal could play live, this was to prove a strong element in their career. As Minimal began to tour more extensively they went from strength to strength as a live band and could certainly rock any house!!
Deadly Weapons , produced by Gilles Martin and Peter Principle dates from 1984 and is considered by some their most experimental album. Nonetheless it threw up a "club classic" of the time in the shape of "Next One Is Real" (famously remixed by Dick O'Dell, one time boss of the Guerilla label). The sleeve was by Neville Brody.
On this album the "classic" 5-person line up became complete with the addition of guitarist/vocalist Rami Fortis a long time Minimal cohort from Tel-Aviv who arguably was Israel's most imnovative post-punk musician with his solo debut Plonter. Fortis had previously collaborated with Malka on their 7 codes tape (a low-fi home tape effort which had done nicely in the indie shops in Amsterdam).
Touring by this point took them further and further afield, everywhere from Palermo to Kyoto fell to their conquest although typically for the time British success was limited to an NME single of the week and a John Peel session.
Raging Souls was released in 1985. Produced by Colin Newman , with artwork by Eno/Sylvian collaborator Russell Mills, it has proved their most popular album, with tracks like "My Will", "When I Go", "The Traitor", "Autumn Leaves" all of which became live favorites. By this time Minimal had become established in Brussels and were at the hub of the local "International Indie Scene" which featured at various times, Tuxedo Moon (both individually and collectively), Bel Canto, Colin Newman, Sonoko, Gilles Martin, Benjamin Lew...
As a follow up Minimal Compact recorded a 12" Immigrants Songs (featuring a Led Zeppelin cover) with Israeli Uri Barak. Like "Next One Is Real" before it the 12" received extensive US college/dance attention and figures amongst their most enduring work.
The Figure One Cuts was their last studio album, recorded in 1987 with producer John Fryer (Cocteau Twins, Depeche Mode, M/A/R/R/S). Tracks include "Nil-Nil"," Inner Station", "New Clear Twist", "Piece of Green". The Lowlands Flight instrumental album was released at the same time in Crammed's "Made To Measure" series. The touring continued but their goal of following up their record success in the USA was never acheived as several planned tours were cancelled because the US immigration authorities refused to grant them visas.
Minimal Compact Live was recorded in 1987 in Rennes, France, this last album came out after the band split in '88.
Berry Sakharof and Rami Fortis have both returned to Tel Aviv where they have enjoyed huge popularity both together and seperately. Malka is a partner with Colin Newman in the swim label based in London. She has released several solo albums as well as partnering Newman in Immersion, on his solo albums and on their recent live collaboration. Samy Birnbach, still resident in Brussels, has worked with Benjamin Lew, with Newman and Spigel in Oracle and as part of The Gruesome Twosome. He also performs as an ambient DJ under the name Morpheus, and is also an associate A&R for SSR/freezone. According to legend, Max Franken (who never left Amsterdam) still plays drums and football!!
source : http://www.swimhq.com/artists/Minimal_Biog.html
Get It Here :
RapidShare or SendSpace
A1 - SS-20 & Sky Saxon - Paradise
A2 - SS-20 & Sky Saxon - Born To Be Wild
B1 - SS-20 - Trouble
B2 - SS-20 - No Matter What
01 - Starving For Your Love
02 - House Of Mine
03 - Return Of The Sixties (Spirit Of The Sixties)
04 - Love Dog
05 - Burning Down The Walls Of The City
06 - Sha La La La, It's A Groovy Thing
07 - Medley-Over-Reaction-Hollywood Blvd
Lead vocals - Sky Sunlight Saxon
Guitars - Eddie Munoz, Rich Coffee, Dan West, Shelley Ganz
Bass - Lee Joseph, Greg Steward, Toby Keil
Drums - Roy McDonald
Chesey keyboards - Mars Bonfire
background vocalists - Peter Case, Steve Wynn, David Provost, Marc Platt, Ric Alvin, Johnette, Frank Beeson
After the breakup of the seminal psychedelic garage punk band the Seeds in 1969, frontman Sky Saxon (born Richard Marsh) embarked on an erratic solo career in between stints as a mystical guru in Hawaii. Much of his post-Seeds work fit the mold of a curious 1960s relic, a hippie acid casualty with a strong cult following, in the mold of Roky Erickson. Saxon began his career under the name Little Richie Marsh, performing sugary, doo wop-influenced teenage pop in 1962. Changing his name to Sky Saxon, he joined two L.A. garage bands, the Soul Rockers and the Electra Fires, before forming the Seeds in 1965. Saxon continued to record under the Seeds' name following the group's official dissolution in 1969, releasing a series of singles that increasingly reflected a drug-induced separation from reality. Beginning in 1976, the late '70s saw the release of several albums credited to variously named outfits: Sky Sunlight, Sunstar, Sky "Sunlight" Saxon, the Universal Stars Band, Star's New Seeds Band, Sunlight and the New Seeds, and so on. 1983 saw the release of a rarities collection, New Fruit From Old Seeds: The Rare Sky Saxon, Vol. 1 (there never was a planned Vol. 2), which contained material dating back to Saxon's pre-Seeds days. Saxon, who had not produced any new albums since 1978, returned on the U.K. Psycho label in 1984 with Starry Ride, which featured support from Steppenwolf's Mars Bonfire (composer of "Born to Be Wild"), as well as former members of Iron Butterfly and Fraternity of Man. The Saxon/Bonfire collaboration reached full fruition in the group Firewall, who debuted with the album A Groovy Thing in 1986 (Destiny's Children features the same songs in a different order). Firewall featured guest appearances from members of such California neo-psychedelic bands as the Dream Syndicate, the Plimsouls, the Droogs, and Yard Trauma, demonstrating Saxon's enduring influence and appeal, particularly among that set of musicians. That same year, Saxon recorded a largely unrehearsed live album with Purple Electricity, a one-off project featuring members of Redd Kross and the Primates, entitled Private Party. Firewall returned in 1988 with In Search of Brighter Colors, which was released in the U.S. as World Fantastic, with several rare '80s cuts replacing the former version's weaker tracks. Saxon has since returned to Hawaii. ~ Steve Huey, All Music Guide
This is a compilation cassette that came out with issue 19 of "What Wave" fanzine (Oct. 1990). "What Wave" was a Canadian fanzine, published from the mid-80s to 1991, by Dave and Rena O'Halloran. Focused on the garage scene of the era (U.S. and Canada mainly) they managed not only to have the best bands covered, but also to have a tape with tracks from them in most issues and a few times a 7"EP. In "Baloney Sandwich" are compiled the pop/garage/psych of the Marshmallow Overcoat and the Cybermen, the cow-punk of Al Perry, the fuzzed-out beat of the 10 Commandments, the raw garage of the Tommyknockers, and everything between, in a fine selection. Pure energy - young, loud and innocent.
The cover on #19 is by the now famous Darren Merinuk.
Legend Killers: Cry Cry Cry
1313 Mockingbird Lane: Queen Bitch
10 Commandments: She Ain't No Use To Me
Tommyknockers: Kill City
Al Perry and The Cattle: El Con Melo
Empty Hours: Same Time Same Place
Drums Along The Gardiner: Speedin' In The USA
The Minstrels: Can't She Be Mine
Sanity Assassins: Plainclothes Dick
The Tonebenders: Found A Girl
Broken Arrow: You Ain't Trickin' Me
The Cybermen: House Of Wax
14th Wray: Burn Witch Burn
The Woodmen: Bring My Baby Back
Marshmallow Overcoat: Tried To Hide
The Hangovers: Beast Of Prey
Yard Trauma: Must've Been Something I Took Last Night
Frankenstein V: Kill and Go Hide
Lost Patrol: You Don't Own Me
Pull My Daisy: Svalutation
Young Fast & Scientific: You Told Me
Watch Children: Kinda Retarded
Fridge Magnets: Hypodermic Beach
Hank and Frank: Walk Like A Zombie
The Loved Ones: Outside
Misc. S: Real World
Alan Wilson Experience: Let It Rip
The Know Goods: The Kids Are Alright
Janice K.: Jailhouse Rock
Friday, December 29, 2006
Psychedelic lounge jazz-pop of the highest caliber. Justen O'Brien sings and plays virtually every instrument; "Jake" apparently was the drummer. The album cover makes you think that it might be some sort of gospel album, but the instant you start playing it you'll be plunged into a phased, flanged, reverbed, lo-fi, acid-inflected wonderland of major 7th chords, crooner melodies, cheesy keyboards, and utterly baffling, abstract lyrics about "time," "tears," and the "truth." And then every once in a while there will be an awesome fuzz-guitar solo, or maybe a passage of synthesizer bubbling that would drive every member of Stereolab to their knees in adoration.
This is one of my all-time favorite discoveries. I'd love to hear what you think of it.
You may download it here, and I strongly encourage you to!
01 Carry Home
02 Like Calling Up Thunder
03 Brother and Sister
04 Run Through the Jungle
05 Devil in the Woods
06 Texas Serenade
07 Watermelon Man
08 Bad Indian
09 John Hardy
10 Fire of Love
11 Sleeping in Blood City
12 Mother of Earth
The sophomore record by the Gun Club bore the curse of having to follow a monolith of their own making. Fire of Love sold extremely well for an independent; it was a favorite of virtually every critic who heard it in 1981. Miami showcased a different lineup as well. Ward Dotson replaced Congo Powers (temporarily, at least) on guitar, and there were a ton of guest performances, including Debbie Harry and Chris Stein. Stein produced the album. Off the bat the disc suffers from a thin mix. Going for a rougher sound, Stein left the instruments at one level and boosted Pierce's vocal. There is plenty of guitar here, screaming and moping like a drunken orphan from the Texas flatlands, but next to its predecessor it sounds drier and reedier. Ultimately it hardly matters. Going for a higher, more desolate sound, frontman and slide player Jeffrey Lee Pierce and his band were literally on fire. The songs here, from "Carry Me," "Like Calling Up Thunder," "Devil in the Woods," "Watermelon Man," "Bad Indian," and "Texas Serenade," among others, centered themselves on a mutant form of country music that met the post-punk ethos in the desert, fought and bloodied each other, and decided to stay together. This is hardcore snake-charming music (as in water moccasins not cobras), evil, smoky, brash, and libidinally uttered. Their spooky version of an already creepy tune by Creedence Clearwater Revival, "Run Through the Jungle" runs the gamut from sexual nightmare to voodoo ritual gone awry. Finally, Pierce and company pull out all the roots and reveal them for what they are: "John Hardy," is a squalling punk-blues, with the heart of the country in cardiac arrest. Dotson proved to be a fine replacement for Congo Powers, in that his style was pure Telecaster country (à la James Burton) revved by the Rolling Stones and Johnny Thunders. Miami was given a rough go when it was issued for its production. But in the bird's-eye view of history its songs stack up, track for track, with Fire of Love and continue to echo well into this long good night.
03 - Jurney to love-in
04 - Evil arms
05 - Tripwave
06 - Positive source
The BLACKLIGHT CHAMELEONS Story
Wasting no time from the breakup of the Mad Violets in late 1984, guitarist and now vocalist Dino Sorbello grabbed Andrea Mathews on drums from the recently broken up Outta Place, and added Noreen Lewis on bass and located Bill Ebauer for keyboards in a Village Voice ad. After a quick gig or two at the Dive they set about recording their first self-titled Ep (released on Voxx Records March 1985) which continues to sell to this very day. An article in Vanity Fair magazine in June 1985 about the big 60s style resurgence featured a two-page color photo by Mary Ellen Mark, and some copy about the band. So instead of a press kit, the band showed the mag around town to score some prestigious gigs. By 1986 the group had new drummers, bassists, and finally decided to add a lead singer, former Ford model Sharon Middendorf. They were featured in a High Times cover story about the “Minds Eye” shows happening at the old Tramps Club (where Joey Ramone, after seeing them, was quoted as as saying:” I was transported...”).
Spring of 1987 saw the release of ‘Inner Mission’ (USA: NBC Records, Europe: Semaphore Records). Two tours each to Florida and California, a fair amount of US airplay on college stations, and quite a lot of airplay in Europe, especially Greece(!?) let a lot of folks hear their brand of psychedelically inflected 60s pop originals. A few months after playing the Mind Circus event at Temple Universty in Philadelphia during spring 1988, the group was disbanded by Dino after certain members failed to commit for the next tour. Now you can hear all the previous vinyl-only releases along with a couple of previously unreleased studio and live rehearsal cuts combined on a brand new CD release from Tripwave! Records entitled
‘A Field Guide To Blacklight Chameleons’ (TWR 002).
Thursday, December 28, 2006
2. Gonna Get Me Somebody
3. Crying Days
4. Sookie Sookie
5. Te Ni Nee Ni Nu
6. Leaving Here
8. Im No Good Without You
9. Youd Better Stop
10. Young Man Blues
11. Ground Ginger
Formed in the mid 1980's The Clique soon became the biggest and best loved combo on the European 60's Mod scene. Everything about the band was right - the look, the sound, the attitude and Mods around the globe hailed them as the new Mod Messiahs. The band released a couple of early singles before really bursting onto the scene with their ‘Reggie’ single on our very own ‘Detour’ label. This was soon followed by the ‘Self Preservation Society’ album that went on to become Detour’s biggest ever seller - a record still held today. Unfortunately, soon after the release of the album the band fractured, and although they carried on for a couple of years with different members, the magic just wasn’t there and they split after being on the cusp of success and on the brink of signing to a large independent record company.
This album gives us some of the earliest recordings of the band - they were put into a studio by ‘Acid Jazz’ records when the label had some spare studio time in around 1986 / 1987 . With a helping hand from James Taylor Quartet leader James Taylor on Hammond the group went into the studio and laid down some mighty fine pure British Mod / R&B / Beat. Mixing sterling originals with covers such as ‘Leaving Here’ ‘Sookie Sookie’ and ‘You’d Better Stop’ this album was sure to be a hit on the Mod scene.
Unfortunately, and for reasons that are no longer remembered, the album never saw the light of day - it sat on the shelves at Acid Jazz gathering dust.
Well, now Detour Records have grabbed those tapes, polished ‘em off and had ‘em remixed for your total listening pleasure - and what a pleasure it is! Just one listen of this album is enough take you back to those heady days of the late 80's / early 90's - a burgeoning UK Mod scene (later to turn into Britpop), the highly attended ‘Untouchables’ rallies and good times.
Not just a history lesson, and by no means a lesson in misty eyed nostalgia, this is a reelin’ and rockin’ blast of pure amphetamine fuelled excitement from the first minute to the last!! This was probably the best British Mod / R&B album to be recorded since the ‘Who’s debut - get it now!!!
"The History Of The Sky"
mixes, remixes hits & missus
02. New York Reel
03. Long Story
04. Frozen Park
05. A Settlers Complaint
07. The Quality Of A Holiday
09. The Noise Upstairs
10. Better Than Mermaids
11. On The Beach With Mr Rollo
12. Blue & White Future Whale
13. Hard Hat Nine Iron
14. Know It All
15. Should Be Will Be
16. Committee Of Love
18. Cool Night Air
Tactics grew out of the small new-wave scene in Australia's capital city, Canberra, in the late 1970s. Their extremely unconventional "art-punk" style, developed around the songs of band leader Dave Studdert, met with virtual indifference in Canberra, and they moved to Sydney in September 1978. Building an inner-city cult following and gaining Ingrid Spielman on piano, the band released an EP and single in 1979 and 1980 respectively, and finally their first full-length album, My Houdini, in February 1981.
The resulting album, Blue and White Future Whale, had beautiful, vaguely psychedelic cover art but failed yet again to reach a mass audience. Struggling on, Tactics released their final studio album, The Great Gusto, in 1989, with Studdert, Snajik, Gary Manley (guitar, piano) and Malcolm MacCallum (drums, keyboards), as well as some excellent violin cameos from Amanda Brown, ex Go-Betweens. By this time Tactics were closer to the mainstream, but not close enough - Dave Studdert just had art in his blood.
After the chart demise of The Great Gusto, Dave Studdert gave up the ghost of Tactics and moved to London, forming a new band, Dave Studdert's Mumbo Jumbo, which eventually released one album. Back in his home town, the band which had produced some excellent music but never had any chart success at all was virtually completely forgotten, except for those who were in the right place at the right time, and had the ears to hear.
Savage Republic, the L.A. based drone-rockers and post-rock forefathers, have announced that they are reforming for a series of reunion shows this November, thirteen years after they split. From what I remember, I was first introduced to their sound through an NME review of their Trudge E.P. by Chris Bohn- this review spoke of a band that combined Eastern music with rock like a soundtrack to a desert landscape. There is a very cinematic sounding quality throughout the work of the band and Bruce Licher's later band Scenic that seems ripe for plucking as soundtrack stuff. This is a musical direction that group leader Bruce Licher has claimed was intentional and that has been made use of before. Also consider that the track "Real Men," from their first LP Tragic Figures, soundtracks the scene at the climax of The Silence Of the Lambs. This visual/cinematic quality may come from the fact that the bandleader was an art Student when he formed the band in UCLA in '81. As the leader of Scenic, he still runs his own letterpress, making CD sleeves etc in a recognizable style that's graced a lot of other people's work too.
January 2002 saw the re-release of Savage Republic's back catalogue through the Mobilization (give link to http://www.mobilization.com/artists/savage.html#) label run by Ethan Port, a central member of the later line up. There was a slight delay from the projected September 2001 reissue partially caused by the World Trade Center attack, which nearly cost Ethan his life. He was in the Marriott Hotel across the square when the planes hit, he cathartically explained what happened to him in a message he sent to the Procession chatlist where the story remains in the archives as it does on the Mobilization website
Hunger-Strickly From- 1969 Los Angeles (via Portland, Oregon). Excellent moody garage psych heavier than most organ-led groups with insistent rhythm and frequent fuzz bursts. Quite trippy like a heavier 'swinging London' sound. The test pressing version is included and with different takes, weezy organ and emphasizing the group's dual leads. With Gene Gunnels and Ed King (Strawberry Alarm Clock)....
Reviewed by: Keith "Muzikman" Hannaleck, August 2001
The group Hunger was an extremely talented group from Portland, Oregon. The album Strictly From Hunger was released in 1969. It was to be the only release from the group, as a streak of bad luck broke the band apart. Unfortunately on two separate occasions their equipment was stolen.
The group featured long organ driven instrumental breaks with piercing guitar lines between some strong songwriting in a majority of their songs. They were a very popular group that was rising fast in the California psychedelic scene. By the time it was over they were right on the verge of crossing over to hard rock.
Songs like "Workshop," which delves into your thought processes and dreams, I thought, were very introspective and thought provoking, and great musically. "She Let Him Continue" is a psych-rock gem from the vaults. With all of the sound effects (which were fairly new at the time) and the strong vocal inflections from the pipes of Bill Daffern (drums), the song still sounds as hauntingly fresh today as the day it was laid down in the studio. Mike Parkinson normally handled all the vocals. John Morton (lead guitar), Steve Hansen (rhythm guitar), Tom Tanory (bass) were the core of the group that supported the great songwriting and vocals. "Portland" is a stunning instrumental passage. This particular track made me realize that this group would have evolved quite interestingly if they had remained together. The potential for moving more into fusion was evident in their music right from the start. You can hear elements of just about every genre (jazz, blues, pop, rhythm & blues) intermingled amongst each song, although you must listen very carefully to hear it all. Every song serves as an excellent example of the cross pollination of genres. They were so much more than the psych-rock band that they were generally perceived as.
Downsiders - 1988 - All My Friends Are Fish
San Francisco musician Cole Marquis started with the legendary 28th Day with the criminally neglected Barbara Manning and Mike Cloward. After the 28th Day, Marquis and Cloward formed the Downsiders, a band that moved along the trails of Marquis songwriting. Those familiar with 28th Day, will recognise the sense of melody, even if sometimes follows more unconventional ways, the tense in Marquis guitar and vocals, and his psychedelic point of view. On "Pony Made Of Ice", 6 min. psychedelic travel they preceded Shiva Burlesque and their clones. In the mid-'90s, Marquis formed the eccentric space pop outfit the Snowmen and continued to release solo efforts (edit:take a look at the comments for these).
The Downsiders were the Ones (from left): Jeff Tracy, Cole Marquis, Keith Foust and Chris Cloward were Chico's Nirvana and Sonic Youth rolled into one. With two amazing albums on Mammoth Records, culminating with the essential All My Friends Are Fish, and a national influence left in the wake of several cross-country tours, the Downsiders would have most likely risen to the top of the Sub Pop-sparked underground explosion had they lasted even one year more. Everyone went to every one of their shows--punkers, alterna-kids, hippies, frat dudes and sorority chicks alike packed in tight at Wall Street and the Burro Room waiting for Cole's cue, "And I took a ride!" to lift off in unison and test the structural integrity of the wooden trampoline created by a band and a town who were all in it together. (Chico News & Reviews)
On their good days the Downsiders could play twisted garage rock that was livelier and more interesting than anything else out there. All My Friends Are Fish was recorded on a day when everything clicked, when Cole Marquis was getting maximum mileage from his dead pan voice, when the band was in perfect form and hammering out a wild melange of psychedelia, folk-punk, and pure garage energy. The musical textures are dazzlingly varied, from the poppy "I Wanna Drive" and menacing hard rock of "Old Black Crow" to numbers that are wildly experimental. The extended intro to "Feet of Clay has a bizarre mix of fuzzed out bass, acoustic guitar, and frantic drumming that sounds like a folk band trying to invent speed metal. "All My Friends Are Fish" is a wonderful momento of a daring and talented band, one which unfortunately never got the recognition they deserved. ~ Richard Foss, All Music Guide
Line up: Cole Marquis (vcls,gtr), Chris Cloward (vcls,bs), Keith Foust (drms, pcsn), Jeff Tracy (gtr)
Additional musicians Russ Tolman (gtr on She's Alright), Chris Cacavas (Kbds on She's Alright and Waiting For Nothing)
I wanna drive
Wild honey pie
Old black crow
All my friends are fish
Pony made of ice
Waiting for nothing
Feet of clay
Ode to Traci
Wednesday, December 27, 2006
Since leaving New York in 1959, Tony Scott (a top bebop-oriented clarinetist) has been an eager world traveler who enjoys exploring the folk music of other countries. Unfortunately, his post-1959 recordings have been few, far between, difficult-to-locate, and sometimes erratic, but Scott was an unheralded pioneer in both world music and new age.
Tony Scott attended Juilliard during 1940-1942, played at Minton's Playhouse, and then after three years in the military he became one of the few clarinetists to play bop. His cool tone (heard at its best on a 1950 Sarah Vaughan session that also includes Miles Davis) stood out from the more hard-driving playing of Buddy DeFranco. Scott worked with a wide variety of major players (including Ben Webster, Trummy Young, Earl Bostic, Charlie Ventura, Claude Thornhill, Buddy Rich, and Billie Holiday), led his own record dates (among his sidemen were Dizzy Gillespie and a young Bill Evans) which ranged from bop and cool to free improvisations (all are currently difficult to locate), and ranked with DeFranco at the top of his field.
Unfortunately the clarinet was not exactly a popular instrument in the 1950s (as opposed to during the swing era) and Tony Scott remained an obscure name outside of jazz circles. In 1959, he gave up on the U.S. and began extensive tours of the Far East. He played Eastern classical music, recorded meditation music for Verve, and, other than some brief visits to the U.S, has lived in Italy since the 1970s where he has sometimes experimented with electronics. ~ Scott Yanow, All Music Guide
Osjan's work can be described as an original synthesis of many traditions and music cultures. The group's strength lies in its enormous musical imagination, creativity and genuine message. The musicians have never attached importance to their public image. Osjan is surrounded by a mysterious aura, and facts about the band's activities merge with legend.
The history of Osjan dates back to the 1970s and Crocow's musical circles grouped around the Piwnica pod Baranami club, then the center of Cracow's artists and counterculture. At that time Jacek Ostaszewski, a well-known jazz double bass player, and guitarist Marek Jackowski, both from the band Anawa, decided to start a new project. Soon they were joined by painter and poet Tomasz Hołuj. The group's early rehearsals took place in many different places, most often hotel rooms. The name Osjan was chosen after the band heard it in an Ewa Demarczyk song version of a Bolesław Leśmian poem.
Soon the band's line-up changed, but for 20 years the core of Osjan has been Dimitrios Milo Kurtis, Wojciech Waglewski and Radosław Nowakowski, together with Jacek Ostaszewski. Numerous distinguished musicians have worked with them including the trumpeters Tomasz Stańko and Don Cherry. The band used to regularly perform with Black Horse Cheavers, a Cherokee shaman.
However, it is not the musicians, but the search for their own artistic expression that explains the Osjan phenomenon. In the 1970s, in an atmosphere ruled by banal rock on the one hand and complicated jazz structures on the other, Osjan looked for a different way, for a simplified form of expression: "For example, we would play for half an hour on two or three notes," remembers Ostaszewski. "What fascinated me, not only in the sphere of music, was the search for forms that would allow free expression, not limited to the conventions of jazz, pop or classical music." Osjan was looking for alternative solutions. The group used various elements of traditional Balkan, African, Slavic and Indian music and managed to combine them with free jazz and European classical music. An important influence on shaping the group's musical image were concerts with Don Cherry, as well as inspiration from Zen Buddhism.
Osjan belongs to the small circle of performers who have developed their own original style. The group's compositions, labeled as ethnic music, world music, and so on, reveal the extent of its members' musical quest, as do their performances. For them, playing music together is a form of communication and constant dialogue between themselves and the audience. That is why concerts, when they do happen, are so important to them-there is a dialogue between Waglewski's guitar and Nowakowski's drums, Ostaszewski's flutes and Kurtis's percussion, but the freedom of improvisation does not destroy the overall structure of the concert.
No wonder then that Osjan's rich experience was emvulated by other performers, for example, Maanam (a group formed by Jackowski and Kurtis) in its early days and Voo Voo, another unique Polish rock band, headed by Waglewski.
Osjan's musicians call the time between the mid-1980s and mid-1990s a long "hibernation period," as they were occupied with their own activities-teaching, running workshops and carrying out their own musical, and in the case of Nowakowski, literary, projects. But this did not have a negative influence on the group: "Last year we did a concert tour called Jam Osjan which resulted in a documentary by Andrzej Titkow," says Kurtis. "There were crowds of young people at our concerts in Cracow, Warsaw, Częstochowa and Bydgoszcz. They're the new generation of Osjan fans." The March concerts were recorded and have just been released on an album called Muzyka fruwającej ryby (Music of the Flying Fish), a year after their Roots album, which has already become a classic. None of the big record companies were willing to put out Roots," remembers Kurtis. "Their bosses, who were once alternative musicians themselves and my colleagues too, apparently decided that our music was too obscure for the mass audience and would not sell well." So Kurtis started his own label, Milo Records, and released the album in cooperation with the Selles company. Commenting on Muzyka fruwającej ryby, Kurtis says, "Although this may not sound very objective, I think it is our best record so far."
Osjan is gaining momentum. Concerts scheduled for the fall will probably prove that Osjan deserves its place at the forefront of Polish independent groups.
Jacek Ostaszewski - flety proste, chiński flet bambusowy,koreańska harfa kaya-kum, voc. Wojtek Waglewski - gitara 12 strunowa, sanza, voc.
Radosław Nowakowski - conga, instrumenty perkusyjne
Milo Kurtis - calanu, drumle, instrumenty perkusyjne
TheBadSeeds were the first rock group of note to come out of Corpus Christi, Texas, itself a hotbed of garage-rock activity during the middle/late 1960s. They started when guitarist/singer Mike Taylor and bassist Herb Edgeington, then member of a local band called the Four Winds, met up with lead guitarist Rod Prince and drummer Robert Donahoe, who had been playing in a rival band called the Titans until its demise. Prince wanted to form a new group, and he, Taylor and Edgeington became the core of theBadSeeds, who were signed to the local J-Beck label in 1966. They stayed together long enough to record three singles during 1966, of which two, "A Taste of the Same"/"I'm a King Bee" and "All Night Long"/"Sick and Tired," are unabashed classics of blues-based garage-punk, three of them originals by Taylor (who wrote most of their originals) or Prince. Even their normally maligned second single, "Zilch Part 1"/"Zilch Part 2," has some worth as a pretty hot pair of throwaway tracks. The band's sound was the raunchy Rolling Stones-influenced garage-punk typical of Texas rock groups in the mid-'60s.
Following the breakup of the group after the summer of 1966, Mike Taylor became a writer and producer for the the Zakary Thaks, another Corpus Christi-based band (who were signed to J-Beck after being spotted playing on a bill with theBadSeeds), and also recorded singles in a folk-like mode as The Fabulous Michael. Rod Prince went on to become a key member of the legendary band Bubble Puppy, who were signed to Leland Rogers' International Artists' label, and the post-psychedelic group Demian. ~ Bruce Eder & Richie Unterberger, All Music Guide
With a few breaks, the Liberty Bell might have been America's Yardbirds -- as it worked out, however, the group suffered the undeserved fate of being a footnote in the history of Corpus Christi rock bands. Formed in Corpus Christi, Texas in the mid-1960s, they were originally named the Zulus and played a mix of blues-rock drifting toward psychedelia, driven by some fairly ambitious guitar work by lead axeman Al Hunt. In 1967, they hooked up with Carl Becker, the co-owner of J-Beck Records, which, at the time, was recording the hottest local band, the Zakary Thaks. Becker signed them to his new Cee-Bee Records, and suggested a name change to the Liberty Bell.
The group's lineup at the time of their first single, a cover of the Yardbirds' "Nazz Are Blue" backed with a cover of Willie Dixon's "Big Boss Man," included Ronnie Tanner on lead vocals, Al Hunt on lead guitar, Richard Painter on rhythm guitar, and Wayne Harrison on bass. This record did well enough locally to justify further recording, and these sessions yielded the best songs of the group's entire history, "Something For Me," "For What You Lack," "I Can See," and "That's How It Will Be." Fast-tempo, fuzz-drenched pieces with catchy hooks, these numbers made the group sound like an American version of the Yardbirds with more of an angry punk edge, courtesy of lead singer Ronnie Tanner. But the real star of the group was lead guitarist Al Hunt, who wrote most of the material in those days and played like Jeff Beck on a good day.
Tanner exited the group in early 1968 and was replaced by Chris Gemiottis, formerly of the Zakary Thaks, who also brought a quartet of original songs with him, which were somewhat less punk-oriented and attempted to be more profound. The group switched to the Back Beat label, which specialized in R&B flavored material. The Liberty Bell continued in its psychedelic/garage direction before releasing a soul-style number, "Naw Naw Naw" (on which only Gemiottis participated, with a studio band backing him) for their final single, late in 1968. The Liberty Bell came to an end in 1969 when Gemiottis returned to his former band. In 1995, however, Collectables Records released a 14-song collection of their music. ~ Bruce Eder, All Music Guide
Stark Reality appear not as an in-the-pocket funk band or agitated soul shouters, but as a group supremely talented at late-'60s fusion: half jazz-rock and half acid rock. Although a Hoagy Carmichael children's record from 1958 certainly has a low potential for reimagined flights of distorted frenzy, bandleader Monty Stark forced each of these compositions through extensive reharmonization, bringing them to the turned-on generation and, thus, making them sound hardly dated at all (at least, in 1970). The Stark Reality are most reminiscent of Larry Coryell or the early Soft Machine; they state a bizarre, barely tuneful theme, then spend a period of time making that theme sensible to listeners, and often insanely catchy, by improvising on it extensively -- worrying it to death with fuzztone guitar, distorted vibraphone, and nimble, scaling basswork. Stark's vocals, which only come in occasionally, are of the psychedelic hillbilly variety, a monotoned parody of his Oklahoma accent singing of the months in the year, cooking, making friends, and on the highlight "Rocket Ship," a ride into space.
This band is fantastically tight, and the distorted vibraphone is really something else!!!
Part 2 or Part 2
01 - Premonitons (Fantasy)
02 - If Words Were All I Had
03 - Armour Of The Shroud
04 - Premonitions (Reality)
05 - Take Me Home Vienna
06 - Selling Me Short
07 - Oh Baby
08 - Paralyzed
09 - Another Lonely Angel
"Harvest" is equally as good as the debut, but has the edge for many because it packs such a powerful and mysterious emotional punch. Those who know the majority of the album's songs from the CD will be surprised to find a brief punk song and two and a half minutes of silence on the album, but once you're used to them they make perfect sense and add immeasurably to the depth of the record. It's notable that amidst all of the despair here, both sides open with the most joyous songs you'll ever hear. Everyone reading this needs to hear both Trimble albums. [AM]
see full-length review
01 I Like Digestive Biscuits In My Coffee (3.52)
02 Dr. Z (3.39)
03 The Letter Song (Scrib) (3.18)
04 My Geraniums Are Bbulletproof (4.13)
05 Peter Smith Is A Banana (2.05)
06 Hegel's Brain (0.55)
07 Esther (3.29)
08 Vera (5.51)
09 God (3.28)
10 Path To You (6.02)
11 Dictatorship Of The Proletariat (2.13)
12 Teenage Head In My refrigerator (3.38)
13 You Took The Blue One (2.32)
14 Esther (3.22)
15 Red Light For The Greens (4.23)
16 Minstrel Radio Yoghurt (2.30)
Graham Summers: drums
Michael Bunnage: bass
Sherree Lawrence: organ
Alan Jenkins: guitar
Do-it-yourself post-punk band the Deep Freeze Mice released ten records in their decade-long existence, beginning as amateurs with no formal knowledge of what they were embarking on. The original lineup -- guitarist/vocalist Alan Jenkins, bassist Mick Bunnage (of the Statics), keyboardist Sherree Lawrence, and drummer Graham Summers (also of the Statics) -- stayed intact until the release of the band's third record, The Gates of Lunch. After the departure of Summers and the acquisition of replacement Pete Gregory, the lineup remained until their breakup in 1989. Leader Jenkins (who was also involved with the Chrysanthemums and Ruth's Refrigerator during the existence of his primary band) continued afterwards in the Creams and the Thurston Lava Tube. All of Deep Freeze Mice's records were released in small quantities through the band's labels, Mole Embalming and Cordelia.
AMG~by Andy Kellman
More info Here
01 Space is Deep
03 Smoke is Over
05 Flower's on Me
06 Astronomy Domine
08 Alone You Stand
09 Merely a Number (Clouds of Words)
10 Flower's on Me (Unreleased)
11 Cool Guys
13 Smoke is Over
14 Leaf Tale (Unreleased)
15 There is a Place (Unreleased)
16 Hifooz/Mixhole Masterdoom
Ignacio FUENTES: song
Juan Angel GOMEZ: guitar
Andrés LIZON: low
Pablo BANON: battery
Formation in 1995. Labelisation in 2001. Separation in 2002. As much to say that the hour of glory of Fooz will particularly quickly have been passed…
One dared more nothing to hope of this Spanish quartet after unexpected Split the day before their European round 2002, which was judicious to support their first homonymous album left one year earlier at quite as Spanish label Alone Records.
And yet, in 2005, Fooz is reproduced indeed on the list of the artists Alone Records. By which miracle? None… It is right which the group, undoubtedly corroded by the remord to have left its supporters on their hunger, had the idea to carry out a EP joining together 6 acoustic titles.
It is there that the miracle intervenes, since “Fooz II: Space Is Dark… It Is So Endless” gathers finally 16 pieces. Dissection of miraculés in question: 6 acoustics planned for the EP, the 8 titles of the first album in original mixing, and 3 news to crown the whole. There, you will complain that that made 17 and not 16; well considering: the last 2 titles of the preceding album, “HiFooz” and “Mixhole Masterdoom”, were aggregate in only one and single 16th track. With final, not far 80 very goûteuses minutes which ravel without one realizing some.
The principal explanation to this phenomenon lies in the eclecticism of Fooz II, which ignites gradually and intermittently while opening and being completed by quiet accoustics, to leave place, the air of nothing, with interludes much more electric with the riffs more fuzzy and psychedelic, often marked by a rather strong tendency to (space…) jam, the whole is not without pointing out the style of Dutch (feus) 7zuma7, which them also gave in scrapes dries besides. These two groups also in common have certain sources of inspiration like Hawkwind or Pink Floyd, to which Fooz brilliantly pays homage with the respective resumptions of “Space Is Deep” (which engages the album) and “Astronomy Domine”.
The best demonstration of this eclecticism must be “Flower' S One Me”, piece with sonorities clearly rétros (limit hippie), on which the singular presence of a mélotron can let to us think that the group does not hate either Doors…
From beginning to end, this disc is a treat on which titles with very different resonances, are however connected with a disconcerting harmony. This pretty wafer, by its diversity, should fill as well the beginner as the amateur of space rock'n'roll. In 16 titles, it will completely summarize with the beginner the multiple variations which this musical style can take; while it will be satisfied to recall them to the amateur, under their best day which more is…
Fooz ll - space is dark… it is so endless in three words: simple, planing, sinusoidal.
Black Sun Ensemble - 1989 - Lambent Flame
“Black Sun Ensemble might be the ultimate example of desert rock. Guitarist Jesus Acedo summons up inspiration from influences like the Grateful Dead, Captain Beefheart and John Fahey, leading his band through a series of fascinating, atmospheric compositions, all of which fall somewhere between the psychedelic and the mystic.”
Black Sun Ensemble hit like classic John Fahey one sec and a fuzz-boxed Jeff Cotton the next.
The instruments come at ya with these notes that look like peacock feathers,
but feel more like whale bones when they hit. Incredible. “
-FORCED EXPOSURE NO. 10
This is the world of Jesus Acedo of Tucson, AZ, maybe the greatest guitar player in psychedelia the last 20 years.
Bio from the Black Sun Ensemble website:
A self-titled debut album was released by Tucson's Pyknotic Records in 1985. Its extraordinary qualities led Acedo to sign a five-year contract with England's Reckless Records, and in 1988 the label released "Black Sun Ensemble" (1988), "Lambent Flame" (1989) and "Elemental Forces" (1991). These records were a critical and commercial success. At the time, Offbeat exclaimed that BSE was "possibly, the world's coolest band." After touring the West Coast with Camper Van Beethoven in support of "Lambent Flame" the Ensemble was captured live on the first side of "Tragic Magic" (1992) for Rough Trade. The second side was a magical suite of mostly acoustic pieces that presaged the extensive title track of the later "Sky Pilot" CD.
The inexorable weight of personnel changes, drugs and unexpected success eventually unbalanced Acedo's mental stability. He was diagnosed with schizophrenia in 1992 and spent the next two years in and out of local hospitals. During his breakdown, the band recorded the ill-fated "Psycho Master El" album for Tucson's San Jacinto Records (1994). This record was remixed and remastered in 1998 for Camera Obscura Records. The results were issued as "Sky Pilot" in 1999, which also included rare Black Sun singles tracks and a brand new 20-minute work called "Sky Pilot Suite". "Sky Pilot" got rave reviews by critics and sold well locally and internationally. The Ensemble began playing regular gigs, impressing a whole new generation of listeners. News of Black Sun's return to the stage was appreciated by grunge-rock legend Mark Arm of Mudhoney, who engineered a shared performance at Tucson's Club Congress in early 2001. In February 2001, Camera Obscura reissued the debut Black Sun Ensemble recording from 1985, again to extraordinary reviews.
On the wave of recent success, Acedo has brought himself back from madness, poverty and potential obscurity. He is now recapturing his old fire by re-inventing himself, and is working to re-establish his rightful place as one of the key guitarists of our time. This was reinforced by the 2002 CD "Hymn of the Master", and even more so by the 2003 CD "Starlight". BSE continue to be a hit at annual SXSW festivals and elsewhere. In October 2006, Black Sun Ensemble released their 11th studio release, "Bolt of Apollo", licensed by SlowBurn Records to Camera Obscura Records. The release, celebrating the band's 20th anniversary, was met with excitement from fans all over the world. Currently, BSE is in post production on their next album called "Across the Sea of Id: The Way to Eden."
'Lambent Flame' was Black Sun Ensemble's second album for Reckless, and maybe the best of the three released in this UK label. Odin Helgison had joined the band on vocals (the two previous releases were instrumental), the production was good and Acedo more confident than ever. A true masterpiece, sadly never reissued, after Reckless' folding.
Rolling Stone-June 29, 1989: Now imagine the later Ummagumma-style Floyd zoning on psilocybin and frying out in the Arizona sun. Lambent Flame the second album by Tucson’s Black Sun Ensemble, is serious ghost-dance psychedelia, starring the agro-raga guitar of leader Jesus Acedo. The cosmic flippancy of titles like “Sunset on the Sphinx” and “Da Da is Gaga” belies the earthy wallop of the band and the urgent concentration of Acedo’s soloing.
Public Nuisance was, until the early 2000s, unknown to all but the most fervent 1960s garage rock fanatics, mostly for the very good reason that they never released a record. The Sacramento outfit did play quite a bit live in California in the last half of the 1960s, and did a lot of unreleased recordings in 1968 and 1969 that never saw the light of day. This condition was remedied in 2002, when an astounding full, double-CD of tracks was issued, Gotta Survive, mostly taken from those unissued late-'60s sessions. These revealed them to be a respectable, though hardly phenomenal, group that integrated raw garage rock snarl with more experimental psychedelic guitar textures and song structures, with the occasional pop/rock influence as well. In these respects, they were akin to numerous California groups of the time, perhaps retaining their punkier elements more strongly and for longer than most. They got into not only some ambitious sounds, but also some ambitious lyrics that reflected the era's rebellion and questioning of established values, as well as expressing more conventional romantic sentiments.
Public Nuisance's roots were in the mid-'60s garage band the Jaguars, who changed their name to Moss & the Rocks. Under that moniker, they recorded a folk-rock-flavored garage single, "There She Goes"/"Please Come Back," for the small local Ikon label. Later that year, they re-recorded both tunes for a single on Chattahoochee. Both 45s are very rare and by 1967, they had changed their name to Public Nuisance and gone in more psychedelic directions without forsaking their garage energy.
Public Nuisance opened for acts such as the Doors, Buffalo Springfield, Sonny & Cher, and the Grateful Dead and did some unreleased recordings at Fantasy in San Francisco. However, they didn't have a record deal until some demos in late 1968 helped get them a contract with Equinox, run by noted Hollywood producer Terry Melcher (who had worked with the Byrds and Paul Revere & the Raiders). At the end of 1968 and the beginning of 1969, they recorded an album's worth of songs, but nothing was ever released, on Equinox or elsewhere.
Public Nuisance disbanded around 1970, with guitarist David Houston producing and playing keyboards with the new wave band the Twinkeyz in the 1970s and going on to produce Steel Breeze and Club Nouveau. The unreleased 1968-1969 sessions sound almost anachronistically unpolished by the standards of the day's psychedelic acts, and perhaps none of these would have been released if the band had been granted a chance to officially issue an album. However, in 2002, they were retrieved and issued by Frantic Records on a well-packaged archival release that will be of interest to intense fans of the late-'60s garage/psychedelic sound and is more diverse and eclectic than many other reissues of such bands.
Source : AMG
Tuesday, December 26, 2006
Beatnik Flies- 1984 - From Parts Unknown
A group from Washington, DC scene, better known in Europe, than in the U.S. Their first record, 'From Parts Unknown' was originally released on Dacoit (Kim 'Slickee Boys' Kane's label) and was produced by Mark Noone, another Slickee Boy. It was reissued in 1986 by the french label New Rose. Their second LP, 'Behind These Walls' was released in 1988 again on New Rose. In the 90s they released 'PsychoMetalPop - The Lost Cause of the Beatnik Flies', a compilation CD from their LPs. They reunited in 2004. In their website they're announcing a new record (end of 2005) which apparently never came out. -Edit: the record came out! see the comments.
Beatnik Flies were considered part of the garage/psychedelic revival of the 80s, but I don't think this is totally accurate. Their sound in this LP, although guitar-based, and having certainely psychedelic touches, could be described as "garage-with-brains", owing much to the Slickee Boys, who dominated the DC scene. They play some streightforward rock tracks, garage-surf tunes (as Brain Waves), Nuggets-like psychedelia (Message from the Undergound), they even play a Lennon song (I found out). They definitely know how to play their instruments, they have humor and, I'm sure, they were having fun, playing the music they like, without considering to be part of the one or the other genre. I guess that's what underground is all about.
Joe Dolan vcls, gtr / John Stone gtr, vcls /Kenny Bugg bs, vcls /Britt Malmgren drms, vcls
Umbali Wali Sleep
Be A Man
Message from the underground
Black Diamond Halo
Beatnick Fly theme
I found out
Monday, December 25, 2006
2. Mars Detection (8:08)
3. Suburban Day Suite (17:48)
i. The Day Awakes 7:55
ii. The Day Works 5:53
iii. The Day Rests 3:58
Total Time: 35:54
Peter K. Seiler / organ, piano, synthesizers
Ronald Brand / bass, vocals, gui
Their second and final album was a bit more original than the first one, but is it much better? This one sounds more symphonic, spacey and grandiose. The keyboard-arrangements sounds quite good on the album, and there's still a slight Emerson-influence here. The band had also added some choir-arrangements on the title-track and "The Day Works". The last mentioned track is the second part of the three-part suite "Suburban Day Suite" which takes up the whole second side of the album. The title-track has a very cosmic, almost religious spacey symphonic progressive rock sound to it, and the band managed to make a sound of their own here. "Mars Detection" is a VERY spacey instrumental based in a lot of electronics. Very hypnotic and German sounding(ELOY style). "Suburban Day Suite" is atmospheric and symphonic with some beautiful melodies and themes through all of the three parts.
source : http://vintageprog.com/ttt2.htm
Download Link :
A psychedelic soul Christmas album!
Sunday, December 24, 2006
03 The Premiers - Get On This Plane (Los Angeles, CA, U.S.A.)
04 The Fantastic Zoo - Light Show (Los Angeles, CA, U.S.A.)
05 The Flower Power - You Make Me Fly (LA, U.S.A.)
06 One Mile Ahead - Contribution (Elkton, VA, U.S.A.) *
07 The Picture - Evolution (Milwaukee, WI, U.S.A.)
08 The Apple-Glass Cyndrom - Someday (Clovis, NM, U.S.A.)
09 The Kollektion - Savage Lost (Miami, FL, U.S.A.)
10 Apparition - Apparition (Piscataway, NJ, U.S.A.) *
11 Brass Toads - In The Back Of My Mind (Orange, TX, U.S.A.)
12 The Black Rose - Love Handles (Coldwater, MI, U.S.A.)
13 Troy - Amnesia (Austin, TX, U.S.A.)
14 Tommy Jett - Groovy Little Trip (San Antonio, TX, U.S.A.)
15 The Twilighters - Nothing Can Bring Me Down (Waco, TX, U.S.A.)
16 The Inexpensive Handmade Look - What Good Is Up (NC, U.S.A.)
17 Jason Merrick & The Finders - I'm Not What You Are (WI, U.S.A.)
18 Johnny Thompson Quintet - Color Me Columbus (Monterey Park, CA, U.S.A.)
19 Scorpion - I'm Only Human (U.S.A.)
20 Embryo Infinity Rebirth - Walls (Cleveland, OH, U.S.A.) *
21 NGC 4594 - Skipping Through The Night (CT, U.S.A.)
22 Stu Mitchell - Acid (Edmonton, Canada)
23 Tommy & The True Blue Facts - I'm Back (San Francisco, CA, U.S.A.)
24 Street Theater - Things Of The Past (Lubbock, TX, U.S.A.) *
V.A. - The Psychedelic Experience vol. 2
01 The Decades - On Sunset (CA, U.S.A.)
02 The Higher Elevation - Odyssey (Greeley, CO, U.S.A.)
03 Monocles - Psychedelic (That's Where It's At) (Greeley, CO, U.S.A.)
04 The Waters - Mother Samwell (Louisville, KY, U.S.A.)
05 The Trespassers - Come With Me (U.S.A.)
06 Cave Dwellers - Meditation (Pleasanton, CA, U.S.A.)
07 The Castaways - Just On High (Minneapolis, MN, U.S.A.)
08 Dirty Filthy Mud - The Forest Of Black (Oakland, CA, U.S.A.)
09 Element - Open The Door To Your Mind
10 The Elopers - Music To Smoke Bananas By (Manitou Springs, CO, U.S.A.)
11 Inner Light - Long Journey (Rockford, IL, U.S.A.) *
12 The Purple Underground - Count Back (Winter Haven, FL, U.S.A.)
13 Mirror's Image - No Lovin' Man (NJ, U.S.A.)
14 Jokers Wild - All I See Is You (Minneapolis, MN, U.S.A.)
15 The Doppler Effect - God Is Alive In Argentina (U.S.A.)
16 Essex St Journal - Progression 256 (RI, U.S.A.)
17 Sherman Marshall - Realization Of Life (LA, U.S.A.)
18 Unsettled Society - 17 Diamond Studded Cadillacs (PA, U.S.A.)
19 The Quiet Jungle - Ship Of Dreams (Toronto, Canada)
20 Knights Bridge Quintet - Sorrow In C Major (Waco, TX, U.S.A.)
21 The Raving Madd - Boundaries (FL, U.S.A.)
22 East Side Kids - Close Your Mind (Los Angeles, CA, U.S.A.)
23 Ed Powers - Mourning (MI, U.S.A.) *
24 Trane - One Way Street (San Bernardino, CA, U.S.A.)
V.A. - The Psychedelic Experience vol. 3
01 Logic Circuit - Motorcross *
02 Steve Akin - I'm Trippin' Alone (Houston, TX, U.S.A.)
03 Perpetual Motion Workshop - Won't Come Down (Los Angeles, CA, U.S.A.)
04 Section Five - Pusher's Route (Oxford, MA, U.S.A.)
05 The Wild Things - A.C.I.D. (Cleveland, OH, U.S.A.)
06 The Inferno - The Inferno
07 Finnegans Wake - No No No No No (La Poupee Qui Fait Non) (Pittsburgh, PA, U.S.A.)
08 The Electric Company - Scarey Business (San Francisco, CA, U.S.A.)
09 Kensington Forest - Bells (U.S.A.) *
10 Crosstown Bus - Enchanted Island (Detroit, MI, U.S.A.) *
11 K Lawson & 4 More - Halfway Down The Stairs (Memphis, TN, U.S.A.)
12 The Hinge - The Idols Of Your Mind (Appleton, WI, U.S.A.)
13 The Tears - People Through My Glasses (San Francisco, CA, U.S.A.)
14 Grapple - Ethereal Genesis (San Antonio, TX, U.S.A.) *
15 Flyght - Trifle Cerivia (Houston, TX, U.S.A.) *
16 Elastic Prism - Time Change (Houston, TX, U.S.A.)
17 David Santo - Rising Of Scorpio (New York, NY, U.S.A.)
18 The Missing Lynx - Behind Locked Doors (Cleveland, OH, U.S.A.)
19 One Of Hours - Psychedelic Illusion (Lexington, KY, U.S.A.)
20 Renaissance Fair - In Wyrd (MI, U.S.A.)
21 Scorpio Tube - Yellow Listen (CA, U.S.A.)
22 Jimmy White With The Relations - Diamond Coated Banana Bush
23 Pompeo Stillo & The Companions - He Was A Guitar Player And Now Plays Machine Gun *
V.A. - The Psychedelic Experience vol. 4
01 Perpetual Motion Workshop - Infiltrate Your Mind (Los Angeles, CA, U.S.A.)
02 Captain Crunch & The Crew - Nowadays People (OH, U.S.A.) *
03 The Barber Green - Gliding Ride (Brownsville, OR, U.S.A.) *
04 The Stonemen - In The Evening (Moncton, Canada) *
05 Beggars Opera - Escape (Farmington, IL, U.S.A.) *
06 Fox & The Roadrunners - Illusions Of A Party (CA, U.S.A.)
07 Famen - Hurry (Atlanta, GA, U.S.A.)
08 The Golden Grass - Elastic Soldier (TN, U.S.A.)
09 The Golden Grass - I'm Crying (TN, U.S.A.) *
10 The Stonemen - Faded Colors (Moncton, Canada)
11 The Reverbs - Lie In The Shade Of The Sun (CT, U.S.A.)
12 The Peabody Hermitage - Something So (Chattanooga, TN, U.S.A.)
13 The Barracudas - Wait For Tomorrow (Bangor, ME, U.S.A.) *
14 Them USA - Her Kind (Nashville, TN, U.S.A.) *
15 The Peabody Hermitage - Fear (Chattanooga, TN, U.S.A.) *
16 The Group - Why Does My Head Go Boom? (IA, U.S.A.)
17 Long Richard - Force Myself (Sacramento, CA, U.S.A.) *
18 Grapple - Snail (San Antonio, TX, U.S.A.) *
19 Wally Shoop & Fubar - Words In My Head (Spirit Lake, IA, U.S.A.) *
20 Nightpatrol - Trippin' (TX, U.S.A.) *
21 Mark Of Kings - Realities (Oakland, CA, U.S.A.) *
.:mysterious earacles available:.
ANDRE FERTIER'S CLIVAGE
J.P. MASSIERA & ARMANDO TORELLI
CHILDREN OF ONE
LINCOLN STREET EXIT
Visit: mysteryposter (dot) blogspot (dot) com
Soon to also have goodies:
mysteryposterandfriends (dot) blogspot (dot) com
~ Mystery Poster
p/s To innocent76:
I'll take you up on the contributor invite, thanks!
The first Earth Opera LP. Peter Rowan and David Grisman were
members of the group.
01 The Red Sox Are Winning (Rowan)
02 As It Is Before (Rowan)
03 Dreamless (Rowan)
04 To Care At All (Rowan)
05 Home Of The Brave (Rowan)
06 The Child Bride (Rowan)
07 Close Your Eyes And Shut The Door (Rowan)
08 Time And Again (Rowan / Grisman)
09 When You Were Full Of Wonder (Rowan)
10 Death By Fire (Rowan)
The stylistic explorations pursued by the Beatles in 1966-1967, and the commercial success the group continued to enjoy, inspired other popular musicians to be similarly ambitious and persuaded record companies to take chances on more daring music. Earth Opera is a good example. The Boston-based group's self-titled debut LP featured a heady mixture of pop, rock, folk, jazz, and classical elements in involved arrangements played on such unusual instruments as mandocello and harpsichord. Less a rock band than a highly eclectic chamber orchestra, Earth Opera played in an arty style that suited singer/songwriter/guitarist Peter Rowan's songs, with their complicated structures and highly poetic lyrics. Rowan sang those lyrics, which dealt here and there with anti-war and more generalized sentiments of social dissatisfaction, in a distanced, somewhat artificial tone of voice, using an accent that sounded vaguely British, even when he was mentioning the Red Sox. But he was rarely so specific, more often concerning himself with "the stage inside my mind" or "the picket fenceposts of your mind," internal landscapes in which wordplay and allusions substituted for specific meaning. It was a psychedelic language matched by the music, which hurried and slowed, making room for sudden solos and unexpected juxtapositions of instruments. The result ultimately may have been too ornate and inaccessible for a pop recording, even in 1968, but Earth Opera was very much of its time. ~ William Ruhlmann, All Music Guide
After the huge success of the previous post w/7" singles, here's seven more.
To get serious, garage, no matter if it's first, second or fifth generation, if it's the original 60s' or the revivalist 80s' garage, is built on SONGS. Not LPs or CDs, but songs. The garage legends are built on the little 7"s which the bands themselves in most cases put out. Don't get me wrong: I'm not against albums, I'm just talking exclusively for the garage bands, not for other genres.
Cynics - You Painted My Heart/Sweet Young Thing (Dionysus ID8503)
This was their first official release, originaly came out in 1985 in Dionysus records, and later released on Gregg Kostelich's Get Hip label. The a-side is a Cynics original and the b-side is their version on Ed Cobb's 'Sweet Young Thing'. 'You Painted My Heart' is a garage anthem, instantly giving them the right to look the Remains or the Leaves streight in the eye.
The Cynics formed in 1984 in Pittsburgh, PA, and their first line-up were Gregg Kostelich (gtr), Bill von Hagen (drms), Mark Keresman (vcls) and Pam Reyner (bs). In 1985 Michael Kastelic joined on vocals, and the rest is history. The Cynics are active until today.
Mystic Eyes - My Time To Leave / From Above (Get Hip GH-102)
First release (1988) for the Mystic Eyes with the great 'My Time To Leave' on the a-side with the 12-string guitar, the swirling organ and the strong vocals, and a 60s cover on the b-side.
Mystic Eyes were from Buffalo, NY, lead by Bernard Kugel. They released a few singles and two LPs (Our Time To Leave, 1988 and The Whole World Is Watching Us 1995 both on Get Hip). Mystic Eyes mixed the folk-rock of the Byrds with the Farfisa organ and the rough guitars of the garage with great success.
Optic Nerve - Aint That A Man/Happy Ever After/Mayfair (Cryptovision CR-800)
Another NY group, Optic Nerve featured Orin Portnoy from the Outta Place on bass, but their Rickenbacker sound was miles away from the fuzz-from-the-caves sound of Outta Place. Bobby Belifore, Optic Nerve's vocalist and lead guitarist must have been sleeping with his collection of Byrds and Dylan records for many years. Yet their songs are not copies of the originals. On the contrary, one could say that they stand beside them. Optic Nerve released two 7" EPs in the eighties and two albums in the nineties (with older recordings) and managed to make some songs which could have been written in 1966, but can be heard at anytime.
Brood - I Need You There/You Got Me (Get Hip 107)
There's much music from the Brood from Portland, Oregon in this blog, but I thing that they never again captured on vinyl like on this single, especially on the non-LP b-side 'You Got Me'. In this track (the original, by the Prodigal, can be found in Boulders vol.9) the garage rhythm of guitar, bass and drums gets a psyche treat by the haunted farfisa and above all the teenage voice of Chris Horne spits out all the energy and feelings like no rich-and-famous rock star can. Just great.
Thee Cellar Dwellers - Dwellin'/Wonderin' Why (Get Hip GH-105)
If these tracks from Thee Cellar Dwellers from Carlisle, PA could slip in some Pebbles volume, noone could ever knew it. Their sound is just the right garage-punk sound from 1966: raw, two-chord songs, cheap organ, plenty of fuzz and snarly vocals. This is their only release from 1987, except a track (Something To Say) which mysteriously popped-up in the 'Cat o'nine tails' cassette compilation of the Canadian fanzine What Wave.
Town Cryers - Girl With The Blue Sweater/What's Going On (Get Hip GH-114)
From Fresno, CA, the Town Cryers would claim a point for being the only garage (or folk-garage) band, in the 80s at least, which sang about meeting a girl in the church! Although in the back cover of this 7' is written "we love you, of course we do...and we hope that you will love we too" their sound is more to the Byrds side with ringing guitars and pleasant organ.
Their discography consists of this single and the 'In the cool part of town' LP, both released in 1990, on Get Hip.
Ten Tons of Lies - Seeds Of The Next Season/You Lie (Voxx 45-1008)
And finally, a Los Angeles, CA band which wasn't a real band, but some folks from the famous Cavern Club. Greg Shaw wanted to start a 'Cavern Club Series' 7s, as it says on the label, but this was the first and only, from 1985. Vivid, naive, speedy and humorous teenager garage punk.Their drummer was a member of the Untold Fables.
Saturday, December 23, 2006
Freedom's Children - Galactic Vibes
01. Sea Horses
03. That Did It
04. Fields & Me
05. Crazy World Of Pod
07. About The Dove & His King
08. Season (Bonus)
09. Judas Queen (Bonus)
10. Mrs Browning (Bonus)
11. Country Boy (Bonus)
12. Your Father's Eye (Bonus)
13. Ten Years Ago (Bonus)
14. Kafkasque (Bonus)
15. Boundsgreen Fair(Bonus)
16. Miss Wendy's Dancing Eyes (Bonus)
Extracts from The Story of Freedom's Children by Tom Jasiukowicz (sleeve notes from Astra re-issue in 1997)
If ever there was a rock band around which a legend was created, then Freedom's Children were that band. Were they simply a broken-hearted horde writing psychedelic love songs? Were they galactic flyers in tune with astral days? Or were Freedom's Children just one of the best rock bands the world ever heard, or is it appropriate to say categorically that Freedom's Children were the best band the world never heard.
An ironic suggestion, perhaps, but one with a lot of truth in it. That the circumstances surrounding their existence played against them does not detract from the fact that the original group formed in the year and in the world of music, the ground was breaking.
In contrast to the hit parade sounds of The Beatles, The Beach Boys and The Monkees, groups like The Grateful Dead, Jefferson Airplane and Pink Floyd were producing albums marked by their experimental creativity and music styles termed acid rock or astral music.
In 1966, Ramsay Mackay and Colin Pratley had teamed up in Durban to experiment with their music ideas. In Cape Town they met Kenny Henson, who had been playing blues with Leeman Ltd., and together with Jimmy Thompson, of the same band, they began to perform as Freedom's Children. Their sound was acid-astral rock.
South Africans had not been prepared for this group. The group created controversy and newspaper headlines, in every small South African town they performed at. Some towns banned them. But to those who understood quality rock, Freedom's Children provided their break with conventional thinking and music ideas.
Julian Laxton replaced Kenny Henson on guitar in 1968 and Harry Poulus joined on keyboards. The group travelled to England but, perhaps for the reason that the group was from South Africa, and the politics of apartheid swayed opinion, the musicians were refused work permits and so their dream of attracting world acclaim faded. While the group returned to South Africa disillusioned, began work on the recording of the 'Astra' album.
The album provided the magic of a classic rock album. There were dramatic climaxes, socio-philosophical lyrics, hard, pulsating rhythms, blistering lead guitar solos, sense-riveting sound-effects and soaring vocals.
Ramsay Mackay left the group after the recording of 'Astra' and it was Julian Laxton who drove the band on their last album, 'Galactic Vibes', and where the music on it was still devastatingly good, the aura of 'Astra' had dissipated.
Ramsay Mackay, Colin Pratley, Kenny Henson, Julian Laxton and Brian Davidson all carried on producing music in their respective forms and styles, through the Seventies and Eighties. But if the world of South Africa had been perfect, and had Freedom's Children achieved their breakthrough in England, one can only speculate how difficult the success of this group would have been. The world would have heard some good creative music.
Long live Freedom's Children
your download links:
01. Magical Love
02. She Brings Peace
03. And I Have Loved You
04. Winchester Town
06. Soul Song
07. Princess And The Peasant Boy
09. Step Out Of Line
Famous on release in 1969 (and re-issue in 1973) for being one of the first picture disc albums, this UK album has stood the test of time well. A thoroughly competent slice of West Coast influenced progressive psychedelia with an occult edge, some excellent female vocals and searing lead guitar work.
All the Volume...Twice the Distortion
After the Afrika Korps and the Dark Cellars, here's another member of the Stanton Park/New England family (which has a lot more members): The World of Distortion, a trio lead by Aram Heller (Hopelessly Obscure, Dark Cellars, Kenne Highland Clan, Plan 9, head of Stanton Park label). They released only a 7" (Let's go / Welcome Home, Stanton Park, 1987) and this LP in Voxx in 1988, with recordings made in 1986-87.
They combine the raw garage punk of the teenage 60s groups (mainly on the a-side) with the heavy fuzz of the early 70s, adding a good dose of psyche. Enjoy their anthem 'World of Distortion', their take on Hendrix's 'Burning of the Midnight Lamp' and the 9-minute-long, Greadful Dead-jamming-with-Fuzztones 'Tarantula'.
Aram Heller - gtr, vcls
Scott Fergusson - bs, vcls
Glen Sherman - drms, vcls
A day at the circus
World of distortion
I’m gonna kill myself
This is not real
Burning of the midnight lamp
Friday, December 22, 2006
Take Me To The Mountains
Homesick Armadillo Blues
Song For Peace
North Austin Strut
Come With Me
In 1967, Shiva's Headband became the house band at the legendary Vulcan Gas Co. (also home to Roky Erickson & The 13th Floor Elevators). They were big part of a psychedelic scene in the heart of Texas and built a large following of loyal fans all over the state and opened for such luminaries as Spirit, Steppenwolf, Janis Joplin, Canned Heat and Steve Miller on their national tours. The also partnered with the group to open the legendary Armadillo World Headquarters and were the first band to play there. Ultimately, they signed with Capitol and released this first LP, produced by band leader Spencer Perskin with Fred Catero.
01 - H-O-P-P-Why?
02 - A Mind Blown Is A Mind Shown
03 - The New Messiah Coming 1985
04 - Aoum
05 - Empire Of The Sun
Hapshash & The Coloured Coat were protagonists of London's psychedelic boom of 1967. Founded by art students Michael English and Nigel Weymouth, who became famous at the peak of the British psychedelic movement for their colorful and surreal posters, they released the album "Featuring The Human Host And The Heavy Metal Kids" (Minit, 1967), a chaotic assembly of free-form jamming and percussions (the side-long instrumental Empires Of The Sun, A Mind Blown Is A Mind Shown), muezzin-like chanting (The New Messiah Coming 1985), and hippie melodies (H-O-P-P-Why?). The album featured the entire line-up of Art (Mike Harrison, Greg Ridley, Mike Kellie, Luther Grosvenor) but the main contributions came from the producer, Guy Stevens, a veritable George Martin of the poor.
This LP, released in 1967, featured cover design by Michael English and Nigel Waymouth, with photography by Ekim Adis. There's much interesting information relating to this LP project, the artists involved and (obviously) the cover itself across two pages of '100 Best Album Covers,' including this quote from Michael English concerning 'The Intention':
"If I use the words that are current now - and they weren't the words we used then, but the meaning is the same - it was to do with putting out a good energy of love and power and light and colour and peace, and turn the whole planet into a radiant ball of good energy. We wanted to communicate that good energy, spread it out, and make contact with new beings, so that in a way, the whole universe would be pulsating with this energy - which it is anyway, as we know. That thinking was so revolutionary, so incredible, and it was virtually ignored by the established fine art world, which continued its fascination with Pop art, and Situationist art. They didn't want to hear about what we were talking about because it was dangerous, it undermined their system."
All-time classic 1970 heavy British progressive rock monster! Stunning power trio! Contains 3 bonus tracks too! This is an essential item for anyone visiting this site!
A genuine masterpiece. Up there with Caravan's third album, King Crimson's first and Fantasy's second, this is amazing progressive rock with killer guitar work, vocal harmonies, orchestration, etc. etc. Not a duff song and an album to explore over and over again. Originals of this sole release by T2 from the early '70s are worth a fortune brilliant early '70s UK prog album.
Keith Cross - keyboards, guitar, vocals
Peter Dunton - drums, vocals
Bernard Jinks - bass, vocals
T2 was formed in early 1970 when Peter Dunton (drums, lead vocals and songs) left the Gun to join up with Keith Cross (guitar and keyboards) and Bernard Jinks (bass), both from Bulldog Breed. They soon found a strong musical rapport and, after less than a week of rehearsals, they started a residency at a club in London's West End.By their third gig, the club was packed, and the producers from four major record companies and three TV and Radio programmes were there to check them out. This led to a recording deal with Decca Records, the release of "It'll All Work Out In Boomland" and several TV and radio appearances later in the year.Their rise continued throughout the year, with appearances at several important open-air festivals, including the Isle of Wight and Plumpton. They headlined a series of residencies at the Marquee Club, and appeared at virtually every major rock venue in the London area before branching out onto the university circuit. They were constantly in the music press - indeed Keith, still only seventeen, was being hailed as the new Eric Clapton! In the end, the pressures grew too great and first Keith and then Bernard left the band.After a short break, Peter put the band back on the road with new musicians, and T2 toured the UK continuously throughout 1971 and 1972. Finally, a settled line-up was achieved - including Mike Foster, who had been a friend of the band since the early lays. However, the UK music scene had changed considerably by then. The band found that to resume their recording career, they would have to compromise their musical policy. Rather than do this, they decided to stop altogether.Essentially, T2 were an exceptional live band with a unique blend of musical styles. The three musicians played as one, with great emotional intensity, and sounded like no one else. Their music went through constant changes of light and shade, from wistful acoustic whispers to thunderous roars of anger, creating great musical tension on the way. Their concerts were not just a series of favourite songs, they were emotional experiences, which somehow triggered feelings and memories in their audiences. In some ways it was fitting that they should end too soon - a promise unfulfilled, a question unanswered.
the bonus (live on BBC)
The Inn - 1987 - Psychedelic Schedule
These are the liner notes from "Fun With Mushrooms" compilation (1993) which includes their track "Who's My Name?":
American psych outfit The Inn have been gigging since 1986 and have released three albums of West Coast styled psychedelic rock. Moving from free form freakouts through to more structured flowing rock pieces. The Inn have explored almost every corner of the genre. "Who's My Name?" represents the bands current direction of tightly knit melodic rock with a psychedelic lyrical content. A live album is due soon and as usual the band are constantly gigging.
In "Psychedelic Schedule" (Voxx) you can hear the two sides of the Inn: the deep psychedelia in the Plan 9-like 24-minutes-long 'Roy G.Bin' and in 'Marlwood Lake' and the folk-psych of the remaining tracks, which reminds me of some non-US bands of the era, like the Moffs or the Wayward Souls. In 'What's It like' they sound dangerously close to R.E.M. (who?), due to the singer's voice (I assume it was T.Farina, 'cause M.Cooper is on the lead vocals in the rest of the album). -Edit: As Leslie Davidson commended, Bruce Carothers is the lead singer on "What It's Like" (see the commends for more, as L.Davidson was a member of the Inn)
After this LP, they released another 3 albums in their local (North Carolina) label Third Lock and they were active at least 'till 1993, with only Mitch Cooper remaining from the original line-up. Sadly, in these later releases they moved to more streight and softer rock songwriting.
Side Over Here
Side Over There
What's It Like
The Love, Death & Mussolini - 1990
(private cassette limited edition) deleted
01. Hymn (1.22)
02. Footprints (5.56)
03. Linton Samuel Dawson (3.04)
04. And the Swallows Dance Above the Sun (4.12)
05. Queen Quotes Crowley (4.40)
01. No Luck With Rabbits (0.47)
02. Begonia Seduction Scene (2.34)
03. Out (8.59)
04. It Will Rain for a Million Years (4.05)
40 minute tape - private pressing of only 10 copies. Contains 7 tracks
later to appear on "The Nostalgia Factory", plus "Out" (later included on
the vinyl edition of "Yellow Hedgerow Dreamscape") and the elsewhere
unavailable "It Will Rain for a Million Years" (a completely different
track to the one with the same title included on "On the Sunday of
July 1991 (Delerium CD - DELEC CD008 / Double LP - DELEC LP008D)
01. Music for the Head (2:42)
02. Jupiter Island (6:12)
03. Third Eye Surfer (2:50)
04. On the Sunday of Life (2:07)
05. The Nostalgia Factory (7:28)
07. Message from a Self Destructing Turnip (0:27)
08. Radioactive Toy (10:00)
09. Nine Cats (3:53)
10. Hymn (1:14)
11. Footprints (5:56)
12. Linton Samuel Dawson (3:04)
13. And the Swallows Dance Above the Sun (4:05)
14. Queen Quotes Crowley (3:48)
15. No Luck With Rabbits (0:46)
16. Begonia Seduction Scene (2:14)
17. This Long Silence (5:05)
18. It Will Rain for a Million Years (10:51)
A Caterpillar crawled to me one day and said "Oh what the hell goes on inside your swollen head? I don't believe that you can see as much as I Now close your eyes and tell me what do you say?"
"I watched nine cats dance on the moon A flamingo stalked into my room It bowed its head to me and knelt To reveal the cards it had dealt An ace, three jacks, two queens, four kings Then turned them into burning rings The flames jumped out and chased four mice Caught by their tails they turned to ice
A cloud appeared outside my door And through the window saw four more And on the back of each cloud sat Two rainbow smiles in wizard's hats They threw five clocks down on my bed The chimes danced out on golden threads And turned to footprints on my wall Sequined tears began to fall"
The caterpillar gasped at me and said "My god if that's what's going on inside your head You can see so much more than I I think it's time to turn into a butterfly."
Part 1 DownloadLink:
Part 2 DownloadLink:
Opa-Loka (The Love, Death & Mussolini)
innocent76 (On the Sunday of Life)
Thursday, December 21, 2006
Private press orchestral psych classic from 1967
01 Another Day, Another Lifetime/I Would Like To Know
02 I'm Not Alone
03 Sweet December
04 Tell Me More
05 Now To You
06 Professor Crawford
07 Time M
08 So Much More
09 Mirrors Of Wood
10 Of Our Other Days
A review from Fuzz, Acid & Flowers
The David, who came from Los Angeles, made an interesting album which has now become a collectors' item. The title track blends Eastern, chantlike overtones with Western orchestrational motifs. Other tracks are often characterised by driving rhythms played alongside oddly spaced melody lines. Much of the material - which was all written and composed by Warren Hansen - is heavily orchestrated. Hansen also invented an instrument, which he called the Plasmatar, to provide the vibrant rasp on one track Mirrors of Wood, which also contains some fine fuzztone. The final track Of Our Other Days had considerable commercial potential with a calypso-style melody and hypnotic beat.
Not to overdo The Left Banke comparison, but any fan of that group will enjoy this a lot as well, as it has a similar fusion of pure pop hooks, imaginative baroque orchestration, and fragile romantic songwriting. The David have more of a rock drive, however, are more apt to employ period psychedelic flourishes (such as the wobbling distorted guitar riffs on "Mirrors of Wood"), and take on more whimsical, less personal lyrical concerns. The beautiful, suite-like title cut, the organ-powered "Sweet December," and "Now to You" are highlights. A 2001 CD reissue on Jamie adds a couple of previously unreleased songs. — Richie Unterberger
CHEVY CHASE drms, keyb'ds, vcls A
KYLE GARRAHAN bs, ld gtr, piano, vcls A
TED MYERS gtr, vcls A
TONY SCHEUREN gtr, bs, harpsichord, vcls A
Big Beat's Rockabilly Psychosis and the Garage Disease delivers just what the title promises, collecting cult garage rock tracks like "My Daddy Is a Vampire," "Radioactive Kid," "Dateless Night," and "Jack on Fire." "Psycho" and "Crusher" are also good examples of what this underground garage collection has to offer. ~ Heather Phares, All Music Guide
01.: Surfin' Bird - Trashmen
02.: Psycho - Sonics
03.: Crusher - Novas
04.: Scream (CD) - Nielsen, Ralph & The Chancellors
05.: Paralysed - Legendary Stardust Cowboy
06.: She Said - Adkins, Hasil 'Haze'
07.: Hidden Charms (CD) - Wray, Link
08.: My Daddy Is A Vampire - Meteors
09.: Red Headed Woman - Dickinson, Jimmy & The Cramps
10.: Run Chicken (CD) - Thee Milkshakes
11.: Radioactive Kid - Meteors
12.: Dateless Night - Falco, Tav & Panther Burns
13.: Jack On Fire - Gun Club
14.: Folsom Prison Blues - Geezers
15.: Catman - Sting-Rays
16.: Just Love Me - Guana Batz
17.: Love Me (LP) - Phantom
Introducing...The United States Of Existence, Bam Caruso, 1986
From Baltimore, MD, they were in fact a recording project of Paul Rieger and Bob Tiefenwerth. They didn't peform in public but record this LP in their basement, and then they went their separate ways. The other two members moved to LA and formed Playground -later renaimed Jigsaw Seen.
U.S.E. discography consists of a 7' single (Anything Goes!/Makin’ My Scene, 1984) and this sole LP (1986) on the UK BamCaruso label. Numerous songs appeared in almost every worthy psyche compilation (their non-LP song "Return to the Psychedelic" opens the Battle of the Garages #1, another non-LP "Shadows Of Rainbows" is in “The Rebel Kind” compilation LP, "Baroque Hi Fi" in Dimensions Of Sound, "Makin’ My Scene" in Electric Psychedelic Sitar Headswirlers #3, Children of Nuggets, etc). In 1994, Fidelity Sounds label released "The Collection", a 16-song CD, which includes "Introducing..." LP and five compilation and unreleased tracks.
Intoducing... is a shiny, colourful and fuzzed-out record, reminding both of the Strawberry Alarm Clock and the Kinks, as well as the Electric Prunes, complete with sitar, electric harpsicord and theremin.
Love To The 44th Power
A Scandal In Bohemia
Makin’ My Scene
Somethin’ ‘Bout The Way
Bad Roads At Midnight
It’s A Drag
Welcome Tomorrow Goodbye Today
In Classic Play
Dennis Davison, vocals/theremin
Gary Schwartz, drums/vocals
Bob Tiefenwerth, organ/harpsichord
Paul Rieger, guitars/bass/sitar
Wednesday, December 20, 2006
One of my all time best albums .... i guess all you know the band. This is their best in my opinion
I will be listening to this during Xmas and i 'd like to share the feeling with you
Here is the link
here is the missing track 4
And info here
Enjoy and see you soon
01 Jim Doval & The Gaucho's - Mama Keep Your Big Mouth Shut (CA, U.S.A.)
02 The Wanted - Lots More Where You Came From (Detroit, MI, U.S.A.)
03 The Mersey Beats U.S.A. - Nobody Loves Me That Way (Shively, KY, U.S.A.)
04 The Boys Next Door - Suddenly She Was Gone (Indianapolis, IN, U.S.A.)
05 The Tree - Man From No Where (Wilmington, DE, U.S.A.)
06 The Mixed Emotions - Can't You Stop It Now (Coden, AL, U.S.A.)
07 Colossal - Light My Fire
08 The Rocks - Because We're Young (U.S.A.)
09 The Dimensions - Penny (Seattle, WA, U.S.A.)
10 Gil Bateman - Wicked Love (WA, U.S.A.)
11 The Abstract Sound - I'm Trying (Springfield, NJ, U.S.A.)
12 The Sandmen - World Full Of Dreams (West Bend, WI, U.S.A.)
13 The Monacles - Everybody Thinks I'm Lonely (Los Angeles, CA, U.S.A.)
14 The Disciples - Junior Saw It Happen (FL, U.S.A.)
15 The Distant Sounds - It Reminds Me (Worcester, MA, U.S.A.)
16 The New Chains III - The End (FL, U.S.A.)
V.A. - Bad Vibrations vol. 2
01 The Excentrics - What Can I Do What Can I Say (TN, U.S.A.)
02 The Chevelle V - Stone And Steel Man (Abilene, TX, U.S.A.)
03 L.A. Teens - I'm Gonna Get You (Los Angeles, CA, U.S.A.)
04 The Four Dimensions - Sand Surfin' (Las Cruces, NM, U.S.A.)
05 The Feris Wheel - Woman (U.S.A.)
06 The Good Idea - Inside, Outside (St. Cloud, MN, U.S.A.)
07 The Impacts - Green Green Field (Rainier, OR, U.S.A.)
08 The Vaqueros - Don't You Dare (Virginia, MN, U.S.A.)
09 Wrest - Hatfield Junction (U.S.A.)
10 The Wylde Heard - Stop It Girl (Peoria, IL, U.S.A.)
11 The Chevelle V - Dangling Little Friends (Abilene, TX, U.S.A.)
12 The Impacts - Don't You Dare (Rainier, OR, U.S.A.)
13 Lords Of London - Time Waits For No One (Toronto, Canada) *
14 The Kidds - Straighten Up And Fly Right (MS, U.S.A.)
15 L.A. Teens - You'll Come Running Back (Los Angeles, CA, U.S.A.)
16 The Excentrics - Hold Me Tight (I Feel So Fine Inside) (TN, U.S.A.)
V.A. - Bad Vibrations vol. 3
01 Five By Five - Hang Up (Magnolia, AR, U.S.A.)
02 Better Sweet - Like The Flowers (U.S.A.)
03 The Other Side Of Time - This Is The End
04 The Sirs - Help Me (Portland, OR, U.S.A.)
05 The Traits - Parchman Farm
06 The Adventurer's - Baby, Baby, My Heart (Catasauqua, PA, U.S.A.) *
07 The Innkeepers - Wanted (Bayside, NY, U.S.A.)
08 The Whatever - The Valley Of Death (U.S.A.)
09 Wayne Pav & The Orphuns - Oh Mona
10 Wyld Vybrashons - One Track Mind
11 The Yorkshire Puddin' - Ain't Gonna Love Ya No More (Hackensack, NJ, U.S.A.)
12 The Just VI - Bo-Said (CA, U.S.A.)
13 The Innkeepers - Never Should Have Done It (Bayside, NY, U.S.A.)
14 The Counts - Last Train (Valley View, PA, U.S.A.)
15 The Six Deep - Girl, It's Over (TX, U.S.A.)
16 The Shags - Wait And See (New Haven, CT, U.S.A.)
04-Make Me know You're Mine
08-Oh, Girls, Girls
12-Why Was i born
According to the band, Panther Burns is "a Southern Gothic, psychedelic country band influenced by Memphis music styles". The original band lineup featured two guitars, synthesizer, and drums, later usually omitting keyboards or synthesizers at live shows. The group's somewhat experimental recordings have embraced and deconstructed a number of influences and genres.
With his signature Höfner fuzz-tone guitar and a stage presence characterized by his Argentine-styled pompadour, pencil moustache, smoking jacket, and urbane manner, Falco infused his shows with theatrical antics and a reverence for the originators of country blues and rockabilly. The band's assorted song subjects and album photography themes have included Memphis scenery, Carroll Cloar's Panther Bourne painting, the occasional reference to historical figures like American rampage murderer Charles Starkweather, motorcycle imagery, denizens of Memphis neighborhoods, tango imagery, and blithe introspection, among other themes
Falco's treatment of the blues classic "Bourgeois Blues" adds a line from Ginsberg's famous beat poem "Howl". In a 1984 interview discussing his anti-environment concept and music, he said that many outstanding, but lesser known blues and rockabilly artists were "treated like the idiot wind". Similarly, he continued, "the beat writers and theorists like Antonin Artaud were treated like they were crazy. It wasn't until he died that everyone realized he was a genius". Two of his originals, "Agitator Blues" and "Panther Phobia Manifesto", evinced playful humor and a left-leaning, Utopian anarchist political stance. In "Panther Phobia Manifesto", Falco referenced lines from influences as disparate as William S. Burroughs, Screamin' Jay Hawkins, Howlin' Wolf, Rod Serling, French psychedelic band The Dum Dum Boys, and Dadaist poet Louis Aragon, in wishing a "huge firedamp explosion" to closed-minded members of society who blindly follow the dictates of the establishment. Proclaiming that everywhere the Panther Burns go, they are greeted with derision, he riffed from Aragon, "Laugh your fill, the Panther Burns are the ones who always hold out a hand to the enemy".
The group's wide-ranging styles have included Argentine tango music, country music, rockabilly, r&b, soul music, novelty tunes, early rock and roll, country blues, and pop standards of the 1950s and 1960s like Frank Sinatra's "The World We Knew", among others. Set lists have included mutated covers of songs originally performed by such diverse artists as J. Blackfoot, Doc Pomus, Bobby Lee Trammell, Gene Pitney, Reverend Horton Heat, Jessie Mae Hemphill, R. L. Burnside, Mack Rice, and Allen Page (of the small 1950s Moon Records label helmed by early rock-and-roll producer/songwriter Cordell Jackson), among others.
Terms the band says have been inaccurately "foisted upon" the group by media include "rockabilly, wreckabilly, psychobilly, punk, post punk, post-modern, garage, bluesabilly, roots, and permanent wave". The earliest description the band gave itself on a concert poster read simply: "Rock'n'Roll". Media confusion in categorizing led the band to eventually invent its own self-descriptive terms, such as "panther music" and "backwoods ballroom", also at times calling its tumultuous performance style "art damage".
Burning Rain - Climb To The Sky/Crystal Colord Cloud
This was released in 1990 on Rockadelic in 500 copies. Psychedelia in the finest 13 Floor Elevators tradition. Burning Rain from Texas have at least 6 LPs, one of them you can find here
Pleasure Heads - Song For God/Clove Cigarettes
Pleasure Heads are a mystery to me. They only released this single on Get Hip in 1988, and then nothing was heard from them. Male-female vocals, steady beat and a killer guitar riff in "Song for God". Absolutely godlike.
Brood - Since He's Been Gone/You Got Me Crying
You can find the entire discography of these garage girls here, so there's no need to say anything more, except that this 7" on Stanton Park label from 1990 is non-LP.
Untold Fables - For My Woman/The Man and The Wooden God/Wendylyn/When The Night Falls
Again the very active contributors of this blog posted Untold Fables LP "Every Mother's Nightmare" here, and you must be familiar with them. This 4-cut 7"single is from 1987, and finds them a bit (but only a bit) calmed-down with touches of Byrds-ian guitars.
Marshmallow Overcoat - Suddenly Sunday/Tomorrow Never Knows
This is the band of Timoth Gassen, based in Tucson, Arizona at their absolute best period (1988). Groovy psychedelic pop from a true master of the genre. You can find here their 1991 release (as Overoat) " Three Chords...and a Cloud of Dust".
Petals - Mushroom Farm/Energy Panel
This is from 1990 on November Rain label. For this single I couldn't find a photo and my copy is stored in a way that I need sometime to get it, but you can see (and hear) their LPs here
Laughing Soup Dish - Teenage Lima Bean/Rainy Day Sponge
And finaly the absolute psychedelic single from the 80s, an incredible song on the A-side which includes in 5.09' all the myths and legends from 1965 to 1985, the Brit-psyche scene and the raw garage bands of the U.S. Rainy Day Sponge is the best b-side you could hear after all that. Again the inevitable link We are...the Dish LP.
Get them U.S. psychedelic/garage singles here.
Ale Möller comes full circle. From the bouzoukispellman who learned Swedish folk music on a Greek instrument so many years ago comes a stunning new album of music that starts with those Greek roots, and then explodes across the continents. With Maria Stellas and Mamadou Sene on Greek and West African vocals, a core band of Moller's strings, accordion, flutes and voice, Magnus Stinnerbom (fiddles, mandolin), Sebatian Dube (bass) and Rafael Sida Hulzar (percussion). Guest performances include Jonas Knutsson (sax), Shirpa Nandy (Indian vocals), Kurash Sultan (Uyghur vocals) and Mats Oberg (keyboards).
From the sweeping sound that Filarfolket created 2 decades ago, Moller and company have created a worthy heir to the global sound of Sweden.
- Ale Möller: mandola, accordion, flutes, shawm (skalmeja), cow horn etc.
- Maria Stellas: Swedish-Greek singer and dancer. As a singer she has specialized in older Greek songs, primarily from the Rembetika repertoire of the early 1900s. Her dancing is the oriental dance "Raqs Sharki" (or belly dance).
- Mamadou Sene: singer and acrobatic dancer from Senegal. Before moving to Sweden he was a soloist in the Senegalese National Ballet.
- Magnus Stinnerbom: young master fiddle player from Värmland who specializes in polskor from Jössehärad, as well as music from the Swedish-Norwegian border area. Member of folk music groups Harv and Hedningarna.
- Sebastian Dubé: double bass player from Quebec, Canada who is both classically trained and a virtuoso jazz musician. Currently also plays with The Swedish Chamber Orchestra, based in Örebro.
- Rafael Sida Huizar: Mexican percussionist who came to Sweden back in the 1970s as a member of a Mexican rock band. A percussionist with profound knowledge of Afro-Cuban and Latin drum traditions.
Also participating: Shipra Nandy: singer from Bengal
Kurash Sultan: singer and dutar player from Uyghuristan
Mats Öberg: keyboards
Jonas Knutsson: baritone sax
Tuesday, December 19, 2006
02. Gun Isn't Loaded (2:51)
03. Glastonbury Revisited (2:47)
04. Baby, You're So Free (3:45)
05. Value of Life (2:38)
06. Revolution (In the Summertime?) (3:21)
07. Have You Heard the News Today? (2:51)
08. Sometime (3:31)
09. Melanie (3:23)
10. Rain Inside (3:23)
11. Charm (2:04)
12. Loser (2:25)
13. You've Got Me (3:10)
14. Emily Darling (2:48)
15. Morning Sun (:57)
This album is pop/folk/rock heaven. Not a dull moment throughout the entire album.This is the best album I have heard in 2000. Every song on the album could have been a single, they area all so catchy. I bought it after hearing the single "Baby You're so free" but didn't expect the whole album to be up to that calibre. Daniel Wylie's lush vocal harmony arrangements are perfect. If bands like The Byrds, Crosby Stills and Nash tickle your fancy , then you will adore this record. "Revolution in the summertime" is a really a masterpiece!!!!!
Third album for the Scottish folk-rock act combines tracks from their first two albums, 'Deliverance' (1999) and 'Panorama' (2000) though some have been vastly improved upon, although the original versions earned them a place in Virgin's Greatest Albums. Includes three all new tracks, 'Sometime', the first single 'Melanie' and 'Morning Sun'.
In the current musical climate, it's hard to imagine anything more unfashionable than an album of 60's-style Byrds/Beach Boys-influenced guitar pop that is so traditional it makes Teenage Fanclub sound like Aphex Twin, but put your cynicism on hold for "Enjoy..." is one of the most enjoyable, grin-inducing debuts of recent years. Hailing from Glasgow, and firmly in the TFC/BMX Bandits tradition of that city, it's no surprise that Cosmic Rough Riders are signed to former Creation boss Alan McGee's new Poptones label, for this album positively reeks of McGee's former stable. Chiming guitars, heavenly harmonies, joyously dumb cod-psychedelic lyrics...all the elements are here, and they work wonderfully together. Don't be put off by the album's opening gambits - "Harvesting the Land" and "Glastonbury Revisited" are mawkish 60s folk, and "This Gun Isn't Loaded" is a fairly unsuccessful stab at sitar-drenched psychedelia which ends up sounding too much like Spinal Tap's "Listen To The Flower People" for comfort. It's when CRRs lose the patchouli oil and let loose the pure pop vibes that "Enjoy..." really takes off. "Revolution In The Summertime" is perfect sunny-day listening, "Sometime" is the best song Teenage Fanclub have never written, and "The Loser" is catchier than a cactus. These guys have clearly got hooks coming out of their ears and most of the verses here are more memorable than most bands' choruses. They simply are that good. It's unlikely that "Enjoy..." will sell millions of copies and make CRRs the household names they clearly deserve to be, but if you like joyful, life-affirming, summery guitar pop, and have ever found yourself grinning inanely at the sound of Big Star's "September Gu rls", TFC's "Sharky's Dream" or the Stone Roses "Waterfall", then this CD will end up welded to your CD player for weeks on end. Enjoy indeed.
01. I'm A King Bee 3:01 LIVE SESSION FROM 1966
02. Interstellar Overdrive 16:50 STUDIO 10/31/1967
03. Sunshine 1:28 UNRELEASED TRACK FROM 1967
04. Milky Way 3:07 OUTTAKE
05. Astromoy Domine 4:03 ALTERNATE TAKE
06. Scream Thy Last Scream 4:48 ACETATE
07. The Committe 1 5:38
08. The Committe 2 4:00
19. Long Blues 9:13 LIVE IN MONTREUX 1970
10. Slow Blues 5:04 LIVE IN MONTREUX 1970
11. Obscured By Clouds - When You're In 13:07 LIVE IN CHICAGO 03/07/1973)
Pink Floyd - Early Flights vol. 02
01. Silas Lane 1:16 OUTTAKE
02. Flaming 2:46 US SINGLE VERSION
03. Interstellar Overdrive 4:15 UFO CLUB 1967
04. Reaction In G 4:05 ROTTERDAM 1967
05. 12 Bar 5:31 MONTREUX 1970
06. Libest Spacement Monitor 5:37 COPENHAGEN 1971
07. Embryo 9:27 COPENHAGEN 1971
08. Money 12:13 DEMO 1971
09. On The Run 1:40 DEMO 1971
10. Brain damage 3:21 DEMO 1971
11. Us And Them 2:01 DEMO 1971
12. Childhood´s End 7:08 CINCINATTI 03/08/1973
13. Interstellar Overdrive 7:56 ACETATE 1967
14. Moonhead 5:24 "NASA APPOLO 11" BBC 1969
Pink Floyd - Early Flights vol. 03
01. Arnold Layne 2:35 ACETATE 1967
02. Candy And A Currant Bun 2:00 ACETATE 1967
03. Scarercrow 1:06 BBC BROADCAST 1967
04. Astronomy Domine 3:26 ABBEY ROAD OUTTAKE
05. See Emily Play 2:54 ACETATE
06. Corporal Clegg 2:51 BELGIAN VIDEO VERSION
07. It Would Be So Nice 3:17 PROMO EDIT
08. Paintbox 3:29 STEREO EDIT
09. Jungband Blues 3:08 UN RELEASED VERSION WITH SYD
10. Vegetable Man 2:31 LAST SONG WITH SYD
11. Let There Be More Light 3:31 PARIS 15/05/1969
12. The Narrow WAy 4:19 LONDON 12/05/1969
13. Green Is The Colour 6:02 LONDON 12/05/1969
14. The Journey 9:10 PLUMPTON 08/08
15. Two Of A Kind 2:35 BARETT
16. Bob Dylan Blues 3:14 BARETT
17. Interstellar Overdrive 15:46 LONDON 10/31/1966
Pink Floyd - Early Flights vol. 04
part I ~ part II
01. Astronomy 8:59 Germany, Essen, 10/11/1969
02. Mademoiselle Knobs 1:51 Outtake
03. Come in Ní51, your time is up 4:58
04. Green is the Colour 3:51 Live Italia, 1970
05. Careful with axe, Eugene 3:43
06. Embryo 2:09
07. Cymbaline 8:34 San Fransisco 29/04/1970
08. Granchaster Maedows 7:09
09. Fearless 3:17 US Promo
10. Us and Them 3:18 US Promo
11. Brain Damage / Eclipse 3:30 Demo
12. Interstellar Overdrive 13:19 Chicago 21/04/1970
13. See Saw 4:30
14. San Tropez 3:39
Pink Floyd - Early Flights vol. 05
01. Intro 1:15 Paradiso - Amsterdam May 23, 1968 - Early Show
02. Let There Be More Light 7:26 Paradiso - Amsterdam May 23, 1968 - Early Show
03. Set The Control For The Heart Of the Sun 12:27 Paradiso - Amsterdam
May 23, 1968 - Early Show
04. Intro 0:52 Paradiso - Amsterdam May 23, 1968 - Early Show
05. A Saucerful Of Secrets 14:09 Paradiso - Amsterdam May 23, 1968 - Early Show
06. Candy 1:58 Demo
07. Interstellar Overdrive 6:21 Demo
08. Intro 0:34 Paradiso - Amsterdam May 23, 1968 - Early Show
09. Keep Smiling People 10:09 Paradiso - Amsterdam May 23, 1968 - Early Show
10. Intro 1:04 Paradiso - Amsterdam May 23, 1968 - Early Show
11. Let There Be More Light 8:05 Paradiso - Amsterdam May 23, 1968 - Early Show
12. Intro 0:51 Paradiso - Amsterdam May 23, 1968 - Early Show
13. Flaming 5:00 Paradiso - Amsterdam May 23, 1968 - Early Show
Pink Floyd - Early Flights vol. 06
01. Astronomy Domine 2:27 ORTF Radio 20/01/1968 Complete Short Version
02. Astronomy Domine 7:47 Rome 1969
03. Cymbaline 5:18 03/1969 London Sound Techniques Studios
04. Obscured By Clouds 1:01
05. Free Four 3:30 US Promo Single 1972
06. Instumental 1:37 Unrelased 1972
07. Set The Control For The Heart Of The Sun 2:33 22/01/1970 ORTF Studio Paris
08. Green Is The Colour 3:57 25/10/1969 Amougies Festival Belgium
09. Careful With That Axe,Eugene 9:52 25/10/1969 Amougies Festival Belgium
10. Intro 1:08 23/01/1970 Theatre Des Champs-Elysees Paris
11. The Violent Sequence 4:48 23/01/1970 Theatre Des Champs-Elysees Paris
12. The Amazing Pudding 16:19 23/01/1970 Theatre Des Champs-Elysees Paris
13. Careful With That Axe,Eugene 7:40 29/6/1972 The Dome Brigthton,UK
14. Margeritte PT4 2:44 Roger Waters 1972
Pink Floyd - Early Flights vol. 07
01. Interstellar Overdrive 4:14 UFO CLUB 20/01/1967
02. Pow R. Toc H. 0:46 BBC LOOK OF THE WEEK 14/05/1967
03. Astronomy Domine A 4:01 BBC LOOK OF THE WEEK 14/05/1967
04. Set The Controls For The Heart Of The Sun 2:27 UK RADIO 1967
05. Let There Be More Light 3:42 PSYCHEDELIC CLUB PARIS 30/10/1968
06. Flaming 3:06 PSYCHEDELIC CLUB PARIS 30/10/1968
07. Set The Controls For The Heart Of The Sun 8:23 ROME 05/05/1968
08. Interstellar Overdrive 6:41 ROME 05/05/1968
09. A Saucerful Of Secrets 6:09 KRALINGEN 28/07/1970
10. A Great Gig In The Sky 6:01 Ivor Wynne Stadium, Hamilton Canada 28/06/1975
11. Money 9:11 Ivor Wynne Stadium, Hamilton Canada 28/06/1975
12. Any Colour You Like 7:17 Ivor Wynne Stadium, Hamilton Canada 28/06/1975
13. Brain Damage 9:10 Ivor Wynne Stadium, Hamilton Canada 28/06/1975
14. ECLIPSE 2:08 Ivor Wynne Stadium, Hamilton Canada 28/06/1975
Pink Floyd - Early Flights vol. 08
01. Pigs On The Wing Pt. 1 & 2 3:32 Alternate Version 1977
02. Confortably Numb 2:36 DEMO 1978
03. Like A Rolling Stone 1:43 David Gilmour 1983
04. Across The Universe 2:34 Roger Waters 1985
05. The Hit 3:45 Roger Waters/ Eric Clapton 1985
06. Learning To Fly 1:24 Demo 1986
07. Sign Of Life 3:56 Live in Chicago 1987
08. Yet Another Movie 7:35 IDEM
09. A New Machine Pt.1 1:40 IDEM
10. Terminal Frost 6:50 IDEM
11. A New Machine Pt.2 10:08 IDEM
12. Another Brick In The Wall 10:08 Roger Waters 1987
13. The Dog Of War 7:24 Live 1987
14. On The Turning Away 6:54 IDEM
Pink Floyd - Early Flights vol. 09
01. A Saucerful Of Secrets 16:31 Copenhagen Sept. 23.1971 Special Long Version
02. Sheep 12:19 Dortmund-Germany Jan. 23.1977
03. Pigs part 1 1:32 Dortmund-Germany Jan. 23.1977
04. Dogs 18:22 Dortmund-Germany Jan. 23.1977
05. Pigs part 2 2:06 Dortmund-Germany Jan. 23.1977
06. One Slip 5:24 Live 1987
07. Run Like Hell 7:31 Live 1987
08. Money 6:17 Live 1987 Vocal: Paul Carrack
Pink Floyd - Early Flights vol. 10
01. Country Theme 2:09
02. Mexico 70 4:22
03. Big Theme 2:48
04. Small Theme 3:05
05. Carrerra Slow Blues 4:48
06. Shine On Your Crazy Diamond 10:49 Knebworth, June 6Th 1990
07. Comfortably Numb 8:19 Knebworth 1994
08. High Hopes 8:15 Knebworth 1994
09. Take It Back 5:59 Knebworth 1994
10. Coming Back To Life 6:47 Knebworth 1994
11. Keep Talking 7:39 Knebworth 1994
12. One Of These Days 6:58 1994
From the AMG: R. Stevie Moore's first album upon moving to New Jersey and immersing himself in the burgeoning New York new wave scene, 1978's Delicate Tension is quite a leap from 1976's Phonography, both in style and execution. Where Phonography has a definite progressive rock feel, Delicate Tension is dominated by short, punchy power pop rockers like the breathless, witty opener "Cool Daddio," the sly McCartney-like bounce of "Schoolgirl," and the sarcastic Ramones blur of "Apropos Joe." Elsewhere, Moore's instrumental arsenal (as before, he plays every instrument himself with the exception of about half a dozen drum parts and the flutes on the anguished "You Are Too Far from Me") expands to include an adorably rinky-dink electric piano on "Funny Child" (which sounds as if the Residents had suddenly decided to write a late-era Monkees song) and more synthesizers, which underpin forward-looking early synth pop experiments as varied as the ghostly "I Go into Your Mind" and the frantic voice-modified robo-bop "Horizontal Hideaway." However, even with all these modern accoutrements, Moore still isn't interested in making it easy for himself. In 1978, when the "disco sucks" backlash was making casual racism fashionable, Moore wrote an explicitly anti-racist faux-disco song, muddying the waters (and possibly obfuscating his honorable intent) for listeners by deliberately giving the song the shock title "Don't Blame the N-----s." That piece of social commentary aside, Delicate Tension is an album of surprising emotional depth. Most of the songs were written in the aftermath of a particularly bad breakup, and along with Moore's usual surrealism and snarky one-liners, songs like the acoustic ballad "Norway" and the simply lovely, Todd Rundgren-like "Zebra Standards 29" have the startling immediacy and plainspoken beauty of a late-night conversation over several empty wine bottles. Best of all, the album's sound is an enormous improvement over the extremely lo-fi Phonography; it stands next to Roy Wood's Boulders, Something/Anything?, and McCartney as one of the best one-man-band albums of the '70s.
This download consists of the newly remastered version of the original Delicate Tension album, plus a whole lot of absolutely spectacular bonus tracks, including the "Stance" EP. They bonus tracks double the length of the original album and they are all essential listens- I think overall they might even surpass the album itself!
The download is in two parts, but you can unpack them seperately (i.e., they're not a .part1 and a .part2).
Get the first half here.
Get the second half here.
And visit rsteviemoore.com if you're so inclined... he's got literally dozens of other albums worth hearing!
03 I'd Rather See You Dead 3:50
04 Find Me a Moment 2:59
05 Getting Too Much Higher 3:42
06 Adler 3:30
07 Gypsy Fast Woman 5:54
08 I'll Find Love 4:21
09 There's a Light over the City 2:39
10 My World of Wax 3:16
11 World of Wax 2:42
12 Smoking at Windsor Hill 3:02
13 Bonnie 2:51
14 Oh No 2:06
15 Why? 2:12
16 Searching for My Love 2:08
17 These Are the Words 2:00
18 Once and for All Girl 2:15
19 Your Ma Said You Cried in Your Sleep Last Night 2:12
20 How Do You Tell a Girl
The Brain Police were one of the relatively few psychedelic groups to emerge from San Diego in the late '60s, recording an unreleased album and single in 1968-1969 before splitting up. They played psychedelic rock with hard rock and baroque pop influences. After recording the unreleased album and failing to land a major-label contract, the frustrated band broke up at a local gig in which they opened for Steppenwolf. This unreleased LP was reissued on CD by Normal/Shadoks, as were songs cut for a 1969 single and poppier 1964-1966 cuts from singles by the Man-Dells and the Other Four (bands that Brain Police songwriters Norman Lombardo and Rick Randle played in prior to 1967).
After the great Battle of the Garages post here's another one from Voxx records. Includes 8 bands from the middle and eastern US, with a bit harder garage sound than the previous compilations. Most of them were active in the 80s, and a few (Dwarves, Cynics, Time Beings) 'till today.
From Voxx press release:
Compilation of bands from the eastern part of the country who arrived just a bit too late for our Battle of the Garages series. Compiled by Timothy Gassen (Marshmallow Overcoat & Knights of Fuzz author) and featuring some of our most gloriously colorful, exotic, oriental artwork, the album includes hard to find tracks by The Dwarves, The Cunts, The Endorphins, The Time Beings, The Skeptics, The Libertines, Green, and The Cynics. It's not all garage/grunge; some of the bands like The Skeptics, Libertines and Green have a decidedly pop approach.
Libertines - Everybody Wants To Be My Sister / Black Garage Door
Endorphins - Amazon Wood
Time Beings - Why Don't You Love Me / Spend Your Life
Skeptics - The Ghost of Abraham Lincoln / What Can I Do
Green - She's Not a Little Girl Anymore / Something About You
Cynics - Waste of Time / Let Me Know
Dwarves - Underwater
Cunts - Apocalyptic Breakfast / There Are Electrical Filaments on My Hamburger
Monday, December 18, 2006
part I ~ part II
01 - Like Stoned
02 - Irresistible
03 - All Kinds Of Lows & All Kinds Of Highs
04 - I DonÂ´t Go That Way
05 - How Does It Feel
06 - Enough
07 - Half The Time
08 - I Wanna Touch Your Heart
09 - Images
10 - Charity Killjoy
11 - House Of The Rising Sun
12 - Riddles & Fairytales
13 - (She always Gives Me) Pleasure
14 - All Kinds Of High
15 - Satisfaction
16 - Paradox City
17 - Love Can Make Your Mind Go Wild
18 - House Of The Rising Sun
19 - Images (Shadow In The Night)
20 - Deaf Dumb & Blind
21 - I Wanna Touch Your Heart
22 - Riddles & Fairytales (45 Version)
The CD version of the rarities LP with the original mainsteam album as bonus tracks. A wonderous collection of rarities outtakes and classics by this legendary US '60s psych band, who worked with Faine Jade. A 'Fuzz Acid and Flowers' garage psych gem...~from freakemporium.com
One of the most unique albums of the 1970s, R. Stevie Moore's debut long-player is an uncategorizable mess that somehow keeps from falling apart completely, kind of like a one-man band version of the Beatles' White Album cross-pollinated with late-1960s Frank Zappa at his most antic. Yet just as the album seems hopelessly self-indulgent and bizarre, Moore suddenly veers into some of the sweetest and catchiest pop songs of the pre-punk '70s. That dichotomy is what makes Phonography special. Recorded in bits and pieces over the course of two years of living room sessions, with Moore playing and singing every part, barring the tambourine on the Soft Machine-like opening instrumental "Melbourne," the album shares much with such one-man band predecessors as McCartney, Todd Rundgren's Something/Anything?, and Roy Wood's Boulders. However, having been made on a cheap four-track with one microphone, a borrowed guitar, and no mixing deck, Phonography also has a funky lo-fi charm that anticipates post-grunge D.I.Y. savants like Guided By Voices and Pavement. The album is split down the middle between quirky but capable pop songs and strange interludes. Of the former, "Goodbye Piano," a falsetto music hall ditty that suggests a major Bonzo Dog Band fixation, is among Moore's most famous tracks, but it's the more serious tunes, like the beautiful Brian Wilson-inspired ballad "I've Begun to Fall in Love," the bouncily Beatlesque "I Want You In My Life" and the trippy "Showing Shadows," that are more indicative of the artist's estimable skills as a songsmith. The spoken word interludes are uniformly surreal, with the Harold Pinter-like talk show parody "The Lariat Wressed Posing Hour" a particular highlight, but the album is organized to such an off-the-wall blueprint that it's impossible to imagine it without even its most inexplicable elements. Originally released in 1976 in an edition of 100 copies, Phonography was reissued in 1978 and again in 1998 on a limited-edition CD featuring eight bonus tracks recorded during the same 1974-76 sessions.
R. Stevie Moore is, in my opinion, a genius musician of the highest order. He has recorded literally hundreds of one-man-band albums and composed some of the most impressive pop tunes you've never heard. This album is a good place to start, but he has many many more, equally wonderful if not actually better. I can't recommend this one highly enough!
You can also buy direct from the artist himself at rsteviemoore.com.
01 - Parchman Farm
02 - My Lady From South Of Detroit
Sunday, December 17, 2006
Excellent psychedelic album from Israel, later they became Jericho (Jones)
Robb Huxley - Guitar, Vocals
Miki Gavrielov - Bass
Haim Romano - Guitar
Stan Solomon - Vocals
Ami Traibetch - Drums
Track after track the album continues to astonish, delivering everything from electrifying psychedelic rock to evocative pop ballads with equal degrees of skill and originality. Soulfully delivered vocals, searing fuzz guitars, spacey sound effects, exotic Eastern flourishes - the Churchills use a dazzling palate of tones and colours, stretching the primitive Tel Aviv studio technology of the day to its limits to create one of the most brilliant psychedelic albums from anywhere in the world, let alone Israel. Although there's elements of the Yardbirds, Cream, Hendrix the Doors, and the Jefferson Airplane (especially the studio trickery of After Bathing At Baxter's), the sound of the Churchills is very much their own personal vision - a distinct blend of East and West that is unmistakably from their own corner of the world.
Although their album, non-LP singles and subsequent releases as Jericho Jones and Jericho have since been reissued, the story of the Churchills has never before been properly told, until now
Download link :
01. Bottom of the Soul
02. Absolutely Positively
03. Soul Love
04. Somethin Hurtin On Me
05. Affirmative No'
06. The Trap
07. The Eagle Never Hunts the Fly
08. No Girl Gonna Cry
09. Me. Myself. and I
10. To the Light Listen
11. Tin Can Beach Listen
12. Time Out (For a Daydream)
13. Astrologically Incompatible
15. Talk Me Down
16. I've Loved You Listen
17. You'll Love Me Again
18. In My Neighborhood
19. Double Yellow Line
20. The Day Today
The Music Machine were renamed the Bonniwell Music Machine when they went to Warner Bros., as the original lineup disbanded at some point, leaving only chief singer and songwriter Sean Bonniwell. Much of the material on Warner, however, was recorded by the original group, and this album was pasted together from some singles (some of which had appeared on Original Sound in 1967) and other tracks, both by the original incarnation and a second outfit that was pretty much a Sean Bonniwell solo vehicle. Accordingly, the tone of the album is pretty uneven, but much of the material is excellent. In fact, some of the songs rate among their best; a few are also found on the Rhino anthology, but other first-rate tunes ("Bottom of the Soul," "Talk Me Down," "The Trap") are not. Some of the cuts (presumably those recorded after the first lineup broke up) find Bonniwell branching out from psych-punk into a poppier and more eclectic direction, sometimes with very good results, sometimes not. Long out of print and difficult to find, the entire album is included on the Sundazed CD reissue Beyond the Garage, meaning that it's no longer necessary to search for an original copy. ~ Richie Unterberger, All Music Guide
Even better than the first album, with my number one fav Music Machine song, "Bottom of the Soul". A slightly different sound than the first album, different musicians and all that, but still Sean Bonniwell at his peak of genius. A generous handful of all-time rock masterpieces on this album and the weaker tracks are still pretty darn good. An extremely essential album alongside the first one. As many truly great songs as just about any other rock album. ~Michael Anton Parker
02.MARY (Buffy Sainte-Marie)
03.BETTER TO FIND OUT FOR YOURSELF (Buffy Sainte-Marie)
04.THE VAMPIRE (Buffy Sainte-Marie)
05.ADAM (Richie Havens)
06.THE DREAM TREE (Buffy Sainte-Marie)
07.SUFFER THE LITTLE CHILDREN (Buffy Sainte-Marie)
08.THE ANGEL (Ed Freeman)
09.WITH YOU, HONEY (Buffy Sainte-Marie)
10.GUESS WHO I SAW IN PARIS (Buffy Sainte-Marie)
11.HE'S A KEEPER OF THE FIRE (Buffy Sainte-Marie)
12.POPPIES (Buffy Sainte-Marie)
The Female American Indian folk singer (native Canadian ) recorded this album in 1969 and with the help of various tape editing effects and primitive synthesizers mixed her trembling voice with psych, string arrangments, folk/rock and electronic music. The result is a weird off the wall album that is all at once spacey, trippy and hauntingly addictive .
My name is Paul Carey. Back in the '80s (May 1984 to February 1988 specifically) I was the lead singer for The Untold Fables. The other Untold Fables were Jon Niederbrach on guitar, Robert Butler (later of The Miracle Workers) on bass, and Paul Sakry on drums. Although we were mainly associated with the mid-'80s LA Psychedelic/Garage revival scene that grew out of a club called The Rave Up, and later moved to Greg Shaw's Cavern Club, our music also included strong influences from '70s Punk and '50s Rhthym & Blues.
Our first release, a remake of "I Try" by The Young Tyrants, was for VOXX Records' Battle Of The Garages Volume 3 (which is now available on the Battle Of The Garages Part Two CD). In Spring of '85 we recorded our first LP, Every Mother's Nightmare, for Lee Joseph's Dionysus Records at West Beach Studios in LA. Lee Joseph produced it with a lot of input from Robert, and sound engineering by Brett Gurewitz (Bad Religion). The album was finally released about a year later.
n Summer of 1986 and Spring of 1987 we had two more recording sessions, this time at South Coast Studios in Santa Ana (where both No Doubt and the Offspring recorded demos before anyone knew who they were) with my brother, David Carey, producing. Eleven songs from these session were later compiled for our second LP, Aesop's Apocalypse, that was released in early 1989 about a year after we split up. The two LPs may still be available from Dionysus's Mail Order department. Over the course of our four years together we had the pleasure of playing with great bands of the time like Redd Kross, The Dead Milkmen, Thee Fourgiven, The Unclaimed, The Telltale Hearts, The Morlocks, The Pandoras, The Beguiled, Yard Trauma, Lazy Cowgirls, The Red Devils, John Doe, and many others. Currently the four of us are working with Lee to compile a CD collection of Untold Fables tracks from our various vinyl releases as well as a few unreleased live and demo tracks.
Source : hometown.aol.com/PaulEC3/pc1.html
Download Link :
The New Yardbirds (Led Zeppelin) - London Blues (1968)
The earliest known recordings of the group that should become Led Zeppelin (Plant/Page/Bonham/Jones)
Remastered by Pink Robert
"I had this on a cassette for a very long time and I had no idea that this was some kind of rarity until recently, so I let it to the Zeppelin circles."
01. I Can't Quit You
02. I Gotta Move
03. Communication Breakdown
04. I Can't Quit You
05. Killing Floor
06. Fought My Way Out Of The Darkness - Hush Little Baby
07. She Wants You - London Blues
08. Dazed And Confused
09. White Summer - Black Mountain Side
Tracks 1-2: Tivoli Gardens, Stockholm, September 20, 1968 - Radio broadcast
Tracks 3-9: The Marquee, London, October 16, 1968
Part I ~ Part II
01 The United States Of Existence - Return To The Psychedelic (Baltimore, MD, U.S.A.)
02 The Vertebrats - Left In The Dark (Champaign, IL, U.S.A.)
03 The Stepmothers - Let Her Dance
04 Pete Holly & The Looks - Look Out Below
05 Eddy Best - Things I Should've Said
06 Brad Long - Tell Me (Logansport, IN, U.S.A.)
07 Deniz Tek - RPM (Australia)
08 The Dark Side - In The Dark (U.K.)
09 The Embarrassment - Pushin' Too Hard
10 The Wombats - The Reason Why (Cleveland, OH, U.S.A.)
11 The Crawdaddys - You're Gonna Need My Love Someday (San Diego, CA, U.S.A.)
12 The Unclaimed - Run From Home (Los Angeles, CA, U.S.A.)
13 The Chesterfield Kings - Are You Gonna Be There (At The Love-In) (Rochester, NY, U.S.A.)
14 The Slickee Boys - Glendora/Going All The Way (Washington, DC, U.S.A.)
15 Billy Synth & The Turn-Ups - I Dig Your Mind (PA, U.S.A.)
16 Plasticland - Office Skills (Milwaukee, WI, U.S.A.)
Battle of the Garages vol 2_America's Psychedelic Underground
01 The Vipers - Nothing's From Today (New York, NY, U.S.A.)
02 The Miracle Workers - Flashing Red Light (Portland, OR, U.S.A.)
03 The Fuzztones - Green Slime (New York, NY, U.S.A.)
04 The Prime Movers - (Come To) Where It's At (Brookline, MA, U.S.A.)
05 Mystic Eyes - Enough Of What I Need (Buffalo, NY, U.S.A.)
06 The Odds - I'll Make You Sorry (Boston, MA, U.S.A.)
07 The Trip - Stick Like Glue (San Francisco, CA, U.S.A.)
08 The Outnumbered - Boy On A Roof (U.S.A.)
09 Plasticland - Sipping The Bitterness (Milwaukee, WI, U.S.A.)
10 The Mad Violets - Psylocybe (New York, NY, U.S.A.)
11 The Impossible Years - Attraction Gear (Philadelphia, PA, U.S.A.)
12 True West - And Then The Rain (Los Angeles, CA, U.S.A.)
13 Yard Trauma - Some People (Tucson, AZ, U.S.A.)
14 The Seen - Jealous Girl (Boalsburg, PA, U.S.A.)
15 The Fezmen - So Easy Baby (U.S.A.)
16 The Sharp Turn - Everybody Knows But Me (U.S.A.)
Battle of the Garages vol 3_The Paisley Underground
01 Zebra Stripes - Intro '66 (Los Angeles, CA, U.S.A.)
02 Thee Fourgiven - Yeah! (Los Angeles, CA, U.S.A.)
03 The Gravedigger V - Spooky (San Diego, CA, U.S.A.)
04 The Mutts - Anxious Color (U.S.A.)
05 The Untold Fables - I Try (Los Angeles, CA, U.S.A.)
06 The Mystery Machine - She's Not Mine (San Diego, CA, U.S.A.)
07 The Tell-Tale Hearts - My World Is Upside Down (San Diego, CA, U.S.A.)
08 The Pandoras - Melvin (Hollywood, CA, U.S.A.)
09 The Tories - Shout (U.S.A.)
10 Hidden Peace - Summer Of Love (Los Angeles, CA, U.S.A.)
11 The Eyes Of Mind - Drama, Drama (Los Angeles, CA, U.S.A.)
12 The Things - Trip To My House (Los Angeles, CA, U.S.A.)
13 The Young Lords - Tearing Up My Heart (U.S.A.)
14 SS-20 - No Matter What (Los Angeles, CA, U.S.A.)
15 Lee Joseph - Going Out Of My Mind (Los Angeles, CA, U.S.A.)
16 Electric Peace - I Think I'll Die (U.S.A.)
Battle of the Garages vol 4_Tomorrow The World
01 The Cannibals - Good Times (London, U.K.)
02 The Otherside - Haunted House (Utrecht, Holland)
03 Les Thugs - Femme Fatale (Angers, France)
04 The Surfadelics - Bad Little Girl (London, U.K.)
05 The Klepstones - She'll Always Be Mine (Orleans, France)
06 Sex Museum - Drugged Personality (Madrid, Spain)
07 The Legendary Golden Vampires - Strychnine (Berlin, Germany)
08 Bad Karma Beckons - Listen (London, U.K.)
09 The Last Drive - Everynight (Athens, Greece)
10 The Sick Rose - I Want Love (Turin, Italy)
11 Los Negativos - Viaje Al Norte (Barcelona, Spain)
12 The Green Telescope - Thinkin' About Today (Edinburgh, U.K.)
13 The Birdmen Of Alkatraz - April Dancer (Pisa, Italy)
14 Les Coronados - Free Again (Paris, France)
15 Les Flamingos - Let It Shine (Nantes, France)
Part I ~ Part II ~ Part III
01. Dorian Deep (7:40)
02. Born To Be Free (5:45)
03. And The Eagle Chased The Dove To Its Ruin (6:38)
04. Ab Initio Ad Finem (The Opera) (10:54)
05. Facilis Descencus Averni (9:37)
- Mike Fouracre / percussion
- Fred Hasson / vocals, harmonica, bongos
- Leary Hasson / organ
- Richard Hicks / bass
- Dave Laverock / acoustic and bowed guitars, vocals
- Jessica Stanley-Clarke / flute, vocals
MARSUPILAMI were an English proto-prog outfit who relocated to the Netherlands. The complexity of their music is quite unusual for the times – we’re talking 1970 here, when the big guns such as YES, GENESIS and CRIMSON were barely coming out of the woodwork. A mixture of blues, experimental jazz and hints of folk, their music is often dark and foreboding, favouring perilously complex structures. Try to imagine a mixture of KING CRIMSON, JETHRO TULL, the STRAWBS and EAST OF EDEN.
Their two albums feature weird/oblique melodies and harmonies, lots of heavy keyboards, electric guitar and flute (at times purposely off key), with the drummer pounding on his skins as if his life depended on it. This is very early prog and you particularly feel this in the organ work, which has a typical early 70’s psych feel. Their second album, which features an additional member on flute and sax as well as the appearance of the Mellotron, is an ambitious concept album about the brutal culture of ancien Rome – quite a sordid affair, really, but well done. It has a slightly better sound than the first album although most progsters generally favour the first.
Fans of EAST OF EDEN or those interested in vintage prog will certainly want to check them out.
Download Link :
02. Come Out of Her
03. Eye of the Hurricane
04. Sons Come to Birth
05. This Bird/Sky High
06. Prisms07. Dawning Light
08. Intercessor's Blues
A rare and heavy psychedelic gem that is all too often overlooked. Despite having some christian undertones, this album is just about as raw and unbridled as it gets..one of my favorites!
Here's a review from Lysergia.com:
01 Prophecies/Morning Blue
02 Prism Fawn
03 One Eyed Minor
04 Feels Like Love
05 Silver Children
06 Valley of Eyes
07 Without You
08 What Were You Looking For ?
09 I'm Satisfied
10 For the Best Offer
One of the unkown lights of the late-'60s Bosstown Sound, Front Page Review recorded one unissued album in 1968 that was planned for release on MGM, but wouldn't surface until 30 years later. Guitarist and singer Steve Cataldo wrote all of the material for the group, which played psychedelia. . After Front Page Review broke up, Cataldo did a solo album for ABC, and then hitched onto the new wave by forming the Nervous Eaters, who made a couple of LPs. Front Page Review's album was finally unearthed for CD release in 1997.
Download Link :
Saturday, December 16, 2006
(1967, USA, from 'Electric Music For The Mind and Body' / Vanguard) 0:00
02. Mad River - Eastern Light
(1968, USA, from 'Mad River' / Capitol) 1:46
03. Iron Butterfly - In The Time Of Our Lives
(1969, USA, from 'Ball' / ATCO) 3:45
04. Vanilla Fudge - The Season Of The Witch
(1968, USA, from 'Renaissance' / Atlantic) 6:05
05. Led Zeppelin - No Quarter
(1973, USA, from 'Houses of the Holy' / Atlantic) 7:14
06. Pink Floyd - Fearless
(1971, UK, from 'Meddle' / Harvest) 9:06
07. Funkadelic - Mommy, What's A Funkadelic?
(1969, USA, from 'Funkadelic' / Westbound) 10:08
08. Jean-Claude Vannier - Le Roi Des Mouches Et La Confiture De Rose
(1972, France, from 'L'enfant Assassin Des Mouches' / Jour Et Nuit) 13:01
09. Amon Tobin Vs Velvet Underground - Venus In Furs
(Bresil/USA, 2005 / Bootleg) 14:38
(original version from 'The Velvet Underground & Nico', 1967 / MGM)
10. Salaryman - Hummous
(1996, USA, from 'Salaryman' / City Slang) 22:18 16:34
11. Dub Syndicate - Ravi Shankar
(1988, UK, from ' Tunes From the Missing Channel' / On-U Sound) 18:31
12. Moondog - Nero's Expedition
(1969, USA, from 'Moondog 2' / Columbia) 20:24
13. White Noise - Love Without Sound
(1968, USA, from 'An Electric Storm' / Island) 21:29
14. Big Brother And The Holding Company Feat. Janis Joplin - All Is Loneliness
(1967, USA, from 'Big Brother And The Holding Company' / Columbia) 23:23
15. Holger Czukay - Fragrance
(1981, Germany, from 'On The Way To The Peak Of Normal' / Spoon) 25:28
16. Add N To X - The Black Regent
(1998, UK, from 'On the Wires of Our Nerves' / Sattelite) 27:22
17. Matching Mole - Gloria Gloom
(1972, UK, from 'Little Red Record' / Sony) 28:56
18. Gong - The Isle Of Everywhere
(1974, UK, from 'You (Radio Gnome Invisible, Pt. 3)' / Virgin) 30:10
19. Dashiell Hedayat - Cielo Drive / 17
(1971, France, from 'Obsolete' / Mantra) - 31:30
20. Manfred Mann, Volume One - Devil Woman
(1969, UK, from 'Chapter Three' / Petbrook) 33:47
21. Herbie Hancock - Hornets
(1973, USA, from 'Sextant' / Columbia) 35:57
22. Jimi Tenor - Sirens Of Salo
(2004, Finland, from 'Beyond The Stars' / Kitty Yo) 37:04
Tracklisting pt.2 :
23. Jean-Jacques Perrey - E.V.A
(1970, France, from 'Moog Indigo' / Vanguard) 38:24
24. Dick Hyman - Kolumbo
(1969, USA, from 'The Age Of Electronicus' / Varese) 40:10
25. Terry Riley - A Rainbow In Curved Air
(1971, USA, from 'A Rainbow In Curved Air' / Columbia) 42:07
26. Apparat Organ Quartet - The Anguish Of Space Time
(2003, Iceland, from 'Apparat Organ Quartet' / TMT) 43:24
27. Broadcast - Pendulum
(2003, UK, from 'Pendulum' / Warp) 45:48
28. Jefferson Airplane - House At Pooneil Corners
(1968, USA, from 'Crown Of Creation' / RCA) 47:46
29. Sukia - The Dream Machine
(1996, USA, from 'Contacto Espacial Con El Tercer Sexo' / Mo Wax) 50:41
30. Hawkwind - The Psychedelic Warlords
(1974, UK, from 'The Psychedelic Warlords' 7" / EMI) 52:06
31. Kraftwerk - Ruckzuck
(1971, Germany, from 'Kraftwerk' / Philips) 53:33
32. Stereolab/Nurse With Wound - Trippin' With The Birds
(1997, UK, from 'Simple Headphone Mind' / Duophonic) 55:03
33. Can - Spoon
(1972, Germany, from 'Ege Bamyasi' / Spoon) 57:57
34. Paul Weller - Kosmos (Lynch Mob Bonus Beats)
(1994, UK, from 'Hung Up' 12",CDS / Go!Disc) 60:36
35. King Biscuit Time - I Walk The Earth
(2000, UK, from 'King Biscuit Time …sings Nelly Foggits blues in "Me and the pharaohs"' / Regal) 63:21
36. Joe Meek & The Blue Men - Orbit Around The Moon
(1958, UK, from 'I Hear A New World' EP / Triumph) 64:31
37. King Crimson - Sailor's Tale
(1971, UK, from 'Island' / Virgin) 66:19
38. Deep Purple - Exposition
(1968, UK, from 'The Book Of Taliesyn' / Harvest) 69:08
39. Aphrodite's Child - The Lamb
(1971, Greece, from '666' / Vertigo) 70:15
40. Funki Porcini - Surge
(1998, Italy, from 'Let's See What Carmen Can Do' / Ninja Tune) 71:54
41. Fourtet - Spirit Fingers
(2003, UK, from 'Rounds' / Domino) 73:31
42. David Bowie - Memory Of A Free Festival
(1970, UK, from 'Space Oddity' / Ryko) 76:11
43. Porcupine Tree - Voyage 34
(1995, UK, from 'Voyage 34' / Delirium) 76:24
Friday, December 15, 2006
Originally released on the small Chaparral Records label in 1968, the "Magic Lantern" album by the Haymarket Square has been a sought after collectors item for any fan of 60's psychedelic music for many years. The music on this album was initially used as accompaniment for the Baron and Bailey Light Circus at the Museum of Contemporary Art in Chicago but due to the intensity and psychedelic nature of the songs, it soon became legendary and its initial purpose has become obscured by time. The Haymarket Square was formed in the late sixties in Chicago by drummer John Kowalski and bassist Bob Homa formerly of The Real Things, a Chicago high school garage band. Together with guitarist Marc Swenson and vocalist Gloria Lambert, The Haymarket Square was born and quickly became popular on the Chicago music scene. The band's popularity lead them to be used as back up musicians on a live work of art exhibit at the Chicago Museum of Contemporary Art. The music featured some powerful psychedelic, blues based songs, with heavy percussion, searing lead fuzz guitars and the dynamic vocal work of Lambert. The songs were recorded and appear on this album.
The songs of The Magic Lantern, are all originals except for a superb extended cover of the blues standard , The Train-Kept-A-Rolling, shortly after the release of this album the original Haymarket Square line-up broke up. This appears to be the only recording that the band has left and they did not release any singles. Although this album has been bootlegged on the European market a number of times, this digitally mastered version on Gear Fab Records is the only authorized version.
The LP is housed in a gatefold sleeve, which is complete with psychedelic swirls behind the liner notes, making it all very sixties, as it should be. In mint condition commands a price of $2000 in the collectors market.
In the intervening decades since its release, Magic Lantern was extensively bootlegged, especially in America and Europe. Finally, at the end of 2001, Gear Fab officially released the first authorized CD reissue of the album in all its original glory, exposing one of the most significant remaining archival finds from the '60s acid counterculture.
- Stelios Fotiadis [bass, vocals]
- Despina Glezou [vocals, guitar]
- Ippocrates Exarhopoulos “Charlie” [guitar, vocals]
- Chris King [vocals]
The band was formed in the early 70s by Stelios Fotiadis, Ippocrates Exarhopoulos and Chris King. In August 1972, Despina Glezou agreed to join them for two months only, in order for the band to take part in Thessaloniki Song Festival. Despina Glezou herself, since 1967, had already accomplished a quite notable career in rock music. Her former collaborations, among others, include working with Giorgos Romanos, Dionysis Savvopoulos and “Bourboulia” , appearing with Socrates and Exadaktylos on the stage of the historical rock club Kyttaro and a former membership in the rock band “Poll”.
Eventually, later the same year , after taking part in Thessaloniki Song Festival with their song “Dos’ mou to heri sou”, they managed to win the first prize, for the best composer’s & the best performer’s debut.
Thereby, their first single becomes a great success in the music market, selling 9,000 copies within a month. After this accomplishment, D.Glezou remains in the band till 1975, however, in 1974, Ippocrates Exarhopoulos and Chris King depart from the band and get replaced by Rena Pagrati and Mihalis Labropoulos.
The band keeps performing in several clubs, like “Elatirio” , with Socrates and Anakara.
A few months later, the band disperses…
Albums: Nostradamus 
Singles: - Dos’ Mou to Heri Sou/ Ta Paramythia Tis Giagias 
- Magiki Politia/ Ti Symveni 
- Itan 12 Pedia/ Mi Milas Gi’ Aftous 
- File Mou/ To Pedi 
- Oneero/ 10 Meres Prin Pethano 
- Ela Konta Mou/ Hlomo Feggari 
- Kai Prepei/ O Kosmos Vouvos 
[The text was modified in english from its original form in musicheaven.gr]
Thursday, December 14, 2006
A lysergic space rock odyssey with psychedelic pop and crazy jams. A freaky journey via Greece, Brasil, France, Germany, UK & USA. For a better comprehension of oneself, a strong harmony with nature, a higher clearness, a sharpening of the senses This mix was made to keep the curiosity going about the music of one of the most creative period of music history (1966-1974). The selection has been focused on acid-rock, when impressively talented musicians blended improvisation, pop, rock, poetry, jazz or traditional medieval music with sincerity and love. The character and feelings of these tracks are striking, as is the use of uncommon instruments: harpsichord, hawaian guitar, electronic sounds and noises, mellotrons and sitar of course... It's about not forgetting these great bands, which on certain tracks -"must-haves"?- proved me, they could be timeless, positive or dark but enjoyable even after countless listenings.
Disc 1~Tracklisting :
01. Joe Meek & The Blue Men - I Hear A New World (1958)
02. The Rolling Stones - In Another Land (1967)
03. Jefferson Airplane - White Rabbit (1967)
04. The Byrds - Eight Miles High (1966)
05. The Beatles - Tomorrow Never Knows (1966)
06. Eric Burdon & The Animals - Monterey (1968)
07. Captain Beefheart - Electricity (1967)
08. Pink Floyd - Astronomy Domine (1967)
09. Cream - Tales Of Brave Ulysses (1967)
10. Jimi Hendrix Experience - If 6 Was 9 (1967)
11. Quicksilver Messenger Service - Calvary (1968)
12. Serge Gainsbourg - Cargo Culte (1971)
13. Pink Floyd - Atom Heart Mother (1970)
14. Moondog - I Love You (1971)
Disc 2~Tracklisting :
01. Brian Eno - Driving Me Backwards (1972)
02. Cosmik Jokers - Im Reich Der Magier (1974)
03. King Crimson - 21st Century Schizoid Man (1969)
04. Vanilla Fudge - Some velvet morning (1969)
05. Gentle Giant - Allucard (1969)
06. Soft Machine - Moon In June (1970)
07. Os Mutantes - Avé, Lucifer (1969)
08. Cressida - Asylum (1971)
09. Aphrodite's Child - The System / Altamont (1971)
10. Can - Mushroom (1971) 11. Gong - Oily Way (1974)
12. Dick Hyman - Give It Up Or Turn It To Loose (1969)
INA (french radio archives) - On Marche Sur La Lune (1969)
13. William Burroughs, Timothy Leary & Brion Gysin - wisdom words Outro (1978)
The Litter - Apologies To 2069 (1968)
01. Irish Jig
02. An Dro-Nevez
03. Sopo Song
06. Bourree Auvergnate
07. Deu Tu Ganeme
08. Me Meus Bet Plijadur
09. Jackson Morning
10. Patrick's Day
13. Bourree Saintongeoise
The band forms in 1972 by initiative of Youenn him Berre and Jean-Marie Renard. The first album was not made hope, and left on sale in 1974 with the name of “Irish Jig”. From the first moment it is possible to be appreciated that this group counts on a great multiplicity of influences, from the Irish folk music to the rock happening through the jazz and classic music.
The success was full as far as specialized means critic and sale, which takes to the group to later publish its second LP only a year with the title of “Joe cant's reel”. In this one work the first appearance of the electrical violin of Robert Gall takes place, and tells Him on the illustrations of Claire Bretécher.
At the end of this Gwendal year it incorporates the battery to his compositions, with the Arnaud musician Rogers. The third LP, “Rainy day”, counted on illustrations of Bilal. The fourth work, “4”, leave on sale in 1979 and are the one that closest is to the progressive rock and the jazz.
At the beginning of the 80 years Gwendal it publishes his first disc in direct, engraving in a concert given in Madrid - as it denotes the good welcome that has the Gallic formation in Spain. The evolution of the group is tremendous, and in this period there are some changes. Jean-Marie Renard leaves of side the musical section and it becomes manager of the group, being replaced by François Ovide. In addition, Paul Fort enters the stand for casks to become position of the sintetizadores, whereas Pascal Sarton takes the reins from the low one. Also the battery is replaced, by David Rusaouen.
After all these changes the sixth disc of Gewndal, “Locomo” (1983), has somewhat different airs. “Danse the Musique” follows with that dynamics, and still more after the change of Robert him Gall, that please leaves violón in the low one. In 1989 they publish “Glen River”, who offers very setenteras influences and that the prize of the Academy obtains Charles Cros.
The next disc would take six years in arriving, and “Bread Is Diskan” (1995) gives to a radical turn with the inclusion of instruments and African and Indian rates. From Gwendal it enters a period of rest here in which their members will give rein to more personal projects and will work separately. Nevertheless, the group, by its welcome in Spanish territory, continues maintaining certain activity. Therefore, in 2003 there is a return to the activity with the inclusion of Ludovic Mesnil and Dan Ar Braz that is materialized in 2005 with the LP “War Raog”.
1 Autobahn (6:28)
2 Heilende Sonne (3:55)
3 Morgendammerung (9:52)
4 Tabbert (4:41)
5 Du (5:32)
6 Inspektion (3:55)
7 Warum (6:03)
Gaa Main Performer
Stefan Dorr Drums
Werner Frey Guitar, Vocals
Gunter Lackes Organ, Piano
The first three tracks from 1975 are from an aborted second album, and the last four were recorded about a decade later with some of Gaa's members and others. The first three are classic Gaa, similar to the Uranus material, though with better fidelity, less rough around the edges. The track "Morgendammerung," an instrumental, even stretches further out from Gaa's rock trappings. It starts with a ticking noise and slowly building keyboard tones, moves to a jazzier middle section, and then getts even more funky with a rolling bass riff and odd percussion noises. The newer tracks, recorded one per year between 1984 and 1987, are far more conventional rock & roll; "Tabbert" is excruciatingly mainstream, whereas "Du" and "Warum" are a little better, as the group attempts to capture the magic of earlier Gaa, and "Inspektion" even flirts with synth pop. Needless to say, these tracks pail compared to the 1975 stuff. ~ Rolf Semprebon, All Music Guide
Auf Der Bahn Zum Uranus 1974
Alraunes Alptraum 1999 (recorded 1975)
Dark Cellars - 1986 - Heavy Syrup
The Dark Cellars were formed in June of 1984 near a graveyard for the mentally insane at positively 13 o'clock (actually it was Newtonville, but doesn't matter now). - from the liner notes.
New England garage/psych band, sharing members with the whole local garage scene (Keene Highland Klan, Hopelessly Obscure, Johnny & The Jumper Cables, Four Commandments and the rest Stanton Park groups). Aram Heller (owner of Stanton Park recs and member of Hopelessly Obscure) is on guitar and keyboards in these recordings, and Bryn Carlson (who played with almost every Boston band in the 80s) is on drums. This LP, released in 1986 on Alien Cactus Records (ACR THORN 001) comes from the deepest six-o psyche and includes some real killers, as the instrumental Revolution #2, which, if doesn't get you on your feet, there's a strong possibillity that you're dead.
This is a curious LP, indeed. Collecting tracks recording from 1984 toy 1986, it constantly changes mood and direction, from garage to pop to psych and back again. The engaging "Everybody's Girl" kicks things off with a foot tapping garage melody; this is the type of fun song that'll show up on the future compilations explaining what 80's garage thing was all about.
The love of 13th Floor Elevator-styled dementia is inherent, and the lads even throw in a five-an-half minute version of "Roller Coaster" to drive the point home. I especially like the bands imitation The Evevators' "electric jug" sound - this time it's the vocalist making squeaking noises into a microphone!
New England had some fine garage outfits, and some of them weren't afraid to delve into the guitar-driven world of psychedelia as well. Hats off to the Dark Cellars for giving us a dose of both. (Timothy Gassen-Knights of Fuzz).
Bob Cellar - bs
Aram Heller - gtr, kbds
Brad Michaels - vcls, rhythm gtr
Bryn Carlson - drms
1- Everybody's girl
2- Alone in my room
3- Space Jam
4- Wake up to the world
5- One of those things
6- Revolving doors
7- Let's go
8- If you even knew why
10- Roller Coaster
11- Revolution #2
Wednesday, December 13, 2006
They have obviously discovered magic mushrooms and want to take you on a sprawling psychedelic voyage filled with trippy late '60's psych and early 70's space rock. This could be the best German release since the 70's !!
This LP is a numbered edition of 1000 copies on 180 gram vinyl with a patchouli scented label! It is also released on CD and recorded in Dolby Surround sound. This is the 3rd full length album by this German band whose roots are mainly in the 60's sound (the way they use the organ) but a lot of the music is full on spacerock with lots of trippy sounds and floating songs. Pink Floyd is also a big influence on this band. The opening number on the record, "I Don't Want To Rewind The Time", starts with some really spacey sounds. The basic song has loads of spaced and fuzzed out guitar and synths that flow in and out over the piano riff. The vocalist is not that great but does not play that big of a role in the band's sound. This song also features some nice saxophone. "Unknown Gem" is a very Syd Barrett influenced song with some really cool spacey synths and lyrics about a guy in a record store telling you that you have found a very rare record and you should buy it but is it really worth it? "Perpetuum Morality" and "The Graduation" finishes side one and are shorter, very 60's style psychedelia. Side Two starts off with "Der Hieronimus Bosch Trip". This song is excellent and starts slowly with guitar and synth sweeps, but soon the freaky organ and vocals roll on it, while a windy background and some backwards guitar fill the landscape. A very dynamic and cool song. This song must be really excellent in the surround sound! "A Common Race" is next and has a bit of the DOORS flavour to it. The album closes with "Magic Rushroam". As you hear cars driving by, the space sounds and guitar slowly roll in and take over and the one line of lyrics is spoken, "Enchanted by the magic cap of wisdom and fun, that fits on your head. Every ordinary place turns to a marvelous space.." Very cool spaced out song to end the album, sort of like your short tripped out journey is ending and you hear the world drive by you. Pretty cool record.
Here a vynil rip of a classic boot. Lots of great bands in, like Byrds, Country Weather and much, much more. Incl. covers. Enjoy.
01.) Riddles and Fairytales (T. Camp - Bob Cooke) -
02.) (She Always Gives Me) Pleasure (T. Camp - Bob Cooke) -
03.) All Kinds of Highs (T. Camp - Bob Cooke) -
04.) Satisfaction (Mick Jagger - Keith Richards) -
05.) Paradox City (T. Camp - Bob Cooke) -
01.) Love Can Make Your Mind Go Wild (T. Camp - Bob Cooke) -
02.) The House of the Rising Sun (arranged by T. Camp - Bob Cooke) -
03.) Images (Shadow In the Night) (T. Camp - Bob Cooke) -
04.) Deaf, Dumb & Blind (T. Camp - Bob Cooke) -
05.) I Wanna Touch Your Heart (T. Camp - Bob Cooke) -
BAND MEMBERS :
- Brian Cooke (aka Arthur Muglia) - vocals, keyboards (1966-68)
- Nick Manzi - lead guitar (replaced Richard Martinez) (1966-68)
- Richard Martinez - lead guitar (1966-67)
- Chuck Monica - drums (replaced Richie Sorrento) (1966-68)
- Victor Muglia - bass(1966-68)
- Randy Pollock - rhythm guitar 1966-68)
- Richie Sorrentino - drums (1966-68)
What's the old saying? "Opinions are like assholes. Everyone has one." Well, with that in mind, this is one of a handful albums that we've given a ***** (five star) rating. Without any hesitation, it gets a place on our personal top-10 list.
Growing up in Lynbrook,
Having recorded a series of demos, 1967 found the band releasing a one shot single for United Artists ("Enough" b/w "Half the Time" (United Artists catalog number UA 50174). In spite of an appearance on Dick Clark's rate a record television show and a steady stream of club dates opening for a variety of name bands (Vanilla Fudge) The single vanished without a trace, followed in short order by the band's contract. Luckily they were picked up and signed to Mainstream Records.
In typical mid-60s' fashion, "Bohemian" offers up a mixture of band originals and popular rock covers. The covers are certainly okay, particularly their snail's pace meltdown take on The Stones "Satisfaction", though most folks can probably survive without hearing yet another cover of The Animals' "House of the Rising Son". Curiously, though credited as an original composition, "(She Always Gives Me) Pleasure" sounds like a note-for-note rip of Van Morrison's "Brown Eyed Girl". Far more impressive is original material such as the leadoff "Riddles and Fairytales", "All Kinds of Highs", "Deaf, Dumb & Blin" and the stunning "
With Mainstream all but ignoring the LP, Manzi and company had time on their hands, pitching in to help buddy Faine Jade record his debut album "Introspective" on the small RSVP label. Manzi actually co-wrote most of the tracks with Jade. As far as we can tell, it also marked the band's final recording efforts.
Over the years the LP's been booted at a couple of times. We've never heard it, but in 1998 the Distortions label released a collection of rarities, acetates and non-LP sides under the title "Enough!" (Distortions catalog number DR 1038).
Guitarist Manzi subsequently reappeared as a member of Dust Bowl Clementine (always loved that name).
Download Link :
A studio project involving members of the Lazy Cowgirls, the Raunchettes, Clawhammer, and friends, this was a showcase for the songs and vocals of Betsy Palmer (Raunchettes ) and the extreme guitarisms of Keith Teligman and Chris B. Psychedelic as hell, twisted, anguished, goes from libidinous inferno to naive ballad. Full of trippy feedback washed-out songs as well as the usual Betsy pop ballad, this album is a must for anyone looking for underappreciated women in music whose music can make you want to slam your head through a steel door one second and then make you cry the next. Produced by David Roback!
"Totally brilliant, dense sexual stew with extra hot psych sauce."
Sacred Miracle Cave released a few great singles on Sympathy for the Record Industry label, in 1989-90, and then their only LP on Bomb! which includes some of them.
Betsy Palmer vcls
Rob Walther bs
Allan Clark drms
Christopher B. gtr, vcls
Keith Tellingman gtr
David Roback producer
Brett Gurewitz mixing
John Wahl violin
track listing (LP)
I'll Remain (4:54)
Motor Takes to Sink (6:24)
Ain't No Sunshine (4:09)
The Tub Was White (4:37)
The Ghost of Elizabeth Shaw (3:47)
Heavy Black Noise (5:13)
Cosmic Jimi Link (4:16)
Sister Blue (3:40)
Tuesday, December 12, 2006
01 Sioux City Blues (3:01)
02 Wednesday Morning Dew (3:07)
03 Life's Lonely Road (2:51)
04 We Gotta Live On (3:18)
05 Where Are We Going (2:35)
06 Free (4:20)
07 Down by the River/For What It's Worth (10:54)
08 Nightmare (2:40)
09 Too Much (3:38)
10 Cosmo's Theme (3:45)
Mike Garrigan (Lead Vocals)
Tommy Nikosey (Lead Vocals, Rhythm, Acoustic Guitar)
Rob Buckman (Drums)
Philip Polimeni (Lead, Acoustic Guitar)
Gus (Cosmo) Riozzi (Bass, Organ, Background Vocals)
While on their early singles Majic Ship was a solid pop band who mostly devoted themselves to imaginative interpretations of covers, by the time they cut their first LP in 1970 they'd shifted gears and become a hard rock act with an undertow of pastoral psychedelia, and their self-titled album (the only full-length release from the original band) is an interesting artifact of its era. Lead guitarist Phil Polimeni embraced a warm but fuzzy sound that suggests the influence of Jimi Hendrix and Pete Townsend without the aggressive histrionics of either artist, and vocalist Mike Garrigan was a more than capable blue-eyed soul singer with an admirable sense of restraint on moodier numbers such as "We Gotta Live On" and "Wednesday Morning Dew." When the band turns up the volume on stuff like "Where Are We Going" and "Sioux City Blues," the results are a bit less immediately impressive, since a number of bands were following a similar path at the time, but Majic Ship still has plenty to offer when they rock out. The performances here sound warm and organic, and sway with an easy but impassioned groove, while Garrigan, bassist Gus Riozzi, and rhythm guitarist Tommy Nikosey deliver impressive harmonies. While the 11-minute medley of "Down by the River" and "For What It's Worth" goes on a bit too long and doesn't bear comparison to the originals, Polimeni's guitar work holds it own and the band is able to bring its own personality to the tunes, no small thing. It's probably a mistake to regard Majic Ship as a lost classic from the era when psychedelia was giving way to hard rock, but it's a solid and enjoyable record from a band who had genuine talent and some fine songs; it's not hard to imagine these guys could have become major stars if their luck had been a bit better back in the day. ~ Mark Deming, All Music Guide
Arising out of adolescent garage band the Primitives, which played primitive covers of British Invasion tunes, the New Primitives came together in New York City in 1966, originally composed of a group of high school friends: Ray Rifice (guitar), Tommy Nikosy (guitar), Rob Buckman (drums), and Mike Garrigan (vocals). Soon, the band increased to a group of five with the addition of bassist/organist Gus Riozzi. They kept a busy performance schedule throughout the next few years when their high school commitments allowed it. In 1968, Rifice left the band to attend college, but at about the same time, former '50s crooner turned manager Johnny Mann saw the band live and promised to get them a recording contract. Philip Polimeni replaced Rifice on lead guitar, and the New Primitives became Majic Ship. Mann introduced the band to the Tokens, who produced their first single, "Night Time Music." It became a local hit, even gaining the band some national airplay, as did a second single, "Hummin." After much touring and a couple more singles, Majic Ship found their way to a studio to record their self-titled debut album in the summer of 1969. Majic Ship melded hard rock, pop, and psychedelia in a way similar to fellow New Yorkers Vanilla Fudge. The band continued on for the next couple of years with plans to record a second album, but those plans were nixed when the band's shared house in Staten Island burned to the ground in 1971, taking with it virtually all their recording equipment and instruments. Without any insurance, the band members called it quits. ~ Stanton Swihart, All Music Guide
Yes i know the picture is terrible but .... the music is great
Cookin Mama - 1972 - New Day
This is a pretty original and exciting West Coast rock album, very hard to classify. It's too structurally complex to be blues and rocks way too hard to be rural rock. It's got horns, but they're integrated into the overall sound in a way that makes this no horn band. There are some similarities to the Screaming Gypsy Bandits, though this band doesn't cover as much stylistic ground and are more consistently good. The guitar playing on this record is powerful, and is what takes this way beyond the realm of most commune-type albums. This isn't literally a commune, but the band has about a dozen members, the songs have chorus vocals, and they're definitely hippies. Sherry Foxx, from Oasis and R. J. Fox, is in this band and top billed (which leads to record dealers inaccurately hyping this as a female vocal album), but actually only sings lead on most of one song (she sings the verses). That's a shame, because though the chorus vocals are fine, the guys who sing lead don't have half the personality or excitement as Sherry. It's a blown opportunity, because albums that rock this hard, have no cover versions, and have female lead vocals are rare as hen's teeth. If she had sung all of the songs this would be something special indeed. As it is, it's still a pretty cool album, recommended to people like myself who wish that most of the jammy west coast bands had more upbeat energy. Steve Miller is listed as one of the album's three producers, by the way, and it's quite impressive how many instruments and voices are in the mix without sounding messy. For some reason the liner notes say "no thanks to the Illnois Highway Department". Two original pressings exist with different label designs. [AM]
from acid archives
01 New Day (T.Thompson/P.Thrall/P.Hann/P.Cuoco) - 5:26
02 Just To Pass The Day (T.thompson/P.Thrall/P.Hann) - 3:03
03 Dice Of Life (P.Thrall/P.Hann) - 4:40
04 Out The Door (P.Thrall/T.Thompson) - 6:24
05 I Don't Fear No Evil (PSALM 23 - P.Thompson) - 5:47
06 Feelin' Good (L.Sarrica/T.Thompson) - 2:59
07 What Will You Do ? (P.Thrall) - 6:42
08 Little Children (T.Thompson/L.Sarrica) - 3:04
Sherry Fox - Vocals Paul Hann - Tenor Saxophone, Percussion, Vocals
Jesse Harms - Organ, Piano, Congas, Vocals
Vince Palazzotto - Drums, Percussion
Lou Sarrica - Bass
Kevin Smith - Vocals, Percussion
Tom Thompson - Guitar, Organ, Bass, Percussion, Vocals
Pat Thrall - Guitar, Percussion, Vocals
Preston Thrall - Percussion
Paul Trousdale - Tenor Saxophone, Flute
Horn arrangement: Steve Strick & Paul Hann
Pat Thrall - Vocals
Steve Nelson - Trumpet
Miles McCleary - Tenor Saxophone
Nancy Paris - Vocals
Dedicated to: Howard Yeremian Sr.
01 Strangely Strange But Oddly Normal (4:23)
02 Dr. Dim and Dr. Strange (7:34)
03 Roy Rogers (5:38)
04 Dark Haired Lady (4:24)
05 On the West Cork Hack (2:33)
06 Tale of Two Orphanages (3:49)
07 Strings in the Earth and Air (1:53)
08 Ship of Fools (6:18)
09 Frosty Mornings (3:57)
10 Donnybrook Fair (8:43)
An experimental Irish folk group closely affiliated with the , was formed in Dublin in 1967 by vocalist/guitarist and bassist/keyboardist (vocals/bass/keyboards). Soon they teamed with multi-instrumentalist , an aspiring painter, and began living and rehearsing in a house owned by Goulding's girlfriend, backing vocalist Orphan
Annie (a.k.a. Annie Xmas), which its tenants nicknamed "The Orphanage." After signing with the 's producer and manager , debuted in 1969 with Kip of the Serenes. While on tour with , they enlisted drummer , and later in the year appeared on the String Band's LP. After 1970's , began falling apart: Goulding left to enter to a Buddhist monastery, while Pawle and teamed with Gay and Terry Woods for a brief tour. The group soon disbanded, but they reunited in 1973 for an Irish tour, and briefly reconvened again in the early 1980s, Eventually Booth established a second Orphanage which became a springboard for a new generation of Irish rock, helping launch the careers of 's , and others. ~ Jason Ankeny, All Music Guide
Thanks to oiz for this one !
First issued by Autogram records and then by Vilagge Thing Records VT13
1. Another Normal Day
3. A Friend Like You
4. Left Hand Of Moses
5. No Love Lost
6. She's An Easy Rider
7. Amusement Park
8. Back On The Road Again
9. Canary Island Rain
10. Keep That Fire Burning
Here is a link for detailed info
This record is simple gutaristic folk rock with great lyrics... in the Village thing style...people who know the labels sound will understand.
RON CLARK A
CARLOS ESTRELLA A
JERRY GRIFFIN keyb'ds, vcls A
BOB MORGAN A
STEVE MONTAGUE A
DON SAIN A GARY YOUNG A
(Vernon Joynson/Stephane Rebeschini/Clark Faville)
One of the more obscure bands of the Southern California paisley underground scene in the mid-'80s, the Things had three albums released in the mid 80s, two on Voxx and a third on Epitaph. You can find their first (Coloured Heaven, 1984) in Twilightzone, with a semi-negative review by R.Unterberger.
Certainly songwriter/singer/guitarist Steve Crabtree's chief musical inspiration was Arthur Lee, but he managed to make some truly inspired songs and to built a sound, which could distinguish them from the mass. In 'Outside My Window', their best record, Things weren't the crazed Fuzzones or the freaked-out Plan 9, they had a more "cool" approach to psychedelia, not very far from Green Pajamas, though definately more rockin'. They were known in the California scene as fine players with great musicianship, and real good live performers.
'Outside My Window' had a better distribution than their other releases, issued on Voxx and licenced to Hitch-Hyke (Greece) and Lolita (France), though it never had a re-release on vinyl or CD and it's long out-of-print.
Line-up: Steve Crabtree - vcls, gtr, kbds / Larry Klein - gtr, vcls / Bob Wier - bs, vcls/ Roy McDonald - drms, pcsn
1 Outside My Window
2 Can't Get Enough
3 Love Is Gone
4 Take the Chance
6 All Work and No Play
7 You Can't Deliver
8 Look What You're Doing
9 I've Been Nowhere
10 Young and Wild
Monday, December 11, 2006
01 Trip Away (10:19)
02 Song of Junk (3:51)
03 Every Time (3:17)
04 Indian Fate (3:55)
05 Hopeless Love (2:50)
06 Too Many Stops (4:24)
07 For Me, For You (4:26)
08 Business Woman (3:47)
09 Lonely Lover (3:57)
10 Clean Survival (4:01)
11 Motorcycle Mama (2:07)
12 Your Lovin' Man (1:47)
The beginning of Sitting Bull is closely linked to the musical history of bandleader Bernd Zamulo. Bernd Zamulo grew up near Bremen where he played with a few local bands. At a Lords concert in 1965 he met the band and they clicked from the start and at another gig Bernd was invited to play bass with them. It was a perfect performance and he sung the classic "Boom Boom". Later on that year the Lords bassist, Lord Knut, had a bad accident and was unable to continue playing so they asked Bernd to take his place for the rest of the tour. In the autumn of 1965 Bernd left his band, Rhythm Brothers, and joined the Lords. With his other talents as a pianist, guitarrist and singer he was quite a find for the Lords. The following years saw the Lords produce many hit singles and albums making a lot of money in the process. Bernd was getting restless though and wanted to leave the mainstream and take a change towards more progressive music. He was in a quandry though as he was good friends with the other band members but could not realise his musical ambitions with them. In the beginning of 1971 he made his decision and left the Lords which in turn led to the break-up of the band who in fact reformed years later. The break-up of the Lords created a furore in press but could not hold Bernd back from his decision and he went looking for new musicians, which didn't take long. Bernd's interest in American Indians led to the group being called Sitting Bull. His past career with the Lords put him in good stead with the music industry making it easier to find a record deal. To avoid record company influence the band decided to produce their record themselves but this was a costly matter and the money had to come from somewhere.
Although Bernd made a lot of money with the Lords he also lived well and his lifestyle had to change. He moved away from the costly Düsseldorf and moved to a hunting cottage in Oldendorf outside Bremen and sold off some of his luxurious possesions that he accumulated with the Lords. With a record company advance from CBS Sitting Bull moved into Hamburg's Windrose studio to record their debut LP. The band were able to use the excellent facilities and were able to emulate their contempories from Britain and America and record whenever they felt like it. They were able to do exactly what they wanted in this top studio and were not bothered about making their music commercial, the love of music was enough. As the sessions were lengthy and costly the band had to move out of their hotel and into an empty house. When the LP finally arrived CBS took two songs for a single and arranged a promotion tour which proved impossible to finish because the band's lifestyle was so chaotic they were not even able to turn up for some of the dates! The record company was not too pleased about this and the band broke up after being together for nearly two years. With a changed line-up they recorded two singles for Philips. Two titles we have chosen as bonus tracks.
Bernd Zamulo decided to take a break and in 1975 joined up with his former colleagues from the newly reformed Lords where he has stayed until today.
Compared with other German bands the Sitting Bull album was a success and entered the LP charts accumulating postive press critique on the way. The atonomy of the music was praised especially the long improvised epic Krautrock songs. The title song of the album, "Trip Away" was over ten minutes long and showed the clear structural and musical abilities of the band. Untypical for German bands of the time Sitting Bull were influenced by West Coast music which when given the German treatment was a special experience.
In addition to his exclusively acoustic instruments Micus also uses his voice, at times – with multitrack recording techniques – creating whole choral pieces by himself. The words he sings usually do not carry any known meaning. However, on Athos he set to music ancient Greek prayers to the Virgin Mary, on Desert Poems he performed two original poems in English and on Life he has set to music an ancient Japanese Koan.
Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas.
He has studied a variety of instruments including guitar, concert-flute, sitar in Benares (India), flamenco guitar in Granada (Spain), shakuhachi (Japanese bamboo flute) and sho (Japanese mouth organ) in Kyoto (Japan), suling (Balinese flute) in Ubud (Bali), Uillean pipes in Carna (Ireland), sinding (African harp) in Gambia, dondon (talking drum) in Accra (Ghana), doussn’ gouni (African harp) in Bamako (Mali), duduki (Georgian oboe) and choral singing in Tbilisi (Georgia), hné (Burmese oboe) in Yangon and Mandalay (Myanmar), duduk (Armenian oboe) in Yerevan (Armenia), bagana (Ethiopian lyre) in Addis Abeba.
In search of musical culture and context Micus has travelled extensively, in particular in India, Japan, Indonesia, Korea, Afghanistan, Morocco, Algeria, Tunisia, Thailand, Egypt, Burma, Sri Lanka, Turkey, USA, Canada, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Peru, Ghana, Mali, Jordan, Georgia, Ethiopia, Pakistan, Yemen, Cuba, Lebanon, Laos, Vietnam, Cambodia, Uzbekistan, Kyrgyzstan, Cabo Verde, Mauretania, Armenia, Karabagh.
Roman Bunka Band - 1980 - Dein Kopf Ist Ein Schlafendes Auto
01 Si Ga Ni Wa Ta (6:28)
02 No More Jogging (4:47)
03 Frag' Mich Night... (6:00)
04 The Heat (5:28)
05 Glowin' (11:14)
06 Heartbeat (10:17)
Roman Bunka (Guitar,Keyboards,Vocals,Oud)
Chilli Baba (Vocals)
Gerald Luciano Hartwig (Bass)
Gerald Luciano Hartwig (Sitar)
Freddie Setz (Piano)
Freddie Setz (Drums)
Sun A. Yoon (Vocals)
In fact, born in 1951, Bunka´s biography may be considered a chapter in contemporary German music history. Working with the pioneering German avant-garde / rock / jazz and world-music group Embryo (portrayed in "Vagabundenkarawane", a documentary by director Werner Penzel) Roman Bunka broke new ground with his Eastern-influenced guitar playing and composing (featured on "Embryo´s Reise", Schneeball Rec.).
In India, in 1976 he performed in concert for the first time with world-renowned percussionist and composer Trilok Gurtu. To pursue his musical development in a microtonal and modal direction, Bunka searched for a second, more suitable stringed instrument. He discovered the Arabic lute or "oud", the fretless mother of the guitar.
His first solo album ("Dein Kopf ist ein schlafendes Auto" recorded in 1980 re-released by ATM-records) presented a blend of avant-garde rock with Oriental melodies. Released in the same period was the more jazz / rock fusion oriented album "Live!", rec. 1979 with the grup Aera. After concerts with Okay Temiz in Turkey, Bunka chose Cairo as his musical refuge in the Arab world during the 1980's.
A guitarist with eclectic influences and tastes, Roman Bunka's recordings include 1980's Dein Kopf ist ein Schlafendes Auto and 1995's Color Me Cairo. ~ Jason Ankeny, All Music Guide
01 Hazy Lady 2:15
02 Magic Potion 3:51
03 Life Child 7:40
04 Mt Olympus 3:28
05 Freak Forever 9:00
06 Thing in E 3:45
07 As it comes to me 6:33
08 Lord Shiva's Dream13:34
"After a little irritation by a somehow failed intro right in the middle of the first tune all of a sudden an unexpectedly great album starts, and it remains great to the end. Basically, the opener "What it is" is an impressive tune that should have deserved a more careful production, but with "Out Of This Room" you take off for a journey into the history of psychedelic music with all the timeless virtues of this genre. Tunes have room to breathe, solos have time to develop, the singer tells a story, and you as a listener have plenty of opportunities to mantra around - mind tripping with no drugs needed, which is also reflected in the lyrics: "Don't forget To Be Real", as in the verse that gives the title to the third tune "To Be Real". Most of the tunes have a West Coast like easiness, and the Sixties US band "It's A Beautiful Day" came into my mind, if you abstract from their kitschy "White Bird" and the dominant violin. "Pink Cloud" shows this best. Here you get a fourteen minute long collection of different "parts" with folk style guitars in the beginning of a "dreamy" performance that leads to improvisations with high density and intensity combined with dramatic tempo changes and a high degree of "togetherness" of the band members. If anybody might have forgotten that the late Sixties Psychedelia was the cradle of almost all later sub-genres of Rock and the beginning of its triumphant advance as the dominating category in popular music for more than thirty years, Liquid Visions reminds you of this with "Moonspell" and "Ebola Monster". "Moonspell" is a showcase for the emergence of progressive music whilst "Ebola Monster" tells you the story of the early Hard Rock, and in both cases the bones are presented together with the flesh (and not separated as it's frequently the case with "pure" Progressive or Hard Rock). Even if they're not really innovative Liquid Visions are quite inventive though in reawakening the old fame of psychedelic music in a very fresh and exciting way. Really outstanding are some most beautiful guitar solos and the use of the theremin scarcely heard in such a tasteful way in a Rock production. Highly recommended to time witnesses of the Sixties and Seventies psychedelic music as well as to "novices". "
02. I Am The Sun
03. She Lives!
04. Celebrity Lifestyle
05. Mother Father
06. Blood Promise
08. My Buried Child
10. Alcohol The Seed
11. Killing For Company
12. Mother's Milk
13. Where Does A Body End?
15. The Great Annihilator
After a three-year break occasioned in part by wrangles with the Sky label, Swans returned in 1995 with a vengeance, as always pursuing their unique muse of dramatic, ever-more textured music. Gira and Jarboe work with a fantastic core band this time out, including returning veteran Westberg, who trades off guitar duties with Steele, at points playing together with him, a magnificent combination. Other returning musicians include Kizys and Parsons, while newer players like drummer Bill Rieflin from the Chicago Wax Trax! circle join as well. As is par for the course by now, Swans seem incapable of producing a bad album, Annihilator being crammed full of astonishing songs to prove it. Everything's a little more stripped-down here, possibly due to having a central band, but it's still all very lushly arranged and created, perfectly balancing force and restraint. Leadoff single "Celebrity Lifestyle" is one of the catchiest things the band has ever done, but it's still uniquely Swans -- a minimal, throbbing song matched with a sharp lyric on starlust and what it might mean. "I Am the Sun" pounds as hard as any early Swans track, but the use of careful space between blasts, Gira's heavily echoed, out-of-nowhere vocal (accentuated by equally vivid background vocals from Jarboe), and tempo shifts clearly demonstrates the constantly evolving nature of Swans music; the band is never content to simply repeat the past. Jarboe's own standout tracks include "Mother/Father," a brawling number showcasing both her and the band at their full-on best, and "My Buried Child," with her softly husked take on a terrifying Gira lyric, which is carried by a roiling rhythm. This is followed immediately by the sweeping, cinematic "Warm," where she contributes wordless vocals. Once again, Swans have created an epic, incredible work of art.
review from AllMusicGuide
One of the few remaining pieces of the digipacked and remastered re-issue puzzle, 1994's "The Great Annihilator" is reclaimed from Invisible Records for Michael Gira's own Young God Records. This was a transitive period for Gira and Jarboe's SWANS, a natural progression from the previous "bunny" artwork themed albums ("White Light From the Mouth of Infinity" and "Love Of Life") and a premonition of what was to come with the conclusive trilogy ("Die Tür Ist Zu", "Soundtracks For The Blind" and "SWANS Are DEAD"). Many of "TGA"'s songs delve into a darker and grittier sound but also maintain melody, mixed moods and brevity. "Celebrity Lifestyle" and "Mother/Father" flirt dangerously with mainstream rock & roll conventions while "Mind/Body/Light/Sound", "My Buried Child" and "Alcohol The Seed" throb with tantric mantras. Tenderness is a distinctive trait of "Blood Promise", "Warm", "Killing For Company" and "Mother's Milk", the last of which features an especially bittersweet vocal by Jarboe. Lyrical themes follow Gira's ever-present obsessions with the eternally entangled dualities of life and death, love and hate, mind and body, man and "God", etc. The title track embraces Stephen Hawking's theory of an omnivorous, universe destroying black hole - science's embodiment of God, perhaps. Near the end Gira invitingly sings "come on in and come inside" in harmony with the title and Jarboe's backing over a spiraling mass of percussion laden rock, perfectly evoking the very nature of said sucker. To my ears the remastering improves overall clarity but is far from drastic and the bonus track, a bootleg quality live rendition of "I Am The Sun", pales in comparison to the version on "SWANS Are DEAD". No matter. "The Great Annihilator" is what nearly all SWANS albums were and remain to be: powerful, evocative and, ultimately for me, indispensable ...
review from www.brainwashed.com
02. Shit Tinted Shades
04. Because You Wanted It
08. Situation Desperate
12. 'Til The End of The World
Michael J. Sheehy: Vocals, guitars, keyboards
Andrew Park: Bass guitar, keyboards, guitars
Laurence Ash: Drums, percussion
Alex Vald, guitar (until 1997)
Info for the band:
Dream City Film Club was one of England's most under-rated bands of the 1990s. Propelled by the bombastic assault of bassist Andrew Park and drummer Laurence Ash, and the sonic intensity of guitarist Alex Vald, guitarist/vocalist Michael John Sheehy, radiated darkness with songs about murder, sex, drugs and violence.A veteran of the singer-songwriter circuit in Northern England, Sheehy formed Dream City Film Club with Vald and Ash, two musicians who supplemented their income by producing shows at Kentish Town nightspot, the Bull & Gate. When Ash's group disbanded, a few months later, Sheehy, Ash and Vald began playing together informally. The group soon became a quartet with the addition of bassist, Andrew Park.Making their debut, at the Bull & Gate, in July 1995, Dream City Film Club continued to perform throughout northern London. Although a recording of several tunes was financed by Epic, in late 1995, the label refused to release it. The group had to settle for sharing a single with Dublin-born and London-based vocalist, Suzanne Rhatigan, on a label affiliated with Sean Worrell's fanzine, The Organ. They later released an EP on Organ.Signing with the slightly larger, Beggars Banquet, label, Dream City Film Club released a single, Perfect Piece Of Trash". Although they began work on their debut album in October 1996, Vald became ill during recording sessions and the project was delayed. With the release of their self-titled debut album, in 1997, Dream City Film Club reached out to a wider audience. Following a recording session for BBC disc jockey/producer, John Peel, in December 1996, they embarked on two years of performances in France, Belgium and nearly every corner of England. They recorded subsequent sessions for Peel in April 1998 and February 1999.Vald's departure, during the pre-production stage of their second album, In The Cold Light Of Morning, resulted in Dream City Film Club recording the album as a trio. Although they went on to release another, EP, Stranger Blues, in early-2000, the group disbanded. Sheehy released a solo album, As If And Also, shortly afterwards.
Info for this particular album:
The band's first album, the one major release featuring the original four-piece lineup, works in the same effective, compelling vein as the later In the Cold Light of Morning. If anything, the presence of Alex Vald here doesn't seem to show any difference in performance or general atmosphere — things for the band, and especially Michael John Sheehy, again inhabit the later, familiar vein of haunted country and blues-tinged music mixing with glam/goth styles. Certainly anyone who prefers life as black as possible will find something to love in the piercing guitar abuse and chilling slow crunch of "Fifth Dealer," which makes as good a claim to be the band's highlight track as anything else. "Perfect Piece of Trash" is another on-the-edge winner, much quicker but no less screwed up, lyrics detailing an already questionable relationship going even worse wedded to a rave-up explosion. A number of efforts suggest a more strung-out but still nervous Gallon Drunk, like the creepy lounge touches on "Shit Tinged Shades," Sheehy's distorted voice sounding as out there as the deep-in-the-background feedback whine. Sheehy himself sticks to a fairly well-worn lyrical vein that won't totally surprise listeners who knows their Birthday Party and related bands, but he doesn't try to specifically sound like any of that crew so much as a side-of-the-mouth talking poet of filth with occasional tendencies to stay perfectly calm. "Porno Paradiso," in particular, lets him demonstrate both his not-bad falsetto and a generally softer approach. The musical balance between noise and dark, twangy restraint holds true pretty much for the whole release, and in the latter mode the foursome is often at its best. Consider the soft chimes and buried semi-Morricone feedback on "Because You Wanted It" or the accordion and minimal keyboard melody on "Mama," a little slice of cabaret in hell.
1. Spacey tracey (D. Abbink) [8:28]
2. Timeless dream (D. Abbink) [3:32]
3. Oranje vrijstaat (D. Abbink, R. van Wageningen) [7:30]
4. Fallen tree (D. Abbink, R. van Wageningen) [9:13]
5. Power (D. Abbink) [6:48]
6. Fantasio (D. Abbink, R. van Wageningen) [5:20]
CD bonus tracks:
7. Vybra stroll (D. Abbink) [1:58]
8. Nosy noise (D. Abbink, R. van Wageningen) [3:06]
9. Huddo jaw (D. Abbink, R. van Wageningen) [1:54]
10. Pushy (D. Abbink, R. van Wageningen) [4:41]
11. Try to forget (D. Abbink) [2:59]
02 - Sunday
04 - Man Without A Name
06 - Cocaine
08 - High On A Mountain
10 - Midday Sun
12 - Felix
Although Andwellas Dream were a versatile psychedelic group, they were nonetheless generic no matter what angle they were taking. On Love and Poetry, you get sustained guitar that walks the line between freakbeat and heaviness; some swirling organ and husky vocals that betray the influence of Traffic and Procol Harum; pastoral acoustic folky tunes in the Donovan style; airy-fairy dabs of phased guitars and storybook lyrics; etc. Eclecticism is to be commended, and since late-1960s British psychedelia is an interesting genre in and of itself, generic music in the sub-genre is more interesting than some other generic music in other styles. Still, generic music is generic music, and being able to do a bunch of different things in an unexceptional manner does not make you exceptional. The fairly tuneful folk-rocker "Midday Sun" is the best cut; it's also interesting to hear a song about "Cocaine" in 1969, before the drug was too well known even in the counterculture.
Drowning Pool - 1989 - Aphonia
Drowning Pool (Adam Elesh, Brett Smith, Andrew Crane, and Jon Thomas) was an avant-rock ensemble that released extraordinary collections of eccentric songs: the double album Satori (Nate Starkman and Son, 1987), the EP Nierika (Viva Records, 1988) and the album Aphonia (Nate Starkman and Son-Fundamental, 1989). Their music straddled the line between new wave, psychedelia, world-music, ambient and industrial. They changed name to Mumbles and disappeared.
Aphonia (the last LP from the Drowning Pool) is a tense struggle between order and chaos. There is a constant regular rhythm, but over it, there are contrasting atmospheres, like the oriental sounds in 'Blackbagdhad', the tribal chants in 'Tap Tap', the jazzy guitar melodies in 'Shimmy', the night rain sounds in 'Water', the actor's voices (from Fellini's Dolce Vita) in 'Italian Pop Song'. In this LP, as its title suggests, there are no vocals, as Andrew Crane had left, and there are obvious similarities with the late 80s period of Savage Republic.
Line-up: Adam Elesh, Brett Smith, Jon Thomas
Producer: Drowning Pool, Vitus Mataré
1 Black Baghdad (4:41)
2 Tap Tap (3:56)
3 Shimmy (4:52)
4 Water (3:08)
5 Din (4:08)
6 Chevalier Macgregor (7:41)
7 The Italian Pop Song (5:24)
8 Trueblood (4:52) (CD only)
9 The Vanishing Prairie (5:13) (CD only)
Edit: Aphonia is available here. For more please see the comments of this post.
Sunday, December 10, 2006
RD 15 Country Weather - Same (Double LP)
part I part II
01 Over and Over (4:42)
02 Boy Without a Home (3:57)
03 Out on the Trail (3:17)
04 Yes That's Right (3:51)
05 Why Time Is Leaving Me Behind (4:02)
06 New York City Blues (4:32)
07 Carry a Spare (5:04)
08 Fly to New York (6:49)
09 Black Mountain Rag (1:24)
10 I Don't Know (4:03)
11 Black Mountain Rag (7:10)
12 Pakistan (Ring Around the Moon) (2:48)
13 Fly to New York (9:17)
14 New York City Blues (4:26)
15 Yes That's Right (3:19)
16 Wake Me Shake Me (15:04)
Long awaited release of the best unsigned San Francisco band of the 60s!
Side 1 is the now legendary 1969 1-sided demo-only LP from the remastered mastertape.
Side 2 are studio recordings from the Church in San Anselmo, CA in 1971.
Side 3 and 4 are live recordings from the Walnut Creek Civic Center, CA in 1970.
The front cover was done by the legendary 60s poster artist Randy Tuten. The booklet includes hitherto unseen photos and the story of the band told by the different musicians.
Pressed on heavy audiophile vinyl; comes with a heavy old style cardboard foldout cover and a multi page insert.
Country Weather was one of the minor bands that were part of the San Francisco music scene of the mid- to late '60s. The group was formed in the San Francisco suburb of Walnut Creek, CA, by high school students Dave Carter (bass and vocals) and Steve Derr (rhythm guitar and vocals) as a cover band called the Virtues in 1966. They were joined by Paul White (lead guitar) and Craig T. Nelson (drums) (not the actor of the same name), who were soon replaced by Greg Douglass and Bill Baron. In 1967, they auditioned for promoter Chet Helms, who suggested they change their name and stop playing covers. Soon after, they became Country Weather. Over the next few years, they played frequently at such San Francisco venues as the Avalon Ballroom, the Fillmore Auditorium, and Winterland, opening for many of the renowned acid rock bands of the day, as well as up and down the West Coast. But they were never signed to a national record contract. In 1969, they recorded their own one-sided, five-song disc, which earned airplay on local radio stations.
Country Weather disbanded at the start of 1973, when Douglass and Baron quit to form a band called Mistress. Douglass later joined the Steve Miller Band and has also played with Van Morrison, among others. Carter played in a version of Quicksilver Messenger Service and in former Moby Grape member Skip Spence's band. Country Weather re-formed in August 2000 to play a benefit concert for a friend in need of a liver transplant. What was intended to be a one-off event led to the full-time reformation of the band with a lineup of Carter, Derr, Graham Cooper (lead guitar and vocals), and Lloyd Ferris (drums and vocals), a former member of Appaloosa. In 2003, the band changed its name to Weather, and Ferris left, replaced by Terry Ratza. In 2005, the Swiss label RD Records, which specializes in unreleased music from the '60s and early '70s, released the band's debut album, Country Weather, as a double vinyl LP. The album contained vintage recordings made between 1969 and 1971.
~ William Ruhlmann, All Music Guide
1 RAINBOW (MGM SE-4557) 1968
2 THE WAY (FIRST BOOK OF EXPERIENCE) (Dble) (Mithra ) 1971
3 LE MUSEE DE L'IMPRESSIONNISME (Philips ) c1972 R1
NB: (1) came with lyric sheets. (1) also reissued on CD with two extra tracks by Big Beat (CDWIKD 179) 1998 (1) reissued as a dble LP (Akarma AK 128/2) 2000.
(2) reissued on CD (Akarma AK 129) and as a dble LP (3 sides music, 1 side engraved with Akarma logos) (Akarma AK 129/2) 2000.
(3) as Robert Callender, it could have been released only in Netherlands.
1 Little Star/Love And Kisses (Roulette 4471) 1963 95
2 You've Really Got A Hold On Me/I Can't Get Over You (Coral 62517) 1967
3 Sweet Song Of Life/Vicissitude(Or A Day At Jaffry's) (Coral 62528) 1967
4 Rainbow/Symphonic Pictures (MGM 13965) Sept. 1968
The second album is a double more conceptual piece. The third is a homage to the 19th century painters and was recorded with a full orchestra, sometimes heading into progressive territory, with good electric guitar work, flutes and organ. Still with Lorber, Robert Callender also co-produced the aural documentary album by The Groupies.
Before Callender embarked on a recording career, he was a radio producer for Murray the K at New York station WINS. Compilation appearances have included: I'm Just High On Life on Journey To A Higher Key Vol. 1 (LP).
(Max Waller/Lloyd Peasley/Stephane Rebeschini)
02. Wasted Time
03. Frustration (cover song)
04. Gypsy Girl
05. So Much (cover song)
06. The Way (cover song)
07. The Philosophy Of Edward Moore
08. It's A Gasout
09. Thinkin' About You (cover song)
10. Wretched Woman
11. Hungarian Pipe Dream
This is the new album by the most talented and 60s inspired young man, Darren McFadden, under the name of McFadden’s Parachute, an album full of colors and images that contains 11 psychedelic punk songs. The six songs are originally composed by Darren himself while the rest are perfectly covered songs by bands such as The Tigerpack, The Checkmates International, The Mystic Tide, The Generation Gap and Little Phil & The Nightshadows. Darren is playing every single instrument (except the trumpet on one song) in this album for once more and he also sings. He is also responsible for the cool artwork, the recording and the production! The ultimate 66 authentic psychedelic punk band!
Thanks Valis for this one
Back in 1973, teenage fanzine writer Ken Highland first traveled from his small-town home in upstate New York to Brooklyn, New York, to jam with pen-pal Solomon Gruberger and his younger brother Jay in their living-room rock band O. Rex. Three years later, in early '76, Ken recorded the first infamous Gizmos EP in Bloomington, Indiana--and then joined the United States Marine Corps! Finding himself stationed in Maryland, near Washington, D.C., he quickly found his way into the burgeoning D.C. punk scene. He became friends with the Slickee Boys, and began writing songs on guard duty. Some of these became later Gizmos tunes, but the main project was a new band with the O. Rex brothers called The Afrika Korps. With help from Slickee Boys Kim Kane and Martha Hull, and the addition of multi-talented drummer Ken Kaiser, they recorded the music on this LP in the first few months of 1977. The recordings became free-for-all punk-rock "super sessions"--with various other Slickee Boys members, D.C. scenesters, rock writers, etc. joining in on the fun. The resulting LP still stands as one of the most spontaneous and least trendy things to come out of the early Amerikan punk scene. This CD includes the classick LP plus eight studio outtakes and four live tracks, and comes with a 16-page booklet featuring mostly unpublished photos and a detailed history of the Afrika Korps.
This merger of The Slickee Boys, The Gizmos, The Look, The Teenage Boys, O. Rex, and The Kaiser's Kittens has thrown up (how punky!) the best album of the year. Twenty-two (yes! 22!) songs about all the things that bother you--your complexion . . . your boys . . . your mental health . . . and your girls. Every gem is short and sweet . . . each one a nursery rhyme that's been sneaking looks at teen magazines . . . pure, unsullied, untouched by recording contract rock and roll. Every verse is a reprise, every song a chrous with a harmonious soundmix nothing like the usual Heavy Metal row most 'punks' employ. Despite their threats about slapping your pretty face and ripping your pretty lace, they're sweet kids. Real innocence always tries to be tough." --Julie Burchill, New Musical Express, 3 December 1977.
You can also check their mLP 'God Its Them Again' here.
From AMG Reviews
A limited edition (1000 copies), unauthorized double album of Michigan rock from the '60s. It's real difficult to find these days, but it's one of the very best garageoriented compilations of the era, and a pretty diverse one. There's hot White soul from the Rationals, a rare single by the Amboy Dukes, fetchingly raw folkrock from the Human Beinzs and the Underdogs, burning garage punk from the Unrelated Segments, and even a castrato Four Seasons imitation by Tim Tam the TurnOns. The heart of the collection, however, are the five early, preElektra sides by the MC5, which are garage rock at its most metallic and furious, and the Dylanesque mid'60s hard rock sides by Bob Seger, a good decade before he broke nationally. The sound is excellent, as are the liner notes; it's worth paying collector prices for.
- Richie Unterberger, All Music Guide
01 The Woolies - Who Do You Love (Lansing, MI, U.S.A.)
02 Bob Seger & The Last Heard - East Side Story (Detroit, MI, U.S.A.)
03 The Rationals - Respect (Detroit, MI, U.S.A.)
04 The MC5 - Looking At You (Detroit, MI, U.S.A.)
05 The Unrelated Segments - Where You Gonna Go? (Detroit, MI, U.S.A.)
06 The Shy Guys - We Gotta Go (MI, U.S.A.)
07 Underdogs - Love's Gone Bad (Detroit, MI, U.S.A.)
08 Terry Knight & The Pack - What's On Your Mind? (Flint, MI, U.S.A.)
09 The Human Beings - Because I Love Her (Detroit, MI, U.S.A.)
10 The MC5 - Borderline (Detroit, MI, U.S.A.)
11 The Tidal Waves - Farmer John (Detroit, MI, U.S.A.)
12 Bob Seger & The Last Heard - Persecution Smith (Detroit, MI, U.S.A.)
13 ? & The Mysterians - Can't Get Enough Of You Baby (Detroit, MI, U.S.A.)
14 Southbound Freeway - Psychedelic Used Car Lot Blues (Detroit, MI, U.S.A.)
15 The Rationals - Sing (Detroit, MI, U.S.A.)
16 The Wanted - In The Midnight Hour (Detroit, MI, U.S.A.)
17 The Rationals - Leavin' Here (Detroit, MI, U.S.A.)
18 The Bob Seger System - Lookin' Back (Detroit, MI, U.S.A.)
19 The MC5 - I Can Only Give You Everything (Detroit, MI, U.S.A.)
20 The Amboy Dukes - You Talk Sunshine, I Breathe Fire (Detroit, MI, U.S.A.)
21 Underdogs - The Man In The Glass (Detroit, MI, U.S.A.)
22 The MC5 - One Of The Guys (Detroit, MI, U.S.A.)
23 Bob Seger & The Last Heard - Chain Smokin' (Detroit, MI, U.S.A.)
24 Dr. Jack Van Impe - An Important Message (U.S.A.)
25 Bob Seger & The Last Heard - Heavy Music, Part 2 (Detroit, MI, U.S.A.)
26 The Rationals - I Need You (Detroit, MI, U.S.A.)
27 The MC5 - I Just Don't Know (Detroit, MI, U.S.A.)
28 Tim Tam & The Turn-Ons - Wait A Minute (Detroit, MI, U.S.A.)
29 Ormandy - Good Day (MI, U.S.A.)
30 The Beach Bums - Ballad Of The Yellow Beret (Detroit, MI, U.S.A.)
31 Bob Seger & The Last Heard - Sock It To Me, Santa (Detroit, MI, U.S.A.)
Saturday, December 09, 2006
With 100 selections, CHILDREN OF NUGGETS captures the "back to the roots" spirit embodied by these artists and features the best of neo-garage, '80s power pop, Paisley Underground psych and other styles from around the world. The set includes The Dream Syndicate, The Three O'Clock, The Rain Parade (Los Angeles), Flamin' Groovies (San Francisco), The Fleshtones (New York), Green On Red (Tucson), Plasticland (Milwaukee), Lyres (Boston), United States Of Existence (Baltimore), Died Pretty, The Hoodoo Gurus, The Lime Spiders (Australia), The Chills (New Zealand), The Creeps, The Nomads (Sweden), The Prisoners, The Barracudas, The Bevis Frond (England) and more.
The collection's coproducer, Alec Palao, says CHILDREN OF NUGGETS provides the missing link between artists on the original Nuggets and the "grandchildren of nuggets" like The White Stripes, The Vines, The Strokes and The Hives. "Despite the negligible commercial impact of most all of the artists on CHILDREN OF NUGGETS, they have had an influence upon successive pop generations," Palao says. "People like The Prisoners, early Primal Scream and the L.A. Paisley Underground bands all influenced the early/mid-'90s Britpop scene; the Milkshakes and Screaming Trees -- in totally different ways -- helped to inspire the Northwest grunge movement; and the recent wave of neo-garage groups have all taken leads from people as disparate as The Cramps, Lyres and Chesterfield Kings. Thanks to the current success of Little Steven's Underground Garage radio show and this collection, these bands will continue to influence a new generation."
A veritable jukebox of rare and hard-to-find recordings, CHILDREN OF NUGGETS includes the first proper release of The Nashville Ramblers' obscure gem "The Trains," The Cramps' 12-inch, B-side "New Kind Of Kick" and the single version of Sun Dial's "Plains Of Nazca." Also included are appearances by The Dukes of Stratosphear (the alter-ego of XTC), Biff, Bang, Pow! (featuring Creation Records founder Alan McGee), The Soft Boys (led by Robyn Hitchcock), The Bangs (later the Bangles) plus early recordings by The Smithereens, The Posies, Teenage Fanclub, and The Church.
03- Inside out
04- You'll know why
05- Another guy
06- Love has no time
07- I'll walk away
10- Already gone
11- Hey little bird
12- Mystery girl
13- One step closer to you
Download Link :
tomorrow is yesterday
no good woman
do like me
she's a cur
night of the phantom
don't tread on me
one ugly child
Τhe Gravedigger V by Alan "Scoop" Stevens
With all the hype these days about garage bands hailing from Sweden or New York, it’s easy to lose sight of the fact that “garage” was actually the sound of young San Diego, circa 1984. We’ve covered a few, and we’ll get to the rest, but near the top of the heap, and easily one of the most influential, was The Gravedigger V.
Formed in the early ’80s by Leighton Koizumi (16, vocals), Chris Gast (15, bass), Ted Friedman (16, guitar), John Hanrattie (17, guitar) and a drummer named Matt (last name lost to the sands of time), the group was originally called The Shamen.
Matt was soon replaced by Dave “The Animal” Anderson, but the group discovered that their chosen name was already taken by another group. After a night of brainstorming at a Bob’s Big Boy, the replacement moniker they chose, The Gravedigger V, was a take-off on the old “Monster Mash” backing group The Cryptkicker V. The band asked a waitress what she thought of the new name, and when she replied that she thought it was “stupid,” they were sold.
Things took off quickly from there, with the group’s over-the-top antics drawing nearly as much attention as their music. But oh, that sound! Their primitive, riff-driven, snarling, snot-nosed take on garage punk became a favorite of area teenagers.
After just a few shows opening for other local heroes, in January of ’84 legendary music impresario Greg Shaw came a-callin’. The band eventually signed with his Voxx/Bomp imprint and released their first album, All Black and Hairy, later that year. All five of the garage rockers slept in their car in an alley next to the studio, while recording the album in LA. Now that’s dedication.
When the group played the Whiskey A Go Go, they had to wait outside between sets, as they were too young to be in the club otherwise. Unfortunately, substance abuse problems soon caught up with the group; Gast was asked to leave the group he had helped found, and he was replaced by Tom Ward.
The group managed a further track on the Voxx compilation Battle Of The Garages Vol. 3, and their final album, The Mirror Cracked was released in 1987. This hodgepodge of demos, live tracks and oddities was hardly a fitting end for such a dynamic group, but it does capture the mayhem of their concert performances.
Friedman and Koizumi went on to form the Morlochs, relocating to the Bay Area, while “The Animal” went on to infamy with Manual Scan, The Trebles, The Answers, The Crawdaddies and Skid Roper. Ward recorded with New York’s Optic Nerve and Manual Scan for a short time, before landing a lifetime gig with Carl Rusk and Ron Silva in a band that has been variously called The Nashville Ramblers, The Blackmores and The Black Diamonds.
The Gravedigger V’s popularity—especially in Europe—never diminished, however, and in 1994 Voxx reissued both albums on a single disc, and included tracks on the Destination Bomp and Be a Caveman compilations. The band, including Gast, reunited for one last show at New York’s annual garage rockathon, Cave Stomp in 1999.
Rumors circulated in the press during the late ’90s that Koizumi had passed away from a drug overdose, but he had in fact gone underground to escape a bad crowd. Sadly, Gast—one of the nicest guys you could hope to meet—passed away at his New York home in in 2000.
The Gravedigger V’s legacy is sizable. Their take on “All Black and Hairy” is still played at clubs worldwide and stands as a cover favorite for many European and Asian bands. Despite their short existence, the band’s music has resonated, their place in music history secure, as long as kids continue to crank up their amps in the spot where their parent’s minivan should be.
HORDE CATALYTIQUE POUR LA FIN
Recorded in Nice, France
Futura Records - Son 03
(Harpe de verre, flute, vibraphone, percussions)
(Contrebasse, guitare, banjo, orgue a bouche)
(Drums et percussions)
Gestation Sonore 1 - 12:48
Gestation Sonore 2 - 3:55
Gestation Sonore 3 - 4:05
Gestation Sonore 4 - 19:24
Free-jazzed skip scatter kip kittle kaboosh bush. This outfit wears feathered plumes in their stockings fling flung full of adverse style big plus on the outre and you say: "..wot the wiggy? Me flipped and nary scat can knish to this strange blitz of lighty pumpernickel wonder to steal my coffee crawling being thunders, oh mother!"
~ Mssr. *M.P.
"Quiet/loud saxophone squealing and squawking, over a background ambience of ominous clatter and drone...piano, percussion, tape hiss... Free jazz fairy tale music from France circa 1971. It's very moody and dark, but then there will be eruptions of Warner Bros cartoon music, almost. You could imagine a cartoon mouse tip-toeing around to some of this. A very scared little mouse. This ultra-rare Futura LP (is on the infamous Nurse With Wound list) and fans of skronky Euro-improv as well as the more cosmic psych soundscapes of, say, Taj Mahal Travellers, should investigate."
"Early French chamber music. Weird and noisy, invading the deepest corners in our minds. Comparable to bands like Art Zoyd and Shub Niggurath."
The Mooseheart Faith Stellar Groove Band, sometimes known as Mooseheart Faith, is (was?) a Los Angeles based rock band blending 1960s folk rock and psychedelia, 1970s space rock and progressive rock and a variety of influences from world music and jazz. The core of the band is autoharp player and sometime bassist Todd Homer, formerly of the punk band, The Angry Samoans and guitarist Larry Robinson, formerly of 1970s teen pop/soul group Apollo, along with a variety of other individuals.
This is their 88 debut release, issued on DeMilo recs (LP, DM-1). Rock n roll psychedelia from their weird and wonderfull cosmos with melodies that will linger in your mind. They released 4 more LPs/CDs and a few 7" (two with Crawlspace), equal or better than 'Golden Light'. They were active untill late 90s. Today on their homepage there's only an announcement that "their 1999 tour was cancelled". All their albums -except this- are available from the September Gurls label.
Todd Homer: vcls, gtr, bs, musette, electronics, bells, etc.
Larry Robinson: vcls, gtr, synth, farfisa, drms, tambourine, toys, etc.
01 Golden Light
03 Love Went Bad
04 I'm Lost In Space
05 I Fade Away
06 Another Time
07 Soul Train Of Thought
08 We Can Conquer The World Today
09 Back From Samoa
10 The Final Veil
11 Aliens From Space
12 Time Has Told On Me
13 Mooseheart Anthem
"....spacey folk pop that will crawl right outta your backpack and drill its way to the center of the earth. And how many records can do that ? (Byron Coley, Spin Magazine '89 - reviewing Mooseheart Faith's 1st LP)
P.S. In case you're wondering about the name, Edwin Mooseheart was exiled from a NY chapter of the Odd-Fellowship in 1865 on charges of child molestation. But Mooseheart denied it all, claiming that the real reason for his exile was his talking on the subject of UFOs visiting Earth.
Friday, December 08, 2006
01. Ozric Tentacles - Rare & Unreleased 1- The Dreaming Cat
01. Ozric Tentacles - Rare & Unreleased 1- Always
03. Ozric Tentacles - Rare & Unreleased 1- Minstrel Carousel
04. Ozric Tentacles - Rare & Unreleased 1- We Are Always Here
05. Ozric Tentacles - Rare & Unreleased 1- Sea Cucumber
06. Ozric Tentacles - Rare & Unreleased 1- The City Made From Sound
07. Ozric Tentacles - Rare & Unreleased 1- See Your Dreams In The Sky
08. Ozric Tentacles - Rare & Unreleased 1- The Shaman Leads The Way
09. Ozric Tentacles - Rare & Unreleased 1- The Beauty Of This Planet
10. Ozric Tentacles - Rare & Unreleased 1- Meeting The Dream King
11. Ozric Tentacles - Rare & Unreleased 1- The Pureity Fountain
12. Ozric Tentacles - Rare & Unreleased 1- Inash Ra Da
13. Ozric Tentacles - Rare & Unreleased 1- Medievil Tangerine
01. Ozric Tentacles - Rare & Unreleased 2- Breaking Eggs
02. Ozric Tentacles - Rare & Unreleased 2- To A Place Unknown
03. Ozric Tentacles - Rare & Unreleased 2- Carol To The Donkey
04. Ozric Tentacles - Rare & Unreleased 2- Floating On Clouds
05. Ozric Tentacles - Rare & Unreleased 2- The Never Ending Seam
06. Ozric Tentacles - Rare & Unreleased 2- Leap Frogs
07. Ozric Tentacles - Rare & Unreleased 2- Ballad Of TThe Bullfrogs
08. Ozric Tentacles - Rare & Unreleased 2- The Parrot Stomp
09. Ozric Tentacles - Rare & Unreleased 2- Up In The Jungle Tops
10. Ozric Tentacles - Rare & Unreleased 2- Cows Can Play The Fiddle
11. Ozric Tentacles - Rare & Unreleased 2- Ride On The Giants Shoulder
12. Ozric Tentacles - Rare & Unreleased 2- Sun's Up
13. Ozric Tentacles - Rare & Unreleased 2- Swim With The Dolphin
14. Ozric Tentacles - Rare & Unreleased 2- Spot The Hole
15. Ozric Tentacles - Rare & Unreleased 2- Oroonie Style
16. Ozric Tentacles - Rare & Unreleased 2- Yaruporoon The Human Beat Box
17. Ozric Tentacles - Rare & Unreleased 2- The Edge Of A Cloud
18. Ozric Tentacles - Rare & Unreleased 2- You Exsist In Space
19. Ozric Tentacles - Rare & Unreleased 2- Moon's up
01. Ozric Tentacles - Rare & Unreleased 3- Indian Tunnels
02. Ozric Tentacles - Rare & Unreleased 3- Bird Dance
03. Ozric Tentacles - Rare & Unreleased 3- Criss Cross Krunch Krunch
04. Ozric Tentacles - Rare & Unreleased 3- Heart & Soul
05. Ozric Tentacles - Rare & Unreleased 3- Chicken Fairs
06. Ozric Tentacles - Rare & Unreleased 3- Tea & Jelly Cakes
07. Ozric Tentacles - Rare & Unreleased 3- Space Neuron
08. Ozric Tentacles - Rare & Unreleased 3- In Summer Paradise
09. Ozric Tentacles - Rare & Unreleased 3- Pazzaz
10. Ozric Tentacles - Rare & Unreleased 3- Carnival Of Them
11. Ozric Tentacles - Rare & Unreleased 3- The Ride Of The Great Moon Snail
12. Ozric Tentacles - Rare & Unreleased 3- The Inflatible Potato
13. Ozric Tentacles - Rare & Unreleased 3- The Knowledge Of Fingers
14. Ozric Tentacles - Rare & Unreleased 3- The Crooked Sticks
15. Ozric Tentacles - Rare & Unreleased 3- Time Chain
16. Ozric Tentacles - Rare & Unreleased 3- Squashy Things
01. Ozric Tentacles - Rare & Unreleased 4- Leaving Spirits
02. Ozric Tentacles - Rare & Unreleased 4- Sky's Alive
03. Ozric Tentacles - Rare & Unreleased 4- As He Understands
04. Ozric Tentacles - Rare & Unreleased 4- Take You To The Medows
05. Ozric Tentacles - Rare & Unreleased 4- Carnival Of Them
06. Ozric Tentacles - Rare & Unreleased 4- The Erp Field
07. Ozric Tentacles - Rare & Unreleased 4- Space Rafting
08. Ozric Tentacles - Rare & Unreleased 4- The Comet Chaser
09. Ozric Tentacles - Rare & Unreleased 4- Sit Your Bum Down
10. Ozric Tentacles - Rare & Unreleased 4- As Sweet As Doves
11. Ozric Tentacles - Rare & Unreleased 4- I Love Your Groovy Shoes
12. Ozric Tentacles - Rare & Unreleased 4- Awaken Children, Vocal
13. Ozric Tentacles - Rare & Unreleased 4- Pan Thang
00. Ozric Tentacles - Rare & Unreleased 5- Intro Burp
01. Ozric Tentacles - Rare & Unreleased 5- Hot Butter Slide
02. Ozric Tentacles - Rare & Unreleased 5- Where
03. Ozric Tentacles - Rare & Unreleased 5- Fair Maiden
04. Ozric Tentacles - Rare & Unreleased 5- The Incoming Of A New Race
05. Ozric Tentacles - Rare & Unreleased 5- Thug Trunk
06. Ozric Tentacles - Rare & Unreleased 5- Octigliss
07. Ozric Tentacles - Rare & Unreleased 5- The Arriving World
08. Ozric Tentacles - Rare & Unreleased 5- Cyclops Passing
09. Ozric Tentacles - Rare & Unreleased 5- The Space Travelers Dream
10. Ozric Tentacles - Rare & Unreleased 5- The Unfolding Cosmic Mist
11. Ozric Tentacles - Rare & Unreleased 5- Cerebal Roundabout
12. Ozric Tentacles - Rare & Unreleased 5- Who Knows
13. Ozric Tentacles - Rare & Unreleased 5- Always A Brighter Day
14. Ozric Tentacles - Rare & Unreleased 5- Bobbing Down Stream
15. Ozric Tentacles - Rare & Unreleased 5- Exotic Fan
16. Ozric Tentacles - Rare & Unreleased 5- The Urban Guru
17. Ozric Tentacles - Rare & Unreleased 5- Flute Poppies
A band from another time, Ozric Tentacles served as the bridge from '70s cosmic rock to the organic dance and festival culture which came back into fashion during the '90s. Formed in 1983 with a debt to jazz fusion as well as space rock, the band originally included guitarist Ed Wynne, drummer Nick Van Gelder, keyboard player Joie Hinton, bassist Roly Wynne and second guitarist Gavin Griffiths (though Griffiths left in 1984). The Ozrics played in clubs around London, meanwhile releasing six cassette-only albums beginning with 1984's Erpsongs. (All six were later collected on the Vitamin Enhanced box set, despite a threatened lawsuit from the Kellogg's cereal company for questionable artwork.) In 1987, Merv Pepler replaced Van Gelder, and synthesizer player Steve Everett was also added.
Ozric Tentacles' first major release, the 1990 album Erpland, foreshadowed the crusty movement, a British parallel to America's hippy movement of the '60s. Crusties borrowed the hippies' organic dress plus the cosmic thinking of new agers, and spent most of their time traveling around England to various festivals and outdoor gatherings. The movement fit in perfectly with bands like Ozric Tentacles and the Levellers, and the Ozrics' 1991 album Strangeitude became their biggest seller yet, occasioning a U.S. contract with Capitol. After the British-only Afterswish and Live Underslunky, 1993's Jurassic Shift hit number 11 on the British charts -- quite a feat for a self-produced album released on the Ozrics' own Dovetail label. The album was released in America by I.R.S. Records, as was 1994's Arborescence. Neither album translated well with American audiences -- despite the band's first U.S. tour in 1994 -- and Ozric Tentacles returned to its Dovetail label for 1995's Become the Other. Waterfall Cities closed out the decade in 1999, and the following summer the group resurfaced with Swirly Termination. Hinton and Pepler also perform in the trance-techno outfit Eat Static, and have released several albums on Planet Dog Records. Ozric Tentacles surfaced in 2000 to release Hidden Step, followed by the EP Pyramidion. In 2002, Live at the Pongmasters Ball came out on both CD and DVD, making it their first venture into the latter.
~AMG by John Bush
The story of Mecano starts with a painting, made in 1977 by founder Dirk Polak after finding an old booklet belonging to a Meccano construction box, as fabricated and sold in the thirties.While scanning the booklet, Dirk was struck by a vision of a world built out of Meccano, in painting, sculpture and even lyrics and music.
In the years before Lego existed, Meccano was very popular amongst parents, as they believed that Meccano was not just a toy, but an educative tool for schoolboys with technical abilities. An average box consisted of iron strips, wheels and plates with holes in it, based upon half an inch distance in between. It was designed “for the engineer of tomorrow” and patented in 1901 by Frank Hornby, who advertised it in the swollen tone that colored the first decades of the century and promised membership of “the Meccano Guild” and “unlimited possibilities as the system itself”.
The examples in the instruction booklet set Dirk to paint his Meccano figures, surrounded by surrealistic landscapes and interiors. In those days punk was booming and Dirk thought it was time to start a band and together with Pieter Kooyman and a few hired guns he recorded Face Cover Face, b/w Fools as Mecano Ltd. for the “No Fun” label. But Dirk wanted a real band and so he asked Ton Lebbink to be the drummer. Ton, who was a bouncer at Paradiso in Amsterdam and thus knowing everbody on the scene, immediately introduced the brothers Tejo and Cor Bolten, who also worked at Paradiso, Tejo as floor-manager and Cor, who was a bouncer too and were standing right next to him as he spoke and the band was formed in the blink of an eye. Before that, Dirk was close with Pieter, who was in the short lived “God's heart attack” and also “The Helmettes” and had a single out that was produced by Dirk and so Mecano showed up with 2 guitarists.
Another advantage of Ton and the Bolten brothers, beside their musical abilities, was that they had unlimited acces to Paradiso, the best rehearsing place a band could think of and they started experimenting and putting the music together, mainly based on the ideas of Dirk and the Bolten brothers
Dirks' lyrics, influenced by such artists as Andre Breton, Paul Eluard and above all Russian poet Maiakovski, are overall cryptic and along the way Dirk added his own grammar like “lack of joie de vivre” or “globeold”.
In the summer of '79 Mecano made their stage debut and began touring the alternative circuit. Later they toured France and their '81 Paris concert had an enthousiastic press in the France Soir, their high intensity performance in Reims left a huge impression on the audience.
Early 1980 newly founded Torso Records had released the mini-lp Untitled and in that same year Subtitled, both nowadays reaching high prices amongst collectors. The next year Torso released two singles, Escape the Human Myth b/w History Landmark and Robespierre's Remarks b/w Room for Two, heading for hunters to collect. After that the band split up, to be reunited in 1982 without Ton Lebbink and Pieter Kooyman and a smaller size Mecano started recording Autoportrait, which came out early ‘83 and on which Pieter Kooyman is present on Suggestive Sleep and To Life's Reunion .
At last the Mecano files have been opened and the recordings were professionally remasterd by Cor and Tejo Bolten, resulting in exellent sound quality. This double cd has all of Mecano's studio-recordings. Also including live recordings who are never been issued before.
A true history landmark.
Leo Schelvis Resources : mecano.ws/
Thanks Mystery Poster and Friends
Download Link :
Completing the transformation from abstract punks to art-rockers, 154 is Wire's most impressive album. The virulance still remains, but with more depth and style than elsewhere. Ever-changing writing partnerships create a new level of tension, pulling the release in often-disparate directions. On the surface this creates a rather disjointed album, but the sheer quality of writing and performance soon banishes such thoughts for good.
Experimentation is still evident—most notably in the harrowing The Other Window that tells the story of a man travelling on a foreign train. From his window, he notices a dying horse fataly trapped in a barbed wire fence. The stressed instrumentation of the backing and out-of-time metronome drumbeat enhance the atmosphere building to the simple finale: 'He turned away/What could he do/The other window had a nicer view'.
Wire's keen sense of observation also appears within the amusing On Returning, emphasising the way British people sometimes travel overseas with a level of nonchalance and arrogance: 'You'll be sorry when the sun has roasted you to lobster red'; 'On arriving with the third language tucked into your briefcase next to your toothbrush'.
The musical high-point arrives halfway through the album in the shape of A Mutual Friend. The arrangement is rather less contemporary than any of the other tracks, combining various guitars with cor anglais passage and evolving drum beats that range from delicate cymbal play to rampaging tom rolls.
The reissue also adds a four track EP with one piece from each member of Wire, and the cutting B-side Go Ahead, which probably says more about the situation with the band's record label at the time than any other piece of prose. If you like Wire then you'll adore 154 and although this is sometimes one of the most painfully disjointed albums you're ever likely to hear it's also one of the best.
Craig Grannell (1998)
Keep them going strong, share, all good stuff here..
(16 albums, 2 EP's):
Mekons - The Quality of Mercy is not Strnen (England 1979)
Wire - 154
Gareth Williams - Flaming Tunes
Mecano - Autoportrait
Uludag "Mau Mau" Germany 1988
Blue Sun - Live 1970
The Hat Shoes - Differently Desperate
Joanna Newsom - (2002)Walnut Whales - EP (2003)Yarn & Glue - EP
Emmanuelle Parrenin - Maison Rose
A Hawk and a Hacksaw (3 albums)
s/t, Darkness at Noon, The Way the Wind Blows
Yesterday's Heroes (Haco & Terre Thaemlitz)
Electrelane - Rock it to the Moon
The Fiery Furnaces - Blueberry Boat
Lord John - 1986 - Six Days of Sound (re-upped)
Bucketfull of Brains:
This album is so good, mere words won't do it justice. Through a dense psychedelic wall of sound emerge melodies and lyrics of intricate beauty, and surprisingly powerful songs with an endearing naivete. Initially, the intensity of sound and extended arrangements are difficult to penetrate, but perseverence pays off. The barrage of effects is not there to conceal any inadequacies, rather they begin with great songs which develop into a compelling electrical confusion.
It's hard to find any bad tracks, but certain ones stand out above the others. "Step Upside Down" at the start of side one is a psychedelic classic, as you'd expect with a title like that. "My World Dies Screaming" is also as good as you'd imagine. But the hidden gem is "All Over Me" which is easy to overlook, with ethereal vocals over a beautifully understated backing. I can't recommend this album highly enough. It's my favourite amongst lots of favourites this year. Well worth a careful listen.
from Underground, 7/87:
If you could wish for the ripest rock psychedelia played like punk for all its psychological worth, then need I say that New Jersey's Lord John are a dream. There's one pair of granny glasses and one paisley shirt on the cover, and there's little advance in the sound to tell you that this record was made in 1987, but SIx Days is still new in its revisionism. It all drips with echo, reverb and voices disappearing up wind-tunnels, as melodies chime hazily or stamp recklessly on duelling colour-guitars. If you wish The Jam had been smitten with Syd Barrett rather than Pete Townshend, then the genie has delivered. Brilliant. --Martin Aston
Occasionally recalling Echo & the Bunnymen, REM, late '60s Prety Things, Dream Syndicate, and even Hawkwind, New Jersey's Lord John have a debut that's more often than not impressive and should help them to win over neo-psychedelic fans.
Much of Lord John's strength lay in lead guitarist Ray Normandy, who shoulders the bulk of the musical end. He's powerful but also aware of melodic structure. Normandy will take things to the edge, but he knows when to pull back, too. Along with solid vocals, which run the gamut of spry pop, acid-tinged psychedelia, and moody post-punk, and rich material, Lord John has a lot to rave about.-- Chip Lamey
These are only a few of the reviews that received this LP (on Bomb! records). Why then there was no follow-up? Why the record never reissued on CD, as many of Voxx/Bomb releases and is out-of-print? I must add that they have a minor success (in certain circles) and the greek label Hitch-Hyke released (or imported - I don't remeber) localy.
Lord John disbanded after that, two of the members formed the Narc Twins who recorded but didn't released anything (they only had a few tapes and some recordings on MP3.com around 2000 - which I could post). Their pages are here: Lord John (with a few tracks of Six Days of Sound LP) and Narc Twins
Ray Normandy gtr, vcls, kbds
John Figler drms
Thomas Gibson vcls, gtr
Thomas Stanton bs
Step Upside Down
Blue and Green
Paint My Eyes
The Final Solution
My World Dies Screaming
West Miniature Abbey
Love's Something Else
All Over Me
I Walk Alone
Things That Have Been
Thursday, December 07, 2006
GARY DAVIS organ A
EDDIE HOH drms A
JOHN KESKI bs A
LEE MICHAELS piano, organ, harpsichord, bs, vcls A B
HAMILTON WESLEY WATT gtr A
JOHN BARBATA drms B
FRANK DAVIS drms B
LARRY KNECHTEL bs B
DRAKE LEVIN gtr B
NB: (2) also issued in Germany (A&M 212054) 1968.
45s:(up to 1969) 1 Hello/Love (A&M ) 1968 2 Sounding The Sleepin/Tomorrow (A&M ) 1968 3 If I Lose You/My Friends (A&M ) 1968 4 Goodbye/The War (A&M ) 1969
Born on the 24th of November, 1945 in Los Angeles, Lee Michaels began in the early sixties with The Sentinals, a surf group from San Luis Obispo. In 1966 he joined the Joel Scott-Hill Trio and then Family Tree.
His first album is an excellent example of California psych pop with inventive keyboards parts. One track, Love was also covered by The Novells, whilst the guitar player is Hamilton Wesley Watt of Euphoria.
Lee Michaels' later albums were commercially successful and more pop oriented. On his second, he was assisted by Drake Levin (ex-Paul Revere and The Raiders), John Barbata (ex-Strangers). Frank Davis also played drums with Cold Blood and Loading Zone but is not the same guy as the Travel Agency leader.
Compilation appearances include: Hello on Nuggets, Vol. 11 (LP).
01. I Can Be Happy
03. Amalynda Guinevere
04. Gimme Your Sweet
05. Guitar Store Song
06. Only For The Momen
07. It's Not The Same
09. Waiting For Mary
10. Mistress De Charmaign
11. Santa Anna Speed Queen
12. Gotta Get Together
Boris - Bass, Vocals
Eve – Keyboards
Lance - Guitar, Vocals
Pete - Drums, Vocals
Vicki – Vocals
Fat Water (MGM SE 4660) 1969
Santa Anna Speed Queen / Amalynda Guinevere (MGM 14101) 12/1969
From Chicago, a mix of psych and heavy rock, with good organ and guitars plus the powerful voice of their singer, who was probably influenced by Janis Joplin. This outfit reportedly evolved out of The One Eyed Jacks from Champaign, Illinois.
Fat Water is the eponymous album from a rock act influenced by the San Francisco/Jefferson Airplane sound of the late '60s and early '70s.
Fat Water probably hail from the west coast of America and fit very nicely into the dual male /female lead vocals of the late 60’s and early ‘70s. The vocals are very much of the west coast San Francisco scene of that time and bring the Airplane’s Grace Slick immediately to mind. Musically, the vocals are matched with acoustic guitars and swirling organ which gives a country rock feel that flows easily from full tilt boogie to slow blues.
The year was 1983 when the Green Pajamas germinated in the minds of Joe Ross and Jeff Kelly after they met at a party and discovered a common interest in 60's psychedelia. With the Los Angeles "paisley underground" music scene of `83 spinning at full tilt, our fab duo decided to start a similar scene in their home town of Seattle. By spring of 1984 they had recorded and released a homemade cassette called Summer of Lust described by one U.K. journalist as "British-style psychedelia similar to Dukes of Stratosphear but moreoff-center and less pastiche". Tom Dyer heard something in Jeff's songs and signed the Pajamas to his Green Monkey record label in their native Seattle, despite the fact that Jeff's fabric of choice, paisley was immediately swallowed up by a sea of flannel. Microscopic quantities of the first four GPJs releases trickled out, some in cassette only versions, giving new meaning to the term "limited edition." After 1989 'Ghosts of Love' the Green Pajamas went on hiatus and Kelly issued the solo LP 'Coffee in Nepal' in 1991. In 1997 the band resurfuced with more success and continues until today.
For most of the last score of the 20th century, Jeff Kelly has been crafting some of the sweetest, most melodious and memorable psychedelic tinged pop music these ears have encountered, mostly arranged and interpreted by his band, The Green Pajamas. Unfortunately, outside of a few pockets of musicologists scattered across the globe, most of these confections have registered about as much impact as that proverbial tree falling in the woods with no one around. Small, independent record labels from such exotic lands as Greece (DiDi), Australia (Camera Obscura, AuGoGo), Germany (Bouncing Records), Sweden (Sound Effects) and England (UBIK, Woronzow) have released his work to the cognoscenti who devour each lyric, chord progression and subtle musical nuance like a junkie scoring his last fix. As soon as the record ends, we start it again, hunting for additional clues to hidden meanings missed the first go round, savoring each note as if it were his last, yet immediately yearning for more: another album, another song....
Twenty-three years later the Green Pajamas are still ahead of the times while remaining lost in time; a quality that keeps the listener haunted yet always craving more.
1986 Line-up: Jeff Kelly, guitar/vocals; Steve Lawrence, bass/vocals/guitar; Karl Wilhelm, drums; Bruce Haedt keys/vocals
01 Ten Thousand Words
02 The First Rains Of September
03 Stand To Reason
04 The Night Miss Sundby Died
05 A Murder Of Crows
06 Ain't So Bad
08 Men In Your Life
09 Stand In The Light
10 Bang Bang You're Dead
11 Higher Than I've Been
12 Time Of Year