Tuesday, February 20, 2007
"16 of Baltimore's best R&B and R&R bands"
2 The Night Walkers - The Night Walker
3 The Beggars - Night Of Pleasure
4 The Fabulous Monarchs - Memories (Of The Past)
5 The Impacts LTD - This Love So Real
6 The Del Prixs - She'll Be Mine
7 The Road Runners - She's Gone
8 The Executioners - My Diana
1 The Amoebas - Look At The Moon
2 Bobby J. & The Generations - Lost In Time
3 The Week-Enders - Rampage
4 The Vendors - My Rose-Ann
5 The Rysing Suns - A Third Hour On Forty Eleventh St.
6 The Chadwicks - The Only Way To Do It
7 The Destinations - Shame - Shame
8 Joey Charles Drums - The Rub
Here I am again in this 60's flavor blog, mainly to post the following poster of our 60's party which will take place in a nightclub of my town, Heraklion, Crete, on 25 February 1967 !
Soon I hope I will post some records, like I used to do when I first started out this blog!
Feel free to join us at this party !!!
See you around, diggers !
The masterpiece of Italian Progressive Rock.
This album is a legendary one in the annals of Italian progressive music. Released in 1973, it combines heavy rock and classical music in a progressive style with mellotrons galore, bringing to mind a mixture of Deep Purple and ELP, but with a Pink Floyd influenced feel.
I want to explain carefully why I am ready to put “Zarathustra” in the same pantheon as “In The Court of the Crimson King,” “Piper at the Gates of Dawn,” “Foxtrot,” “Close to the Edge,” “Thick as a Brick,” and “In A Glass House,” among others. Although it is not a “seminal” album like those noted above - and although it has some minor “flaws” (for example, the production is dated) - it nevertheless has a few things in its favor that far outweigh any minor quibbles, and definitely point to a legitimate “masterpiece.” it is portant to consider that “Zarathustra” was MR’s debut album. It took Gentle Giant three albums to get to their first conceptual “quasi-masterpiece” (“Three Friends”), Genesis four albums to get to “Foxtrot” (and “Supper’s Ready”), and Jethro Tull five albums to get to “Thick as a Brick” – and none of the debut albums by any of these bands was anywhere near the masterpiece that “Zarathustra” is. Indeed, of the eight “seminal” progressive groups (Crimson, Floyd, Moody Blues, Genesis, Yes, Gentle Giant, Tull and ELP), only Crimson’s “Court” and Floyd’s “Piper” are equally great debuts (with ELP’s debut coming pretty close). The“Zarathustra” suite itself is one of the most beautifully and “carefully” crafted compositions in the history of progressive rock, and I use the word “carefully” in its literal sense: i.e., that great care was taken. The band neither rushes into things, nor lets things “sit” for too long. Every section – whether soft, smooth, slow and simple, or “hard,” rocking, fast and complex – is constructed for maximum effect, with minimal (if any) “down” time. Perhaps most remarkably, Galifi and the band are able to convey the story of Nietzsche’s “Superman” (in both lyrics and music) quite well even if one does not understand Italian. For all of these reasons, “Zarathustra” stands on its own as an incredibly creative, often brilliant, and extremely early (if not seminal) concept suite.
What makes any album a “masterpiece?” Obviously, there are the compositional, lyrical, musicianship, production and general execution elements. However, that is not enough. It must have something else: a quality that makes the album not only an exceptional achievement “in its time,” but also an achievement that “transcends” its time – and, indeed, makes the album “timeless.” Although, as noted, the production on “Zarathustra” sounds somewhat dated, it nevertheless “transcends” its time, and is not only a timeless masterpiece – in the truest sense of that word - but an exceptional, historically important album, and an absolute must-have for any serious prog-rock collection.
"Zarathustra" is another controversial progressive rock album. Many claim that it is best prog album album to come out of Italy during the 70's, while others claim that it's just basic hard rock with mellotron thrown in. I was quite moved after listening to "Zarathustra" for the first time because the themes, melodies, and mood-changes are really high-quality. The four awesome compositions (one is 20-minutes long) alternate from soft and delicate, to 70's heavy rock. In my opinion, "Zarathustra" is one of the best progressive rock albums out there.
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Monday, February 19, 2007
1.I'll Meet You There
2.You Changed My Way Of Living
4.Now I Know
5.Serenade To A Cuckoo
Ferocious Mid '60s Gems from the vaults of Phoenix's Viv-Debra Recording Studios 65-67
(Oh Boy! 1-9027 / 1990 / 1CD) ftbfs: B349
(Jam with Traffic, Electric Lady Studio, New York City, NY 15.06.70 plus TTG Studios, Hollywood, CA 29.10.68 / Buddy Miles Jam, New York City, NY 14.11.69)
Tracklist: "Jam Thing" / JS21 [listed as "Guitar Thing"] / "Session Thing"
- "Session Thing" was initially believed to be part of the Jam with Traffic at Electric Lady Studios 15.06.70, but has later been determined to come from TTG Studios 29.10.68. It has now also been suggested that the flute may have been played by Lowell George, not Jim Horn, and the keyboards by Graham Bond, not Lee Michaels.
- This album has later been reissued as "Lover Man" (Oil Well 123 CD)
There is someone who don't want as to share Jimi's boots here...
So Get this one before he delete it !!!
Sunday, February 18, 2007
Superb psychedelia !
"Comfortable Chair" 1969 (Ode z12-44005)
What little attention 1969's "The Comfortable Chair" has gotten seems to stem from the fact The Doors' Jim Morrison discovered them, while John Densmore and Robbie Kreiger served as producers for their sole 1969 album. That's unfortunate since this set is actually quite impressive in its own right. Featuring all-original songs (virtually every band member contributing to he writing chores), the album bounces all over the musical spectrum. Lead singers Bernie Schwartz and Barbara Wallace are both quite good, navigating through the different genres without any trouble. Highlights include the opening rocker 'Ain't No Good No More', the sweet ballad 'I'll See You' and ''Let Me Through. Exemplified by 'Some Soon, Some Day' and 'Stars In Heaven' much of the set features a lazy, dreamy aura that's quite captivating. Had it been a little more original and the band churned out a couple more rock numbers, and the album could have been a classic. As is, the album makes for a fascinating game of 'spot theinfluence'. My ears hear bits of David LaFlamme and It's a Beautiful Day (luckily without the violins) and even The Jefferson Airplane ('Be Me'). Ode also tapped the album for a pair of instantly obscure singles. [SB]
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I first heard Barbara Mason a few years ago. It just blew me away. If you love soul you will love this album.
Barbara Mason is very underrated. One of the best soul singers of the 60's and 70's. Every song she sings you can feel the emotion that she puts into it. She is every bit as good as Aretha Franklin, Diana Ross, or Gladys Knight.
Philadelphia Soul legend singer/songwriter Barbara Mason has been credited as the "Originator" of what is "Philly Soul". Inspired by Major Lance as a teen, in 1965 at age 17 she penned the all-time classic ballad, "Yes, I'm Ready". Ms. Mason established herself as a truly unique female soul artist. The writer of many of her recordings , her music reveals a young girls journey to womanhood. She has shared the stage with Curtis Mayfield, Jackie Wilson, Isaac Hayes, The Temptations and countless other top artists. Her songs have been recorded, covered and sampled by an array of artists from, R&B and HipHop to the Pop and Jazz genres. Her music can be found on various Classic Soul and R&B compilations, as well as soundtracks for the motion pictures, "Auto Focus", and the acclaimed Indie film, Jesus Son. Ms. Masons vocal style has been a major influence on the careers of many of today’s leading female R&B artist such as; Angie Stone, Alicia Keys and Mary J. Blige. She has founded her own recording label and music production company, Lioness Recordings, and Mason Media Productions in addition to her music publishing company.
Known affectionately as “Lady Love”, Barbara Mason has enjoyed a long and distinguished career as one of Philadelphia‘s prime purveyors of song. From the teen angst of her classic “Yes I’m Ready” to the time-worn complexities of a love triangle expressed through the lyrics of “From His Woman To You,” her 1974 pop and R&B hit, Barbara has always found favor with the record-buying public thanks to her ability to explore the eternal theme of relationships, good, bad and in between.
Originally attracted to music as a result of ‘tinkling’ on her grandmother’s piano, Barbara formed a number of vocal groups while in her early teens, acting as both lead singer and accompanist. A neighbour, Weldon McDougal III was a member of The Larks, a popular vocal group of the day, and impressed with her talent, he invited her to perform on local shows with the group. It was McDougal who introduced Barbara to Jimmy Bishop, one of Philly’s most popular disc-jockeys and as a result, she recorded her first single, “Trouble Child” for the local Crusader label.
A move to Arctic Records proved fortuitous: while her initial 45 for the label (“Girls Have Feelings Too”) achieved a modicum of success, it was Barbara’s self-penned tale of anticipation from innocent teen to full-grown woman that captured the attention of music lovers nationwide. “Yes I’m Ready” not only established Barbara as a consistent chartmaker but became her signature tune, subsequently recorded by other major artists including K.C. (of Sunshine Band fame) and Teri De Sario, Gladys Knight & The Pips and Carla Thomas. Worth noting: some of the participants on that original “Yes I’m Ready” session included a teenage Kenny Gamble, musicians Bobby Eli, Roland Chambers, Jack Faith and Earl Young, all key players in what would become known as the “Philly Sound.”
After a couple of notable Arctic hits including “Oh How It Hurts,” Barbara spent the better part of the next five years with Buddah Records achieving success with “Bed And Board,” Curtis Mayfield’s “Give Me Your Love,” the afore-mentioned “His Woman To You,” (an ‘answer’ song to Shirley Brown’s 1974 hit “Woman To Woman”) and “Shackin’ Up.” A brief stint with Curtom Records was followed by a return to the R&B charts in 1978 with “I Am Your Woman, She Is Your Wife” and continuing the theme of the twists and turns in personal relationships, Barbara scored another hit with “She’s Got The Papers (But I Got The Man)” in 1981. A single for the dance music label, West End stoked some controversy: “Another Man” wove the tale of a woman who loses her man to…another man! Popular in Europe in particular, the song kept Barbara’s name active among music buyers who appreciated the truth and honesty in the lyrical themes that Barbara has recorded since she started out in the ‘60s.
Active as a performer whose appearance on a PBS rhythm-and-blues special a few years back was undoubtedly one of the show’s highlights. Barbara Mason’s legacy of ‘tell-it-like-it-is” recordings is much-treasured by soul music lovers the world over.
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Featuring the Astro Infinity Arkestra, Atlantis reveals two very distinct sides of Sun Ra's music. The first consists of shorter works Ra presumably constructed for presentation on the Hohner clavinet. Not only is the electric keyboard dominantly featured, but also it presumably offered Ra somewhat of a novelty as it had only been on the market for less than a year. The second side consists of the epic 21-minute title track and features an additional seven-man augmentation to the brass/woodwind section of the Astro Infinity Arkestra. Tracks featuring the smaller combo reveal an almost introspective Arkestra. The stark contrast between the clavinet -- which Ra dubbed the "Solar Sound Instrument" -- and the hand-held African congas on "Mu" and "Bimini" reveal polar opposite styles and emphasis. However, Ra enthusiasts should rarely be surprised at his experiments in divergence. "Mu" is presented at a lethargic tempo snaking in and around solos from Ra and a raga-influenced tenor sax solo from John Gilmore. "Bimini" is actually captured in progress. The first sound listeners hear is the positioning of the microphone as a conga fury commences in the background. Likewise, on "Yucatan (Impulse Version)" a doorbell quickly impedes what might have been a more organic conclusion to the performance. The original issue of Atlantis was on the small independent Saturn label. Thus the composition titled "Yucatan (Saturn Version)" appeared on that pressing. When the disc was reissued in 1973 on Impulse!, the track was replaced by a completely different composition -- as opposed to an alternate performance of the same work. The second side contains one of Ra's most epic pieces, which is free or "space" jazz at its most invigorating. While virtually indescribable, the sonic churnings and juxtaposed images reveal a brilliant display of textures and tonalities set against an ocean of occasional rhythms. Its diversity alone makes this is an essential entry in the voluminous Sun Ra catalog.~All Music Guide Review
Saturday, February 17, 2007
Perry Leopold - 1973 - Christian Lucifer
Track List :
01. Sunday Afternoon in the Garden of Delights
04. Serpentine Lane
Perry Leopold - Acoustic Guitars, Vocals
Jon Gillaspie - Clavinet, Bassoon, Recorders
Jefferson Caine - Electric Guitar
Mike McCarthy - Electric Bass, String Bass
Stephanie McCarthy - French Horn
Rich Amoroso - Cello
David Goldblatt - Cello
Bill Zino - String Bass
Stan Slotter - Flute
John Bartlett - Oboe
Charles Cohen - MiniMoog
Lenny Tabla - Tabla
Rick Kivinick - Tympani, Percussion
Sam Rudin - Tof, Bongos, Percussion
Long lost LP from the father of Acid Folk. '...a masterpiece ... one of the most artistic, intellectually mature, and haunting albums of its era.' -- All Music Guide
Although his incredibly rare first album, Experiment in Metaphysics, was a sensational and dynamic slice of progressive acid folk, Perry Leopold took a phenomenal leap forward on the follow-up, 1973's Christian Lucifer. (It is a small miracle that the recording ever saw the light of day, since the studio at which it was recorded was sold and then closed, and all the master tapes from the sessions were erased and used again, leaving only a few mixdown copies.) The songs on the first album, while all strong individually, didn't quite hold together, but Christian Lucifer is conceptually a whole, impossible to imagine as anything other than what it is. Leopold's melodies again shine like slowly uncovered gems. Complex melodic lines and protracted vocal melodies stretch and build ominously, like the sight of a wise, enigmatic monk concealed beneath a woolen cloak. The religious reference is not an empty simile. If the songs on his first album came across as parables or ancient narrative tales, then Christian Lucifer is a collection of hymns, prayers, and litanies conflicted with the dualities of life, full of metaphysical depth. Whereas the first album stuck to the folk basics, this second album was stunningly produced. Gorgeous layers of acoustic guitars, bass, clavinets, bassoons, recorders, oboes, cellos, tabla, MiniMoog, and explosive timpani and bells gave the album a rococo-styled grace and wispy beauty, invoking everything from medieval madrigals to Bach and Vivaldi to Middle Eastern musics to psychedelia and the Doors. And yet, it is none of those things. There are imprecise similarities to Nick Drake's oppressive but beautiful fragility, the theatrical majesty and scope of David Bowie (who is quoted at the beginning of "Serpentine Lane," a dystopian reply of sorts to "Space Oddity," with Leopold's deep voice infusing the music with the same alien quality), and the visionary mystical musings of Merrell Fankhauser and Jeff Cotton's cult band Mu. The foreboding keyboards of "The Windmill" are pulled directly from "Riders on the Storm," but the album is an entirely unique and novel amalgam. There is a Renaissance Fair feel, particularly in songs such as "Sunday Afternoon in the Garden of Delights" and "The Starewell," harsh and pretty at once, and intriguingly arcane. Leopold was, in fact, a troubadour in the truest sense of the word, singing his music for whoever would listen. Ultimately, the album is a very individual struggle with the duality that lies at its heart and is the crux of everything humanity is and does. Christian Lucifer is both terrestrial and ethereal, both tangible and transcendent. It is unquestionably Leopold's masterpiece, and one of the most artistic, intellectually mature, and haunting albums -- released or not -- of its era.
~ Stanton Swihart, All Music Guide
A true rock opera, great organ work. Fantastic esoteric psych rock
with great female singer.
A cosmic progressive rock concept album originally released on Decca in 1971, multi-instrumentalist Julian Jay Saravin was poet and novelist of note who had made one solo album prior on the Birth label in 1969. With the spoken and sung vocals of Cathy Pruden this album is a cosmic trip through the mind of a warped genius and in parts recalls United States of America style keyboard freak out. Will appeal to fans of the exotic side of prog and psychedelia.
John Dover – Bass
Jack Drummond – Drums
Julian Jay Savarin – Keyboards
Cathy Pruden - Vocals
Del Watkins - Guitar, Flute
Julian's Treatment is yet another forgotten and obscure gem of progressive and psychedelic rock. Julian Jay Savarin is author who involved himself in music. Savarin played the organ and he had an Australian named Cathy Pruden to handle the vocals. A Time Before This, released in 1970, was the one and only album by this band (Savarin released an album under his own name called Waiters on the Dance, which varying sources say was released in 1969, 1971, or 1973). Unsurprising, the album is a sci-fi concept album, a bit difficult for me to follow when a lyric sheet wasn't even included, but it seems to involve the destuction of the Earth in which a Terran ends up on a planet inhabited by strange, blue-skinned people, and an evil megalomaniac. Musically, it's late '60s sounding psychedelic with progressive rock with great spacy organ and a cosmic feel to the whole album. Great female vocals as well with the occasional spoken dialog. Highlights include "Phantom City", "The Black Tower", "Altarra, Princess of the Blue Women", "Twin Suns of Centauri", "Alkon, Planet of Centauri", "The Terran", "Fourth From the Sun", and "Strange Things". All the music sounds like it should belong on some campy sci-fi film from the late 1960s, but that should not come as any surprise. One band that Julian's Treatment gets compared to is The United States of America, the American band that released an self-entitled album in 1968 that featured Joe Byrd and Dorothy Moskowitz. Also comparisons to such prog rock bands lead by female vocalists like Analogy, Sandrose, and Holland's Earth & Fire are pretty common as well. Which is safe to say, if you're a fan of any of these groups, chances are you'll like Julian's Treatment, a great lost gem that sure to grow on you. The original LP (released in Britain by Young Blood and in the U.S. on Decca) isn't exactly easy to come by, but regardless, this album is another excellent obscure gem to add to your collection
The Dominican-born science fiction and technothriller writer Julian Jay Savarin first tried his narrative hand on this science fiction concept album, based on an elaborate storyline that he would later turn into a trilogy of novels. A Time Before This is psychedelic proto-progressive typical of the time, led by Savarin's Hammond, and accompanied by a rather subdued fuzz guitar, drums, bass and a bit of flute and vibraphone. Like with many of these contenders, Savarin's musical pack is a motley collection of blues, late-60s pop melodies, a little jazz and some modal soloing over thumping bass/drums ostinati, but also dark, almost gothic touches of quasi-classical organ interludes and melodies. The ace in Savarin's hand is the Australian vocalist Cathy Pruden who can handle both the mellow pop cooing of "Altarra, Princess of the Blue Women", the melodramatic spoken interludes, and the Valkyrian wailing of "Alda, Dark Lady of the Outer Worlds" and "The Black Tower" with implacable authority. These last two songs and the title track form the progressive core of this album, achieving the best balance between dark keyboard melodies, Pruden's vocal dramatics and all kinds of rhythmic and harmonic detours. The others tend to be somewhat more pedestrian in either melodic writing or structural development. Like them the overall picture of this album is that it is nice and has certain charm, but that it has not aged terribly well. Savarin's original plan called for a trilogy of albums to tell his whole storyline, but the band dissolved soon after the release of A Time Before This, and it was only in 1973 that he released the follow-up Waiters on the Dance under his own name.
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Friday, February 16, 2007
"AN ANTHOLOGY OF MASSACHUSETTS ROCK'N'ROLL"
1 The Vikings - Blue Feeling
2 The Vikings - Hitch Hike
3 The Vikings - I Ain't Got You
4 The Vikings - Have Mercy
5 The Vikings - You Can't Do That
6 Teddy & The Pandas - The Lovelight
7 Teddy & The Pandas - Once Upon A Time
8 The Chessmen - Sweet Little 16
1 The Reveliers - Patch
2 The Reveliers - Hangin' Five
3 The Improper Bostonians - How Many Tears
4 The Improper Bostonians - I Still Love You
5 The Improper Bostonians - Set You Free This..
6 The Rockin' Ramrods - Bright Lit Blue Skies
7 The Rockin' Ramrods - Mr. Wind
8 The Rockin' Ramrods - I Wanna Be Your Man
1 Long Hot Summer Night I
2 Long Hot Summer Night II
3 Long Hot Summer Night III
7 Cherokee Mist
8 Astro Man
10 Voodoo Child
11 Come On
12 Hear My Train
13 Voodoo Chile/Gypsy Eyes
14 Gypsy Eyes
1 Little Miss Strange
3 Three Little Bears
4 Gypsy Eyes
7 Drifting I
8 Drifting II
9 Look Over Yonder
10 Send My Love, To You (Linda)
12 Belly Button Widow
14 Valley of Neptune
15 Cherokee Mist
16 Acoustic Jam
(Drake Hotel Demos, New York City, NY apr.1968 / Electric Demos 1968 / Outtakes 1967-70 plus The Apartment Jams, Jimi's House, Shokan, NY july-aug.1969 [The so-called "Taj Mahal Jams"])
- Some sources list the recording date and location for the Apartment Jams [aka. the so-called "Taj Mahal Jams"] as Jimi's Apartment, New York City, NY 21.01.70, but it's more likely the recordings were made around the same time as the Woodstock Rehearsals at Jimi's House, Shokan, NY july-aug.1969.
Thursday, February 15, 2007
2. Say Those Magic Words
4. No Matter What You Say
5. Seeing Her
6. I'm Still Trying
7. Bad Flight
8. (For) Another Man
10. You've Been Unfair
11. Not A Priority
12. Eyes Of Love
The Embrooks biff, bang and pow their merry way through 12 head bobbing ditties that retrace the early steps of The Creation, The Who, and to a lesser extent, The Move, The Small Faces, and the popper, Jeff Beck-era sounds of the Yardbirds.
The most dazzling thing about this disc is that although The Embrooks have captured the essence of 1966 British rock, they rarely venture into the common (though not always unpleasant in any retro style) practice of merely rewriting an old favorite, in a manner reminiscent of doing a 6th grade report by using synonyms for the words you found in the World Book Encyclopedia. The Embrooks rate up there with groups like The Kaisers and The Insomniacs in their ability to inject their own wrinkles into a well-established style, creating instant classics in the process.
The execution equals, if not betters, the songs themselves. Drummer Lois keeps a solid beat and fills the sonic space with cool splashes on the cymbals. In classic Entwhistle fashion, bassist Mole manages to carry his share of the rhythm duties while dexterously adding a critical melodic element. And Al makes a fat, warm sound with his guitar, pulling out a dozen nifty recipes from his rock cookbook . This is all tied up by extremely live sounding production - not one milliliter of excitement has been lost in capturing these sounds in the studio.
A Legentary Soul Album by a lady with a velvet voice.
Another classic from the rare groove days, with originals changing hands for over £100. Produced by Barry White with Tom Brock and Vance Wilson, it includes the soul weekender special Too Much Lovemakin and much sought after title track.
2. It's Better To Have No Love 3.16
3. I Think Of You 4.40
4. Love Me, Love Me, Love Me Or Leave Me, Leave Me Leave Me 4.19
5. I Just Couldn't Take A Goodbye 4.31
6. That's What You Say (Everytime You're Near Me) 3.18
7. (A Case Of) Too Much Lovemakin' 3.51
8. Help Me Get Off This Merry-Go-Round 3.45
Possibly the hottest of the bunch is this gorgeous modern soul affair from Casablanca Records in 1974. Born in Texas Gloria became a member of Ike & Tina Turners backing group The Ikettes, and this release couldn't be further from that sound. After moving to Holywood her then manager introduced her to Barry White who at that time was just breaking big himself via his own solo career, as well as producing the aforementioned Love Unlimited. White took over the production on Gloria on this album, plus another later in 1974 which have become major collectors items. The opening track which made it to a 45 did very little at the time and one now looks back in total amazement at a missed opportunity for a hit record. The northern soul fraternity always looking for new tunes picked up on her 'Too Much Lovemakin' for their modern scene where this is still very much in demand. A fabulous orchestrated uptempo affair displaying Gloria's vocal talents to the max, and a song to truly sell this set. The song 'Help Me Get Off This Merry-Go-Round' remains a song I keep returning to which is pure soul that today's artist can only look to in admiration. A truly exceptional singer - and a truly exceptional CD - Rating 11/10
One of the greatest soul records of all time and an album that we'd never part with! Gloria Scott only ever recorded this one full LP but that's more than enough, as the whole thing's a masterpiece produced by Barry White with the best of his 70s approach, and featuring songs written by lesser known White protege, Tom Brock! Nearly every single cut's a classic a mixture of deep soul, mellow soul, and slight traces of funk all gliding effortlessly together with White's stone cold production, and Gloria's instantly captivating vocals. Titles include "Love Me, Love Me, Love Me, or Leave Me, Leave Me, Leave Me", "I Think Of You", "That's What You Say", and "Too Much Lovemakin" -- and the whole thing's great!
1. You're Gonna Screw My Head Off
2. Selina Through The Windshield
3. Young, Upwardly Mobile and Stupid
4. Someone Must've Nailed Us Together
6. The Golden Hour Of Harry Secombe
8. Shirt Without A Heart
9. Comedy Time
10. Pleasant Valley Wednesday
11. The Tide Of Reason
12. Cut Off My Head
13. The House Burned Down
14. The Awakening Of Edmund Hirondelle Barnes
15. Phasers On Stun
16. All Charm
17. Club 18-30
18. Ticking In My Corner
Ahh, the Len Bright Combo.. LBC were a medway garage rock band featuring guitarist/ vocalist Eric Goulden (also known as Wreckless Eric), teamed up with drummer Bruce Brand, and bassist Russ Wilkins (both also played for Billy Childish's Thee Milkshakes). This is the reissue from 2004, if my memory serves me right. Great garage music, a little more rock oriented than anything Russ and Bruce ever done before. Highly recommended!!!!
Released at a time when "low-fi" still meant the Mary Chain, and garage rock was largely ill-defined Cramps copyists, the Artist Formerly Known As Wreckless Eric bounced back from five years of more-or-less obscurity with an album that still defies easy categorization. No matter that most of the lessons taught by the Len Bright Combo have long since been absorbed into the mainstream, nor that everyone from Mudhoney and Sonic Youth to whichever unrepentant noisemakers are most hip this week, owes the Combo a massive stylistic debt. Still, The Len Bright Combo Present the Len Bright Combo by the Len Bright Combo represents the peerless merging of pristine pop songwriting and deathless aural terrorism, the most impressive album of that ilk since the Velvet Underground first sent the recording level unstoppably into the red -- and the last to do it so gracefully. There is nothing contrived or awkward about this album. Its sonic credentials may be primitive mono, but that's because the songs, not the style, demanded it. From the maniacal Euro-bop of "Someone Must Have Nailed Us Together," a song so singalong that even confirmed hermits love it, to the shattered punk of "The Golden Hour of Harry Secombe," the album has that timeless aura that could have been composed and cut any time in the past 50 years -- yes, the entire history of rock & roll is here and, if the bellicose savagery of "Young, Upwardly Mobile...and Stupid" is dated by the then-(mid-'80s) faddishness of its title, then the deceptively acoustic "Lureland" catapults the listener back to 1950s England, where family vacations to the seaside were transformed in the child's imagination to assault courses of sand castles, rock pools, and demented old men cracking skulls with their walking sticks. Seek out The Len Bright Combo Present the Len Bright Combo by the Len Bright Combo in Wreckless Eric's discography, and it's just one album among many, and there's not a hit single in sight. Experience it in person, however, cranked up loud with your mind's eye wide open, and it's records like this that make music worth hearing. And nothing else will sound so great for days (So true - SDS) . ~ Dave Thompson, All Music Guide
Wednesday, February 14, 2007
Track Listing :
1. Come With Me
2. All Writ Down
4. See All The People
5. Waiting For You
6. The Song has No Ending
This Incredible String Band record from 1970 features principals Robin Williamson and Mike Heron with Rose Simpson and Licorice McKechnie.
Be Glad for the Song Has No Ending, was issued in March of that year, but contained music from 1968 and 1969. It was also the last ISB recording produced by Joe Boyd. Boyd assembled this collection of leftover tracks from between the Wee Tam and I Looked Up offerings, with the intention of just getting the music out there.
In fact, two cuts from the first half and all of the second half of the album were a soundtrack to Peter Neal's ISB documentary film of the same name -- the picture saw release in 1970, but was then shelved until its "rediscovery" in the mid-'90s and subsequent video release. The second half of Be Glad is all instrumental, composed no doubt as "incidental" or "serial" music.
It's not the ISB's best efforts, but it does showcase the increased participation of Simpson and McKechnie and is pleasant, if quaint. ~ Thom Jurek, All Music Guide
Be Glad for the Song has No Ending
Titled from Robin's "Head" poem, Be Glad for Song Has No Ending was the soundtrack for their John Marshall-directed film. The instrumental side of the album serves as the background music for the mime "fable" part of the movie, filmed on location in Wales and called "The Pirate and the Crystal Ball."
The rest of the film is a semi-documentary of the band at the time and includes them performing "All Writ Down" and "Mercy I Cry City," and Robin reading "The Head." It also includes great footage of a very straight Newsweek reporter trying to interview a decidedly weird ISB answering his questions with such thought provoking quotes as "the opposite is true."
This was originally destined to be shown on BBC's Omnibus programme but it was never broadcast. It contains footage from the band on stage and in the studio as well as interviews at home. The second part of the video has the fantasy tale The Pirate featuring Stone Monkey.
This is one of the most wanted albums to come out of the Texas psychedelic scene. Originally released in 1968 on Tantara Records, this is the only album done by this great band led by guitarist Billy Gibbons (later ZZTop)
Tom Moore organ, piano
The album 'Flash' is pure 1960's garage psychedelia complete with sound effects. One song 'Joe Blues' offers some pretty decent Gibbons blues guitar work (even though there is an air conditioner or tape machine squeeking in the background.) Songs on 'Flash' were written by Gibbons or Gibbons and band with one song by producer Steve Ames, another by Al Anderson, two by Tom Moore and the last two of four co-written by Gibbons and Steve Ames. I still keep the original vinyl recording put away. Highly recommended for fans of 60's blues/garage rock
Yes, this is the band that Billy Gibbons rose to local fame with, a band that opened and/or played with such legendary acts as The 13th Floor Elevators, The Golden Dawn, Fever Tree, Shiva's Headband, Bubble Puppy, Doug Sahm, and the Winter brothers, just to name a few. They've probably become over-rated by enthusiastic ZZ Top fans, and over-stated by justly proud native Texans lucky enough to have had them play at their local clubs, bars and youth centers back in the day. But the basis of those over-ratings and over-statments was real: they were a fine combo who could cook with the best of the bands previously named.
This LP features a nascent Billy Gibbons in his youth, already with many of the chops and licks he'd bring to ZZ Top a short while later. It's puro homegrown Texas Psychedelic Blues, specifically the genuine South Coast Sound of Galveston, (home of the Bali Room) and that muggy Baghdad on the Bayou, Houston Texas.
Granted, it sounds a little dated most Psychedelic bands of the 60's and 70's do. Granted, you'll only catch a studio portion of the live act that made them such legends, not unlike the 13th Floor Elevators in that respect locals who saw them still rave about their shows to this day "you should have been there". But until such a time as some live Sidewalks CDs surface, those of us unfortunate enough as to have missed these cats in their heyday will just have to make do with this.
This is typical psych-rock for the year in which it was released, 1968. It was originally released on Tantara Records, now it's remastered with several bonus tracks thanks to Akarma Records. This is a really nice top quality digipack, made to emulate the LP. With all of that conceptual jargon aside, this is a vast collection of songs. "You Don't Know The Life" is plea to someone who doesn't understand what it's like to wear the singer's shoes, while "Joe Blues" is a taste of the direction Gibbons was headed. It's a real down and dirty electric blues song. Gibbons is really able to stretch out and strut his stuff mightily on this track. He sounds as if he was restrained at several junctures playing with this band. It's due to the type of music he was playing I am sure. You can really notice the difference when you listen to "Joe Blues", as the real Billy Gibbons shows his true and brightest colors. "99THFloor" is psych-garage nugget, and it gave them some notoriety while becoming their trademark showstopper. With the bonus tracks there are a few surprises. The one that really floored me was the Beatles tune "I Want To Hold Your Hand." You talk about a complete departure, wow! The song is given a whole new life, and it really rocks. It's startling just how good it is considering how they put their own spin on it. Each song features Gibbon's dominating guitar. It's a wonder how a group can come together and make one great album then end it all. I am sure if they continued they would have evolved into something really special. As history shows, Billy Gibbons did.
1 Dancing Madly Backwards (On a Sea of Air)
3 Myopic Void
4 Mesmerization Eclipse
5 Raging River of Fear
6 Thousand Days of Yesterdays (Intro)
7 Frozen Over
8 Thousand Days of Yesterdays (Time Since Come and Gone)
9 I Can't Feel Nothin', Pt. 1
11 Astral Lady
12 As the Moon Speaks (Return)
13 I Can't Feel Nothin', Pt. 2