Wednesday, February 28, 2007
2. Goin' To California
3. Baby Please Don't Go
4. Down Goes Your Love Life
5. Bright Lights Big City
6. Can't Make Love By Yourself
7. Good Morning Little School Girl
8. King Pin
9. Square Headed People
10. Chasin' Shadows
11. Green Bottle Lover
12. Isn't It Strange
13. Tomorrow's Ship (bonus track)
14. Twisted (bonus track)
15. Goin' To California (bonus track)
16. Hoochie Coochie Man (bonus track)
17. Pusher (bonus track)
18. Goin' Upstairs (bonus track)
19. Tighten Up Your Wig (bonus track)
20. Too Late (bonus track)
Biography by Greg Prato:
Steppenwolf leader/founder John Kay is perhaps the most overlooked early contributor to the musical style that would become heavy metal and hard rock. Kay was the first rocker to use the phrase heavy metal in a song, in one of metal's first great anthems: Steppenwolf's 1968 classic "Born to Be Wild." Born Joachim Fritz Krauledat on April 12, 1944, in the section of Germany that was once known as East Prussia, it was the American rock & roll that he heard on U.S. Armed Forces radio after his family moved to East Germany that fueled his interest in music. After relocating to Toronto, Canada, in 1958, Kay became even more transfixed by rock & roll — leading to Kay picking up the guitar, writing songs, and playing in local bands.
In the '60s, Kay founded the Sparrow, a rock outfit who played both Canada and the U.S., but received little attention. The group had fallen apart by 1967, but with a new, harder-edged style of rock beginning to conquer the charts and airwaves (Cream, Jimi Hendrix, and the Yardbirds), Kay decided to pursue this direction with his next band, Steppenwolf (titled after Hermann Hesse's novel of the same name). After moving to Los Angeles, the fledgling band was signed to Dunhill and recorded their self-titled debut, issued in 1968. The album became a sizeable hit, as "Born to Be Wild" was unleashed on an unsuspecting record-buying public, becoming one of rock's most instantly identifiable and enduring hits of all time. After the track was used in the 1969 cult classic movie Easy Rider, it subsequently appeared in countless other movies and TV commercials over the years and was covered by numerous other bands (Blue Oyster Cult, Slade, Crowded House, and the Cult).
Steppenwolf continued to crank out hit albums (1968's The Second, 1969's At Your Birthday Party, and 1969's Monster), singles ("Magic Carpet Ride," "Rock Me"), and tours on a regular basis, with Kay being the only constant member among a revolving door of other musicians. By 1972, Kay decided to end the group, issuing his first solo albums around the same time: Forgotten Songs & Unsung Heroes and My Sportin' Life. Steppenwolf's retirement didn't last for long, however, as Kay alternated between the band and his solo career throughout the '70s, '80s, and '90s. He even took a few former members of the band to court when they, too, began touring behind the name Steppenwolf. In 1994, Kay penned an autobiography, Magic Carpet Ride, and four years later, Steppenwolf and Kay were the subject of an interesting Behind the Music episode for VH1.
Get It Here !!! (@256)
Second Layer was an electronic-based outlet for the Sound's Adrian Borland and Graham Bailey. Borland supplied guitars and vocals while Bailey provided keyboards, bass, and drum programming. The full length World of Rubber was issued in 1981, followed by two singles and an EP released the same year: "State of Emergency," "Flesh as Property," and Second Layer. Since the duo was central to the Sound's sound, their side project retained some of that feel, albeit in a slightly detached fashion that's to be expected when synths and drum machines replace more human elements. Borland's songwriting wasn't much less personal here than his writing for the Sound. ~ Andy Kellman, All Music Guide
Second Layer - State of Emergency (7'')
1. State Of Emergency
2. I Need Noise
3. The Cutting Motion
Second Layer - Flesh As Property (7'')
1. Courts Or Wars
2. Metal Sheet
Second Layer - Second Layer EP
1. State Of Emergency
2. I Need Noise
3. The Cutting Motion
4. Courts Or Wars
5. Metal Sheet
Second Layer - World Of Rubber
1. Definition Of Honor
2. In Bits
4. Save Our Souls
6. Underneath The Gloss
8. Japanese Headset
9. Black Flowers
"18 Sixties Mod-R&B-Beat Winners From the UK!"
1 Wishful Thinking - V.I.P. (U.K.)
2 Lyons & Malone - She's Alright (U.K.)
3 The Groove - Play The Song (Adelaide, Australia)
4 Don Charles - She's Mine (U.K.) *
5 The New Breed - Friends And Lovers Forever (U.K.) *
6 The Monotones - Something's Hurtin' Me (Southend, U.K.)
7 Liverpool Five - Piccadilly Line (London, U.K.)
8 John Bryant - Tell Me What You See (Australia) *
9 The Force Five - Gee Too Tiger (London, U.K.) *
1 Tony Ritchie - Anyone At The Party Seen Jenny (U.K.) *
2 The Executives - Sensations (London, U.K.) *
3 Patterson's People - Deadly Nightshade (Aylesbury, U.K.)
4 The Cherokees - Everybody Needs (Leeds, U.K.) *
5 The One Hit Wonders - Hey Hey Jump Now (U.K.) *
6 The Beatstalkers - You Better Get A Better Hold On (Glasgow, U.K.)
7 Force West - Talkin' About Our Love (Bristol, U.K.) *
8 The Kingpins - That's The Way It Should Be (U.K.) *
9 Heinz & The Wild Boys - Movin' In (London, U.K.)
* indicates that the track only appears on this compilation
"18 More Sixties Mod-R&B-Beat Winners From the UK!"
1 Lyons & Malone - Dr. Gentle (U.K.)
2 The Cresters - I Just Don't Understand (Bramley, U.K.)
3 The League - Nothing On (U.K.)
4 The Downliners Sect - Lonely And Blue (London, U.K.)
5 The Peenuts - Trouble (Holland)
6 The Dick Watson Five - I'll Make It Up Some Other Way (NJ, U.S.A.) *
7 The Gates Of Eden - Hey Now (U.K.)
8 The Force Five - I Want You Babe (London, U.K.)
9 The Peeps - The Loser Wins (Coventry, U.K.)
1 The Exceptions - The Eagle Flies On Friday (Birmingham, U.K.)
2 The Beatstalkers - Everybody's Talking 'Bout My Baby (Glasgow, U.K.) *
3 The Zephyrs - There's Something About You (Finchley, U.K.) *
4 The Nothings - At Times Like This (Folkestone, U.K.)
5 The Interns - Just Like Me (Cardiff, U.K.) *
6 The New Breed - Unto Us (U.K.)
7 The Pentad - Don't Throw It All Away (Surrey, U.K.)
8 The Nerve - Satisfying Kind (U.K.)
9 The Dave Avani Four - Top Of The Pops (U.K.) *
1 Mike Alexander & The Visions - Your Day Has Come
3 Sounds Unlimited - Why Doesn't She Believe Me
4 Billy Swan - Out Of Her System
5 The Tropics - This Must Be The Place
6 The Hard Times - They Said No
7 The Rejects - Down This Street Before
8 The Superfine Dandelion - The Other Sidewalk
9 The Dinks - Ugly Girl
10 Roman Knights - The World Is Bigger Than You And Me
1 Just Two Guys - Eyes
2 The Fugitives - I'll Hang Around
3 The Moon-Dawgs - You're No Good
4 The Unbelievable Uglies - Spider Man
5 Ritchie Dean - Time (Can't Heal This Pain Of Mine)
6 Agents 00 - Little Miss A Go Go
7 Rick & Ronnie - Don't Do Me This Way
8 The Lost Souls - Simple to Say
9 Jody Dalton - Doing Things The Hard Way
10 The Sounds Of Randall - Wasting My Time
"16 Trans-world 60's Beat-Punkers gems"
"1° anthem of italian 90's garage punkers!!"
2 The 99th Floor - Tomorrow Is The Day
3 The 99th Floor - When The Morning Comes Around
4 The 99th Floor - Longhaired Blues
5 Gips - Shapes Of Things
6 Head & The Hares - Now That You Know
7 The Kartoons - Primitive
1 Sciacalli - Don't Need Your Lovin'
2 The Hairy Fairies - Tu Vuoi
3 La Macchina Del Tempo - Niente potra' cambiare le cose
4 I Pirati - Tu sei nelle mie scarpe
5 The Hermits - Nonymous
6 The Hermits - What's The Word
7 Vandali - Sogno No 3
For this album worked :
- Peter Hammill / guitar, keyboards, vocals
4.Sune Violent And Glassbreakers
5.Den Okande Soldaten
7.Jag Och Du
8.Samma Vindar, Samma Dofter
10.Balladen Om Nagra Av Vara Vanligaste Myter
11.Discoplast Och Hippievadd
12.Prinsen Och Prinsessan
I'm sure that someone request this album...
but i don't remember where...
I can't find some info for that...
but it's a nice album...
and s/t track reminds me a lot "Monterey" (Eric Burdon & The Animals)
Tuesday, February 27, 2007
Buffalo Springfield was a short-lived but influential, folk rock group that served as a springboard for the careers of Neil Young, Stephen Stills, Richie Furay and Jim Messina and is most famous for the song "For What It's Worth." After its formation in April 1966, a series of disruptions, including internal bickering, as well as the pressure of working in the music industry, resulted in constant changes in the group's lineup — and ultimately culminated in the group disbanding after roughly 25 months. Buffalo Springfield released a total of only three albums but also left a legacy that includes numerous demo recordings, studio outtakes, and live recordings.
1 The Dole Of The King's Daughter
2 Season Song
3 The False Knight
4 The Black Dog
5 The Garden of Jane Delawney
6 She Moved Through The Fair
8 The Cutty Wren
9 Castlebury Fair
10 Elizabeth Love
11 The Unquiet Grave
Great dark folk, Peter Scion related
I like it a lot, so recommended for folkies!!!!!
(NOW to our point) In 1971 Gianni Leone enters the group along with bassist Manzari and a new Balletto is born, much more in a symphonic vein and dominated by his keyboards. Second album YS released in 1972 (from the name of a legendary town in Brittany), is a MASTERPEICE, giving the group the success they deserved.
YS kicks into overdrive almost straight away, then stays there pretty much for the course of the album. Il Balletto di Bronzo don't muck about, just roll their collective sleeves up and get stuck in. This is a decidedly complex and intense record.
It's been noted that this sole 1968 record by the short-lived UK psych band was one of the best lp's of that era as well as it's always been highly under-rated.I would tend to agree with that opinion.This reissue of the Tomorrow record is really quite nice,with the lp's eleven tracks along with twelve bonus tunes tagged on for good measure.A total of 23 songs.Wow!A truly great psychedelic release to own.The disc's gems are easy to spot,like "My White Bicycle"(the same tune Nazareth opens some of their gigs with),the timeless "Revolution","Three Jolly Little Dwarfs" and "Hallucinations".
Most of you probably,of course know about Tomorrow's line-up.That it included guitarist Steve Howe(before he joined Yes),heart-throb Keith West on vocals and drummer Twink before he joined up with the Pink Fairies.Sort of a historic record,one COULD say.The extra tunes are about as good as the actual lp.Sort of dug "Why" and the mono version of the previously mentioned "Revolution" as well as the three cuts by The Aquarian Age,a side project by Twink and the band's bassist,Junior.Thought the spoken word track,skit,whatever... "Good Wizard Meets Naughty Wizard" was a gas.
01 My White Bicycle (3:18)
02 Colonel Brown (2:53)
03 Real Life Permanent Dream (3:17)
04 Shy Boy (2:27)
05 Revolution (3:50)
06 The Incredible Journey of Timothy Chase (3:18)
07 Auntie Mary's Dress Shop (2:46)
08 Strawberry Fields Forever (3:59)
09 Three Jolly Little Dwarfs (2:28)
10 Now Your Time Has Come (4:53)
11 Hallucinations (2:43)
12 Claramount Lake [*] (3:02)
13 Real Life Permanent Dream [Alternative Early Mono Version][*] (2:24)
14 Why [*] (3:59)
15 Revolution [Phased Mono Version][*] (3:50)
16 Now Your Time Has Come [*] (3:05)
17 10,000 Words in a Cardboard Box [*] (3:27)
18 Good Wizzard Meets Naughty Wizzard [*] (4:42)
19 Me [#][*] (3:12)
20 On a Saturday [*] (3:13)
21 The Kid Was a Killer [*] (2:31)
22 She [*] (2:30)
23 The Visit [*]
Download Links :
22 minute video of the most psychedelic film of all time.
Combines kabuki and Dr. Strange in the mystical realm an alchemical journey by an arcane master.." Julian Beck
This right up there with Begotten and Eraser Head for the surrealism. This was and is, the first and only psychedelic movie. With rich visual delight and bizarre mylar chamber and costumes, the alchemy is accomplished in jewels and gold, ah yes, it is, it works, it has been accomplished. I find it best played on at least three digital projectors with heavy sub woofer and smoke machines. A most delightful package of experimental cinematography. "The abolution of visual clarity and essential form", William Burroughs would have loved this film. A must have.
This is a 22. minute part of the film. It is the part with motion. The other parts are just paintings and poetry.... great also but don't have it yet
No words to decribe this film...
It is even more crazy when you think that he could do that with the technics existing in late 60's
Download links in comments
11 I'll Follow Her Blues
For 1990's Punk Rock Drivin' Song of a Gun, Howland and Evans were billed with Workdogs, a rhythm-section-for-hire including bassist Rob Kennedy and drummer Scott Jarvis. The fifth Gibson Bros. LP, 1991's The Man Who Loved Couch Dancing, alternated home recordings and live shots, the latter with indie heavyweights Jon Spencer and Cristina Martinez in tow. Spencer also appeared on the last record with both Howland and Evans, 1993's Memphis Sol Today!, recorded at Sun Studios. While Evans formed the similarly inspired — and possibly even more raucous — '68 Comeback, Howland worked with the Bassholes on albums released in 1992 and 1994.
Recorded at the legendary Sun studios in Memphis, the Gibson Bros.' Memphis Sol Today! is packed with more of a firm grasp of, and raw take on, rock & roll history (too eagerly defiled to be considered sappy nostalgia) that has come to be the band, or more aptly the band's mastermind, Jeff Evans' trademark. This incarnation of the Gibson Bros. counts among its ranks a feisty young guitar-basher by the name of Jon Spencer (Cristina Martinez was present on the B-side of The Man Who Loved Couch Dancing). However, the fact that Spencer and the Gibson Bros./Jeff Evans are rarely mentioned in the same breath leaves plenty of room to speculate that the breakup wasn't pretty. Tipping their six-strings to their rock & roll forefathers, the Gibson Bros. mix in loose, amped-up takes on tracks by the likes of Junior Kimbrough. A romp through Kimbrough's "I Feel Good, Little Girl" finds Spencer stepping up to the mic and turning in a performance that, while indicative of things to come, lacks the hip-shakin' Elvis bravado of his work in the eponymous Blues Explosion. In general, the mic gets passed around so often that it's almost a chore to keep track of who is singing, though, frankly, it doesn't matter, as the boys all have talky vocal styles that convey the same cool, tough, "Robert Mitchum, whiskey, and rock & roll" attitude. The triple-guitar assault conveys a similar loose, twangy feel, creating a record that could have just as easily served as the soundtrack to a barroom brawl 40 years ago. Liner notes courtesy of Evans are entertaining as always, as his never-stop-to-take-a-breath, stream-of-consciousness writing style reads like the literary equivalent of his band's raucous sound. Along the way, Evans manages to touch on topics like classic recording artists (including Charlie Feathers and Rev. Robert Wilkins) and racism and Martin Luther King, Jr.. To quote the liner notes, "When you pray tonight, pray a little harder for the Gibson Bros.." Amen.
Monday, February 26, 2007
A psychedelic band from San Francisco. They formed in 1968 and they released 5 extrodinary albums.One of them is "Happy Trails" recorded in 1969. Ten tracks with psychedelic and folk notes.
1. Who Do You Love - Part 1
2. When You Love
3. Where You Love
4. How You Love
5. Which Do You Love
6. Who Do You Love - Part 2
8. Maiden Of The Cancer Moon
10. Happy Trails
This second album from the Boston band was released in 1969. With guest appearances from John Cale amongst others, this was a fine example of psychedelic country rock, both Peter Rowan and David Grisman later appearing with the Grateful Dead during their own country rock period.
Peter Rowan - acoustic guitar, electric guitar, tenor saxophone, vocals
David Grisman - mandolin, mandocello, piano, alto saxophone, vocals
Paul Dillon - drums, acoustic guitar, percussion, vocals
John Nagy - electric bass, cello, mandocello
A1 Home to You 4:27
A2 Mad Lydia's Waltz 3:47
A3 Alfie Finney 2:34
A4 Sanctuary From the Law 2:54
A5 All Winter Long; 5:57
B1 American Eagle Tragedy 10:41
B2 Roast Beef Love 3:16
B3 It's Love 4:09
If Earth Opera's self-titled debut album (that you can find here) reflected the eclectic, ambitious pop styles of the Flower Power, Sgt. Pepper era of 1967, the group's follow-up, The Great American Eagle Tragedy, took into consideration the changed musical climate of 1968, when arrangements became more stripped down and hard rocking, with country-rock beginning to make inroads. The departure of bandmember Bill Stevenson, along with his harpsichord and vibraphone, may have hastened the group's transition to a simpler sound, too. But from the first note, the second album was very different from the first. Earth Opera sounded like it had been made by a studio band that had never played out, but the country-rock opener of The Great American Eagle Tragedy, "Home to You," paced by the pedal steel guitar of guest Bill Keith, was a road song in subject matter and feel, played by a band that sounded like it had spent some time before paying customers. "Mad Lydia's Waltz," the second track, sounded more like the group that had made Earth Opera, but the sound was still more rooted in stringed instruments and steady beats than it had been before, and following the throwaway written by the drummer came a real rocker, "Sanctuary From the Law." But the album's big number, the ten-and-a-half-minute title song, brought the earlier and later parts of Earth Opera together, combining a driving rock chorus, complete with screaming electric guitar solo, with slow, contemplative verse sections in which singer/songwriter Peter Rowan wove a transparent allegory about a royal court in crisis that was really about the state of the U.S. in the late '60s, particularly the quagmire of the Vietnam War. The track attracted the attention of free-form FM radio, and the album made the charts for several weeks. But Earth Opera folded soon after.
Sunday, February 25, 2007
This is a German progressive jazz rock album with excellent sax and Hammond play. The music is rather typical early 70s proto-prog with elements of JETHRO TULL (for the flute-guitar interplay), early YES, and the occasional saxophone riffs remind of early VAN DER GRAAF GENERATOR
1. Alone (5:22)
A very good but overlooked German group. They played a style of progressive rock that wasn't symphonic at all, but took influences from...well, almost everything. On their debut-album (and the only one under the name Subject Esq.) you'll hear elements of folk, jazz, and blues and not at least rock, and everything is played in an inspired, powerful and energetic way. The songwriting is good, and the highlight of the album is with no doubt the 12-minute "Mammon". A complex track stuffed with great themes and melodies with energetic instrumental parts. The arrangements on the whole album are loaded with saxophone, flute and organ. Other memorable tracks include "Alone", "Giantania" and the instrumental "5:13". This is a strong album that will appeal to most lovers of early 70's progressive rock. The band would later change name and become Sahara.
The album starts off very lively with “Alone” in a progressive jazz rock vein with excellent sax and Hammond play and continues in a quite up-beat pace with catchy vocal lines in the psychedelic sounding “Giantania“ having a nice section with soaring flute in between. “What is Love“ then is initially a more pop-ish sounding song in late sixties’ style but has great sax and later on a nice percussive section. The all-instrumental “5:13” presents brilliantly played jazz rock on Hammond, guitar, bass, drums and sax alternating with flute. The long-track “Mammon“ is certainly the highlight of this disk and offers a very versatile mix of jazz rock and psychedelic with vocal lines reminiscent of US west-coast bands and brass rock bring Blood, Sweat & Tears into one’s mind. Sections with mouth organ are alternating with others dominated by sax or flute here, this track was especially on stage a big fun to listen to. Last song “Durance Is Waiting“ starts quite different in a Byrds-like manner but soon shifts more into Prog territory with excellent organ/guitar interplay.
As a summary I can say that this one had been a quite solid and remarkable debut of this band that would present even things on the two following albums released in a slightly changed line-up and under the name Sahara.
Download Link :
Thanasis Papakonstantinou - 2000 - Vrachnos Profitis
01 Imeros Ipnos
02 Otan Harazei (Giannis Aggelakas)
03 Palia Pligi
04 A. Manthos
06 Oi Treis Anthoi (Lizeta Kalimeri)
07 Oi Gries (Intro)
08 Oi Gries
09 Atman (Giannis Aggelakas)
10 Oute Trigmos, Oute Ligmos
11 Sampax (Giannis Aggelakas)
12 M 81 (orxhstriko)
Here is the most important songwriter of the last 10 years in Greece.
His music is a mix of traditional, folk, rock & rebetiko(blues, for non greeks).
At this album "Trypes" (the most important band of the last 20 years) backing Thanasis in some tracks and Giannis Aggelakas of Trypes sang in 3 songs.
Review from RootsWorld
Saturday, February 24, 2007
2. Soft Machine
3. Dive In Deep
5. Wild Hills
6. A Black Rain
10. Set The Controls for the Heart of the Sun
Los Angeles quartet Red Temple Spirits skillfully mix post-punk influences - mid-period Cure, Savage Republic, early (Death) Cult - with a loving dose of lysergic psychedelia (Syd Barrett and Roky Erickson are particular touchstones). Bassist Dino Paredes and guitarist Dallas Taylor coax entrancing drones and pulses from thier instruments with judicious uses of echoe and other effects, while shamanistic frontman William Faircloth (a colorful immigrant from Britain's original '60s psychedelic movement) delves into mysticism (Native American on the first album, Tibetan on the second) with a grace and passion rarely seen before.
Dancing to Restore an Eclipsed Moon is an astonishing debut. The luxurios packaging (doubleLP/single CD) mirrors the care put into the music, which tastefully incorporates flutes, bells, natural sounds (water, birds) to create a heady atmosphere of ritualistic ecstasy. Short catchy compositions like 'Dark Spirits' and 'Dreamings Ending' alternate with several long and complex pieces.
The follow-up album is far more direct, both in the melodic music and the lyrics, which turn towards external/environmental stimuli. As crystallized by the gorgeous 'Dive In Deep' and an incandescent cover of Pink Floyd's 'Set the Controls for the Heart of the Sun,' the theme of hope for the magic and beauty of life in the face of despair remains. Prior to the Spirits, Faircloth lent his vocal ululations to the similarly psychedelic Ministry of Love, a trio that included guitar wiz Mark Nine. Although lacking the Red Temple Spirits' brilliant chemistry, there are some great moments on the five-track EP, including 'Living in the Moment' (a showcase for Nine's e-bow mastery) and Faircloth's touching ballad, 'You're Not On Your Own'
*(The Above Text is taken from the Trouser Press guide to records, written by Greg Fasolino)
Download Link :
1 To A Blindman
more info and second album by the great Lizardson
@Time Has Told Me
I LOVE THIS ALBUM SO WHITOUT ANY COMMENTS ENJOY
Womb (US) - 1969 - Overdub
1 Taking A Long Walk
3 Two Levels
5 Flying High
6 Evil People
KARYL BODDY piano, gtr, vcls A
RON BRUNECKER drms A
RORY BUTCHER vcls, perc A
CHRISTOPHER JOHNSON bs A
ROLUF STUART sax, flute A
GREG YOUNG ld gtr A
BOOTS HUGHSTON sax, flute
1(A) WOMB (Dot DLP 25433) 1969
2(A) OVERDUB (Dot DLP 25959) 1969
1 Hang On/My Baby Thinks About The Good Things (Dot 17250) 1969
This San Francisco-based band were sometimes prone to over-indulgent improvisation but they had their moments. Their albums were essentially crossovers between the 'psychedelic' and 'progressive' eras with the second one by far the better of the two. On the first Conceptions Of Reality is notable for Karyl Boddy's soothing vocals but the stand-out track is Happy Egotist, a fine imaginative slice of psychedelia. Forget the rest of the album which is full of messy arrangements and lots of brass. The second album has three decent tracks:- Flash, a somewhat mystical, trippy piece of psychedelia; Love, experimental soft psychedelia with liberal lashings of woodwind and the ten and a half minute finale, Evil People, an amalgam of psychedelia and progressivism with some nice interweaving guitar work. The remainder of the album is messy and too brassy. Neither album has yet acquired collectors status but they may in time. If you're interested start with the second.
(from FUzz AcId & FLoweRS)
Thnx J for the Info...
Friday, February 23, 2007
One of the finest singers - songwriters in soul music.
Amazing album with 3 songs in R&B top10. Bobby Womack is a soul music allrounder: he can scream (like James), talk deeply to the ladies (like Issac and Barry), he has the Al or Marvin touch when it comes to love songs, the honesty of Sam and Curtis, and the occasional Sly-like urge to wig out
2 Woman's Gotta Have It (3:33)
3 And I Love Her (2:44)
4 Got to Get You Back (2:53)
5 Simple Man (5:58)
6 Ruby Dean (3:26)
7 Thing Called Love (3:57)
8 Sweet Caroline (3:13)
9 Harry Hippie (3:51)
Recorded in Memphis in the blackest of soul styles, Bobby "The Preacher" Womack's Understanding overflows with raw energy and emotion. Blurring the lines between Southern soul, funk, and gospel, the album's rough edges reflected something fundamental about life in Black America and the need to reach for something higher. Womack had learned well from his idol Sam Cooke that the people wanted to hear about something besides love. In the gritty "Simple Man," Womack preaches to his brothers and sisters:"Hang on in there...we don't live on a hill, but we stand just as tall." At the time he wrote the songs for Understanding, Womack was a man of considerable talents who had too little to show for it in the way of successful solo records. An always in demand studio musician, Womack's influential guitar playing helped define such eternal classics as Sam Cooke's "Bring It On Home," Wilson Pickett's "Funky Broadway," Aretha Franklin's "Chain of Fools," and Sly Stone's "Family Affair." By 1972, his singing and songwriting had matured to such an extent that only an act of God could have kept him from storming the charts. "Woman's Gotta Have It," one of the album's three Womack originals, shot up to the very top of the R&B charts in that golden funk summer of '72. This mid-tempo soul-funk ballad starts off with a sensuous bass line straight out of Marvin Gaye's What's Going On? With its simple message about how to keep a woman happy--"You gotta giver her what she wants when she wants it / Where she wants it / And how she wants it"--the song touched a chord with audiences like few other Womack songs ever have. A bubble gum-soul cover of Neil Diamond's "Sweet Caroline" was released as the follow up single to "Woman's Gotta Have It." While it managed to impressively crack the white-dominated Pop Charts, its mellow B-side "Harry Hippie" was embraced as the "black side" by black radio, driving it into the R&B Top Ten (and, surprisingly, into the Top 40 on the Pop Charts). "I Can Understand It" is the album's funkiest and most complex track, made with timeless production values: a driving and loudly mixed bass/drum groove, a tight gospel chorus of soul sisters, lush touches of strings, and Womack's belting vocals and fuzz guitar. While this compelling Womack original never charted, New Birth turned it into a No. 4 R&B hit when the band covered it in 1973. His most consistently satisfying album, Understanding captures Womack at the peak of his powers. This is the one to get.
If I Could Only Remember The Outtakes
Wally Heider Studios A & C, San Francisco,
Nov 1970 thru Spring 1971
If I Could Remember My Name outtakes were usually mixed up with so-called PERRO tapes, The Dorks rehearsals or Mickey's Barn, although basically totally different material were involved. It was usually traded as a single disc, bur here are all IICORMN outtakes that ever circulated in probably the best quality around.
01. Song With No Words
02. Tamalpais High
03. What Are Their Names
04. Song With No Words
06. I`d Swear There Was Somebody Here
07. Music Is Love
10. Traction In The Rain
11. Traction In The Rain
12. Traction In The Rain
13. I`d Swear There Was Somebody Here
14. I`d Swear There Was Somebody Here
15. Music Is Love
01. Music Is Love
04. Song With No Words
05. Song With No Words
06. Tamalpais High
07. Tamalpais High
08. Tamalpais High
11. Cowboy Movie
12. Cowboy Movie
13. Cowboy Movie
14. Slide Jam
Xit - Plight of the Redman
1972 (Rare Earth R 536 L)
2. At Peace
3. I Was Raised
4. Nihaa Shil Hozho :: I Am Happy About You
5. Coming Of The Whiteman,
6. War Cry
XIT are a popular Native American rock group from Albuquerque, NM. They have recorded a two-part concept album, The Plight of the Redman, chronicling the changes in Native American life since the arrival of Columbus. ~ Leon Jackson, All Music Guide
Get It Here :
RapidShare or SendSpace
Thursday, February 22, 2007
(In order for Cherry Red to fit the 16 tracks on 1 cd, they shamelessly trimmed the song "Contradictions" down from over 14 minutes to just under 5. So for this download I have attached as a "bonus" track the full 14-minute version of "Contradictions.")
Enjoy! (and thanks to bfstroganoff)
"O True Believers"
Recorded: September 2005 by John Hannon, NRS
Release Date: CD February 2006 / Vinyl August 2006
Label: Important Records
I really love this kid. I think his way of playing 12 string guitar comes straight from the sixties.
He is unique.
"London based 12-string guitarist James Blackshaw playing style can be firmly linked to the Takoma school of John Fahey and Robbie Basho, as well as to more contemporary players such as Jack Rose and Steffan Basho-Junghans. But, like them, Blackshaw has successfully found his own voice, as becomes instantly obvious when listening to the four tracks that make up "O True Believers". Titles such as "The Elk With Jade Eyes" and "Spiralling Skeleton Memorial" cause images of a spiritual naturalism to fuse in the brain, while Blackshaw's guitar weaves patterns that are sometimes overlaid with luscious layers of tambura drone, cymbala, harmonium and percussion. This often dreamlike combination ensures the music gathered here deftly avoids pale imitation and leaden devotion."
Wednesday, February 21, 2007
Harvest Festival focuses on the label's two more successful styles.
First there's the folkier side, comprising ardent traditionalists like Shirley and Dolly Collins, Martin Carthy, and The Albion Band; folk-influenced individualists like Michael Chapman and the great Roy Harper; and exceedingly twee folk-poppers like Panama Limited Jug Band, Third Ear Band and Gryphon. Between them, this lot contribute many of Harvest Festival's most appealing moments, especially if you have a taste for finger-picked acoustic guitars and hand percussion.
But the majority of Harvest Festival is devoted to post-psychedelic artists who were able to skew pop-song conventions just enough to turn them into something totally unique. Syd Barrett, Kevin Ayers, Be-Bop Deluxe, and the grand Roy Wood dynasty -- The Move (was a better single than "Do Ya" released in the '70s?), the Electric Light Orchestra, Wizzard and his solo records -- are the true stars of Harvest Festival. It's their songs, not those of their better-selling brethren like Deep Purple and the Barrett-less Pink Floyd, that make it sound like simply the next step, not a revolution, when the buzzsaw pop-punk of the Saints and the thorny experimentalism of Wire appear late in the set with classics like "(I'm) Stranded" and the seven-minute beautiful-noise soundscape "A Touching Display."
V.A. - Harvest Festival Box Set_disc 01
1. Edgar Broughton Band - Evil
2. Michael Chapman - It Didn't Work Out
3. Deep Purple - Wring That Neck
4. Roy Harper - Tom Tiddler's Ground
5. Pete Brown And His Battered Ornaments - Morning Call
6. Third Ear Band - Stone Circle
7. Greatest Show On Earth - Real Cool World
8. Syd Barrett - Octopus
9. Panama Limited Jug Band - Round And Round
10. Barclay James Harvest - Mother Dear
11. Tea & Symphony - Maybe My Mind (With Egg)
12. Michael Chapman - Postcards Of Scarborough
13. Forest - A Glade Somewhere
14. Edgar Broughton Band - Out Demon's Out
15. Pete Brown & Piblokto - Living Life Backwards
16. Quatermass - Black Sheep Of The Family
17. Bakerloo - Big Bear Ffolly
18. The Pretty Things - The Good Mr Square
19. Kevin Ayers - The Lady Rachel
20. Shirley & Dolly Collins - A Foresaking - Our Captain Cried
V.A. - Harvest Festival Box Set_disc 02
1. Deep Purple - Speed King
2. Pete Brown and Piblokto - Things May Come And Things May Go But The Art School Dance Goes On Forever
3. Edgar Broughton Band - Apache Drop Out
4. Climax Chicago Blues Band - Everyday
5. Kevin Ayers - Butterfly Dance
6. Barclay James Harvest - Mocking Bird
7. Michael Chapman - Kodak Ghosts
8. The Move - The Words Of Aaron
9. Deep Purple - Fireball
10. Electric Light Orchestra - 10538 Overture
11. Ron Geesin & Roger Waters - Breathe
12. Barclay James Harvest - Medicine Man
13. Kevin Ayers And The Whole World - Stranger In Blue Suede Shoes
14. Michael Chapman - Fennario
15. Roy Harper - The Same Old Rock
16. Edgar Broughton Band - Hotel Room
17. Syd Barrett - Effervescing Elephant
18. Kevin Ayers - Song From The Bottom Of A Wall
V.A. - Harvest Festival Box Set_disc 03
1. Pink Floyd - Money
2. Roy Harper - South Africa
3. Kevin Ayers - Interview
4. Babe Ruth - The Mexican
5. The Move - Do Ya
6. Southern Comfort - Something Said
7. Be-Bop Deluxe - Adventures In A Yorkshire Landscape
8. Roy Wood - Dear Elaine
9. Kevin Ayers - Take Me To Tahiti
10. Edgar Broughton Band - Things On My Mind
11. Babe Ruth - Hombre De La Guitarre (from Amar Caballero)
12. Roy Harper - Another Day (live)
13. Electric Light Orchestra - Roll Over Beethoven
14. Be-Bop Deluxe - Maid In Heaven
15. Climax Chicago - You Make Me Sick
16. Electric Light Orchestra - Showdown
17. Wizzard - Ball Park Incident
18. Roy Harper - I'll See You Again
V.A. - Harvest Festival Box Set_disc 04
1. The Albion Band - Poor Old Horse
2. Martin Carthy - Old Hog Or None
3. The Albion Dance Band - Hopping Down In Kent
4. Ashley Hutchings - Postmans Knock
5. Gryphon - Spring Song
6. Unicorn - Have You Ever Seen The Rain
7. Be-Bop Deluxe - Fair Exchange
8. Kevin Ayers - Ballad Of A Salesman Who Sold Himself
9. Be-Bop Deluxe - Electric Language
10. David Gilmour - Short And Sweet
11. Roy Harper - When An Old Cricketer Leaves The Crease
12. The Saints - Erotic Neurotic
13. Wire - Reuters
14. The Saints - (This) Perfect Day
15. The Shirts - Lonely Android
16. The Banned - Little Girl
17. Wire - I Should Have Known Better
18. The Saints - Swing For The Crime
19. Bill Nelson's Red Noise - Revolt Into Style
20. Wire - A Touching Display
V.A. - Harvest Festival Box Set_disc 05
1. Deep Purple - Black Night
2. Pete Brown & Piblokto - Flying Hero Sandwich
3. The Move - California Man
4. Greatest Show On Earth - Magic Woman Touch
5. Kevin Ayers - Caribbean Moon
6. Trinidad Oil Company - The Calendar Song
7. Matumbi - Rock
8. Wire - I Am The Fly
9. Ivor Cutler - Life In A Scotch Sitting Room Vol 2 (excerpt)
10. Vivian Stanshall And Kilgarron - The Young Ones
11. Spontaneous Combustion - Sabre Dance
12. Be-Bop Deluxe - Ships In The Night
13. Bombadil - Breathless
14. Marshall Hain - Dancing In The City
15. Bill Nelson's Red Noise - Radar In My Heart
16. Strapps - Child Of The City
17. Deep Purple - Hallelujah
18. Babe Ruth - Wells Fargo
19. Professor Longhair - Mess Around
20. Syd Barrett - Golden Hair
21. Edgar Broughton Band - Up Yours
Get it Here !!!
1 ~ 2 ~ 3 ~ 4 ~ 5 ~ 6 ~ 7
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.
Download Link :
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]
Download Link :
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.
Download Link :
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
Tuesday, February 13, 2007
2 Sack Full of Silver (2:13)
3 Yoo Doo Right (6:04)
4 Napkin Song (1:31)
5 Americana/The Ghost (4:34)
6 Whirling Dervish (3:43)
7 Triangle (5:39)
8 Diesel Man (4:42)
9 On the Floe (3:43)
10 On the Floe (4:51)
Sack Full of Silver is, in many ways, one of Thin White Rope's most fully realized sets, blending the group's early alt-psychedelic influences and a growing taste for dusty Americana flavors. Having completed a 16-date tour of the Soviet Union, the group collected covers of Marty Robbins, Lee Hazlewood, and others for the Red Sun EP, followed shortly by this batch of originals penned during the trip overseas. Like all Thin White Rope releases, Sack Full of Silver is defined by the voice of Guy Kyser: the aural equivalent of the flat, parched, endless landscape his characters seem to inhabit. Sobering realizations, like dead ends, await them around every corner. In an environment where failure, desperation, and hopelessness are common currency, adding up one's losses and moving on feels like a great victory. It's clearly no easy task. "The Ghost" catches its subject in the moment before that turning point, looking ahead as a life of loss begins to flood in.
Emerging out of the final chords of "Americana" and "Desert Rock" it rises from the sound of wind-swept sand to a triumphant anthem in the mold of an old folk song. Revealing that they are working within a wider frame of reference, the group adapt Can's "Yoo Doo Right," distilling the original's 20 minutes into a compact, bursting rock number. Though the gray area in between these two styles produces less memorable results, Thin White Rope's brand of American roots has aged more gracefully than the work of some of their contemporaries. Sack Full of Silver remains as fine an introduction to Kyser's vision as any. ~ Nathan Bush, All Music Guide
Thin White Rope - 1985 - Exploring The Axis
1. Down In The Desert
2. Disney Girl
5. Dead Grammas On A Train
6. Three Song, The
8. Atomic Imagery
9. Real West, The
10. Exploring The Axis
11. Macy's Window
12. Rocket USA - (live)
13. Roger's Tongue
Review by Nathan Bush
Hailing from the northern California town of Davis, Thin White Rope was initially pegged as a proponent of the paisley underground movement. Such labeling, however, tells half the story at best. The list of bands the group went on to cover over the course of their ten-year career is actually more revealing. Songs by Suicide, the Stooges, Lee Hazlewood, Marty Robbins, Bob Dylan, Can, and a James Bond theme have all been rendered by the band in the studio and on-stage. That list goes a long way in explaining the mixture of raw, angular riffs, southern twang, and icy psychedelia that characterizes Exploring the Axis, the group's 1985 debut. What it does not convey, perhaps, is the relative bleakness of Thin White Rope's music.
Frontman Guy Kyser, guitarist Roger Kunkel, bassist Stephen Tesluk, and drummer Jozef Becker outline a series of barren landscapes, their instruments kicking up clouds of dust from the parched earth like a rollicking, rickety ghost-train headed south. At times Jeff Eyrich's productions approach the wintry heir of Martin Hannett's work with Joy Division. This climate is ideal for Kyser, who delivers tales of isolation, allusion, and death; his voice a perpetually unsteady quake.
Onde Quando Como Porquê Cantamos Pessoas Vivas (often known simply as Cantamos Pessoas Vivas) was Portuguese outfit Quarteto 1111's last albumand it's effectively a late-period psych/prog album.
Talking about Jose Cid (the mind of Quarteto 1111) after he gave us the SUPERB Cantamos Pessoas Vivas with Quarteto and the also exchellent 10000 Anos Depois Entre Venus E Marte (1978) on his solo career he decide to be a pop star and represent portugal in Eurovision with a awfull song (at 1981 i think) what a decadence ... whatever... we thank him for this exchellent album !!
Actually i sweat my ass to find this vinyl and rip it , was the best i can find ,(sorry), but raise the volume a bit it's worth it.!
Salem Mass - 1971 - Witch Burning
Side One: Witch Burning / My Sweet Jane / Why
Side Two: You Can't Run My Life / You're Just A Dream / Bare Tree / The Drifter
Jim Klahr - keyboards
Mike Snead - lead guitar and vocals
Steve Towery - drums and vocals
Matt Wilson - bass and vocals
You would assume the group Salem Mass is from Massachusetts right? Wrong.
In 1971 four young men from Sun Valley Idaho; Jim Klahr (keyboards), Mike Snead (lead guitar and vocals), Steve Towery (drums and vocals), and Matt Wilson (bass and vocals) decided that would be a good name for a group. I was attracted to them because of their name. I am from Massachusetts and I have a fascination with the time period in history when the persecution of innocent victims took place. I also happen to really enjoy most music that was made in the seventies. Psychedelic rock wasn't one genre I really knew anything about, as my time for really listening to music of my own choice was around 1972, when there was a shift to heavy metal and psychedelic rock was becoming a memory. All of this wonderful music has been a revelation of discovery for me every time I sit and listen to another group.The album starts off with the title track "Witch Burning." The lead vocals are high pitched and irritating, yet the music is powerful and subsequently sweeps that negative factor right under the table. I am not sure who handles vocals on what track because it's not indicated on the album liner notes or cover. That is the only song that lacks vocally, the rest of the album has strong vocals to match the far-reaching and authoritative music. "My Sweet Jane" follows and it put any doubt that I was feeling to rest quickly. I found it to be the best track on the entire album. This music sounds fresh even today.
Reviewed by: Keith "Muzikman" Hannaleck
Monday, February 12, 2007
Wool/Ed Wool and The Nomads
ALBUM: 1(A) WOOL (ABC ABCS-676) 1969
45s: 1 Please, Please (Don't Go)/I Need Somebody (RCA Victor 47-8940) 1966
NB: (1) as Ed Wool & The Nomads.
Syracuse, New York was the stomping ground for this R'n'B/blues-influenced combo dominated by vocalist Ed Wool, whose strong raucous style could be compared to Eric Burdon, especially on numbers like the cover of Brown-Terry's Please Please (Don't Go). The LP is bluesy rock-pop, if that's your bag, whose highlight is undoubtedly Love Love Love Love Love, another vocal tour-de-force, by Tom Haskell.
Nowadays Wool resides in Albany, N.Y. and continues to record and tour with The Ed Wool Band, playing jazz-rock and big band dance music. Tom Haskell is now a freelance photographer.
Compilation appearances include: I Need Somebody on Mind Blowers (LP).
Legendary pioneers of street funk, the Ohio Players went platinum with this hot 1975 release that includes the chart-topping disco/funk classic "Love Rollercoaster". Sexy, horn-driven grooves, hypnotic rhythms, and bottom-heavy jams take us on a fresh and funky new dimension.
1 Honey (5:17)
2 Fopp (3:52)
3 Let's Do It (5:12)
4 Ain't Givin' up No Ground (1:42)
5 Sweet Sticky Thing (6:12)
6 Love Rollercoaster (4:48)
7 Alone (4:38)
There is an urban legend about the song Love Rollercoaster. About two minutes into the song, a faint scream is heard. the urban legend states that the scream is that of the model on the cover of the album. Allegedly, the model was kneeling on fiberglass and pouring honey onto herself. The honey bonded her to the glass, and her skin was ripped off in the effort to unstick her. She confronted the manager during the recording of the song, who then proceeded to stab her to death,
This myth is false, however. The scream was made by keyboardist Billy Beck. A local DJ made up the rumor, and the band kept with it to boost sales of the album.
By the time of 1975's HONEY, the Players had streamlined their album covers from HUSTLER-ish to PLAYBOY-ish, while keeping their music still delightfully funky & sexy beyond description. 1974's FIRE contained their first #1 pop hit with the title track, and the music was definitely what its title stated: blazing! While HONEY hints at something a little more, well, smooth, it's still a fantastic album with enough grit to rock the dance floors before putting on the slower stuff when you get back home.
"Love Rollercoaster" was the Player's 2nd #1 pop hit, and is probably their most famous song thanks to cover versions like that from the Red Hot Chili Peppers. While the Peppers' version was a good White-boy version of it, the Players' one is still the funky king, one to get you up & moving no matter how many times it's been played at parties, sporting events or oldies radio.
"Fopp" is another chaotic funky delight with the opening drum line indeed sounding reminiscent of the opening to Guns N' Roses' "Paradise City". Maybe Axl Rose needs to pay some restitution to the Players, who knows?
As has been proven time & time again, ballads were always the Players' secret weapon, and they remain underrated with all the loud, screaming funk that was their trademark. "Sweet Sticky Thing" was lucky to be released for it is indeed much smoother-edged than what the Players were known for at the time. The fact this jazz-grooved tune (man, that saxophone!) did so well really says something.
The opening title track was a brave way to start out the album, especially after just having a massive #1 hit with "Fire". I can easily imagine this song coming from Earth, Wind & Fire, who were probably the only other group the Players could really compete with in the funk sweepstakes (Parliament/Funkadelic were already the kings, so they were out of the running).
"Let's Do It" is another romantic jam to melt your lover's heart with, and hopefully you won't find yourself singing the closing ballad "Alone" before long. The man singing this song is all-too-obviously heartbroken and, as my good friend Nathan says, it definitely is a forgotten treasure of '70s R&B balladry with Leroy "Sugarfoot" Bonner's lead vocal just tear-inducing. Even the spare musical back-up on the song heightens its emotional nakedness.
HONEY was produced, written & performed by the Players themselves, so you know the album is exactly how they would have wanted it. Even those ever-present covers were their brainchild, with HONEY's being the undoubtedly the most famous of all (the inner photo is a true "how could they do it?" affair).
While the Players have been sampled like mad by hip-hop artists for years, and are still adored by R&B lovers today, they have been sort of overlooked in the overall pantheon of popular music. Earth, Wind & Fire have been inducted in the Rock & Roll Hall of Fame, as has Parliament/Funkadelic, so why not the Players? Until that day comes, we can be sure that an album as fantastic & funky as HONEY will be one of the things that gets them in there.
1. My Time's Coming
2. Chains Of Madness
3. Darker Side
4. Drop Dead
5. Rocks Funeral
6. No Mercy
7. Drug Fueled Accident
8. Sinister Boy
9. Quick One
The Punks!!!! Ahhh, another long forgotten badass 1970's RnR band, this time from Detroit, Michigan. Heavily influenced by artists such as Iggy & The Stooges, MC5, & Blue Cheer. This is the 2005 reissue version put out by Italian label Rave-Up Records, (currently sold out and out of print) possibly the finest label still releasing records by relatively obscure and classic RnR/Garage/Punk/Glam bands.
Singer Frantic of The Punks
This is what Matt Gimmick had to say in October 2001 about The Punks, featured on the Motor City Music website (they also issued a Punks CD a few years ago, titled The Most Powerful Music On Earth, which more or less contains the same songs on this release, plus a few live versions):
"This Volume I collection of songs was recorded between 1975 and 1977. These tracks aren't from some slick dressed commercial over-rehearsed band of rock star wanna-be's. They were culled from a live performance, rehearsals and low buck studio recordings. It's High Energy - and best described by the word "raunch." If it were to be categorized, this CD should be filed under the Listen Loud section.
There were bands The Punks enjoyed listening to and seeing; groups such as The Underdogs, Unrelated Segments, Velvet Underground, MC5, The Stooges, SRC, early Alice Cooper, and Blue Cheer - the list goes on and on. This CD represents their answer and contribution to the demise of the late great 60's era, especially in and around the Metro Detroit area. After 1970 or so, the Detroit scene died, so the punks geared up and decided to make their own noise.The studio tracks were preparation recordings for an anticipated recording contract with a major label that didn't materialize. "My Time's Comin', "Drop Dead" (a song about feeling good) and "Sinister Bly" were recorded at The Punks' Saline headquarters in Waterford, Michigan. "Chains of Madness," a song about being possessed, and "Drug Related Incident" were recorded at League G studios, utilizing old Motown Records recording equipment. Includes as well "Darker Side," "Rocks Funeral," and "No Mercy (For The Damned)" - a title and song for a follow-up to the Dirty Dozen movie, and "Quick One," about... well, you know! The two live cuts were from the infamous IAC Club in Pontiac, Michigan. These shows were crazy. The audiences were usually drunk, drugged up and rowdy as hell. The late great Lester Bangs of CREEM Magazine would show up with friends to rejuvenate his senses and fill his need for some loud train-wreck type rock'n'roll. "On The Bum," a tune about being a poor rock musician during the disco period, and "Always Had This Problem," - not really an upbeat outlook on life - are two cuts from a show in 1976. Plans are to release more live material on a second volume in the near future.
To witness The Punks doing it live was like a preparation for a major hangover the next morning. There was no enthusiastic jumping around by guitarists Steve Rockey, Alan Webber or bassist Rod McMahon. Lead singer "Frantic", a/k/a William Kuchon, took care of the craziness. Frantic had more energy than a kid on speed, and enjoyed working it out while drummer Craigstone J. Webshire III was content to shred drumsticks the size of logs in the pursuit of annihilating his drum kit. It was loud and aggressive music, fast and rockin', at times slow and heavy with nontraditional guitar interactions of feedback/wah wah/distortion mixed with driving bass runs and an atomic bomb relentless backbeat. Add Frantic's stage presence - a smiling defiant singer with a dislike of the wimpy mainstream acts of the day coupled with a stance on stage that projected a "Hey! Let's get crazy, let's go over the top because there ain't no rules" attitude. Frantic believed he was just a voice cryin' in the wilderness, and he stood proud with an obnoxious-repetitious-ear splitting band of brothers behind him that loved to crank it up. It was destruction volume and energy - not so clean, nice or politically correct in any way, shape, form or fashion. At the time there was no media-coined "punk rock." There were no safety-pinned spike-haired, hey-look-at-me-I'm-tougher-than-you fashion hounds. There was just this band called The Punks, who had no delusional ideas of who they were or what they were trying to accomplish. So sit back, crank it up, and enjoy."
You heard what the man said; Sit back, crank it up, and enjoy!
Sunday, February 11, 2007
The band released two singles, "Son of a Gun" and "Dying for It", prior to releasing an album. In 1989 they released their only album, Dum Dum, on the record label Rough trade. Following the closing of the record label 53rd and 3rd, which they had originally signed to, the band broke up in 1990. However, they reunited later that year to open for Nirvana when they played in Edinburgh.
Though they were not widely known when the band existed, covers of their songs by Nirvana and Kurt Cobain's tendency to mention them as an influence brought exposure to the band. With their songs "Son of a Gun" and "Molly's Lips" covered on Nirvana's album Incesticide and "Jesus Wants Me for a Sunbeam" covered as "jeses doesn't want me for a sunbeam" onMTV unplugged in New York, the band gained a new audience from people who wanted to discover the bands that influenced Cobain (a similar situation happened to the band The Meat Puppets). Due to this new exposure, in 1992 Sub Pop released The way Of The Vaselines: A Complete History, a compilation that contained The Vaselines' entire body of work on one album.
No longer together, members of the band moved on to new bands. Kelly went on to found the band Captain America (later renamed Eugenius). He currently performs solo. McKee founded the band Suckle and released her first solo album, Sunny Moon, in 2006. (Text: The vaselines/Wikipedia)
The Shirelles were originally formed in 1958 in Passaic, NJ, by four high school friends: Doris Coley (later Doris Kenner-Jackson), Addie "Micki" Harris, Shirley Owens (later Shirley Alston), and Beverly Lee. Christening themselves the Poquellos, the girls wrote a song called "I Met Him on a Sunday" and entered their school talent show with it. A school friend had them audition for her mother, Florence Greenberg, who ran a small record label; she was impressed enough to become the group's manager, and changed their name to the Shirelles by combining frequent lead singer Owens' first name with doo woppers the Chantels. The Shirelles' recording of "I Met Him on a Sunday" was licensed by Decca and climbed into the national Top 50 in 1958. Two more singles flopped, however, and Decca passed on further releases. Greenberg instead signed them to her new label, Scepter Records, and brought in producer Luther Dixon, whose imaginative, sometimes string-heavy arrangements would help shape the group's signature sound.
"Dedicated to the One I Love" (1959) and "Tonight's the Night" (1960) both failed to make much of an impact on the pop charts, although the latter was a Top 20 R&B hit. However, they broke big time with the Goffin-King composition "Will You Love Me Tomorrow"; released in late 1960, it went all the way to number one pop, making them the first all-female group of the rock era to accomplish that feat; it also peaked at number two R&B. Its success helped send a re-release of "Dedicated to the One I Love" into the Top Five on both the pop and R&B charts in 1961, and "Mama Said" did the same; a more R&B-flavored outing, "Big John," also went to number two that year. 1962 continued their run of success, most notably with "Soldier Boy," a Luther Dixon/Florence Greenberg tune that became their second pop number one; they also had a Top Ten pop and R&B hit with "Baby It's You." Unfortunately, Dixon subsequently left the label; the Shirelles managed to score one more pop/R&B Top Ten with 1963's "Foolish Little Girl," but found it difficult to maintain their previous level of success.
The group went on to record material for the film It's a Mad, Mad, Mad, Mad World, headlined the first integrated concert show in Alabama, and helped a young Dionne Warwick get some of her first exposure (subbing for Owens and Coley when each took a leave of absence to get married). A money dispute with Scepter tied up their recording schedule for a while in 1964, and although it was eventually settled, the Shirelles were still bound to a label where their run was essentially over. Of course, this was also because of the British Invasion, whose bands were among the first to cover their songs; not only their hits, but lesser-known items like "Boys" (the Beatles) and "Sha La La" (a hit for Manfred Mann). The Shirelles scraped the lower reaches of the charts a few more times, making their last appearance, ironically, with 1967's "Last Minute Miracle." Doris Kenner left the group the following year to concentrate on raising her family, and the remaining Shirelles continued as a trio, cutting singles for Bell, United Artists, and RCA through 1971. The group continued to tour the oldies circuit, however, and appeared in the 1973 documentary Let the Good Times Roll. Shirley Alston left for a solo career in 1975, upon which point Doris Kenner-Jackson returned. Micki Harris died of a heart attack during a performance in Atlanta on June 10, 1982, upon which point the group went into what turned out to be a temporary retirement; the three remaining charter members recorded together for the last time on a 1983 Dionne Warwick record. Different Shirelles lineups toured the oldies circuit in the '90s, though Beverly Lee eventually secured the official trademark. They were officially inducted into the Rock and Roll Hall of Fame in 1996. Doris Kenner-Jackson passed away after a bout with breast cancer in Sacramento on February 4, 2000.
Saturday, February 10, 2007
1 Children of the Sun
2 My Mind
3 Who Do You Love?
5 Find a Hidden Door
6 I Can Take You to the Sun
7 I'm Not Talking
8 Who's Been Talking?
9 I Need Your Love
10 You Don't Have to Go Out
11 I Cried My Eyes Out
12 Like I Do
13 You've Got Me Crying Over Love
1 What Is Love (3:53)
2 She (Will-O-the-Wind) (3:53)
3 Howard Christman's Older (5:10)
4 Lyndia Purple (2:48)
5 One Act Play (3:43)
6 What Love (Suite) (19:05)
Originally formed in 1964 as the Classics (adopting the name CFUN Classics when they gigged to promote local Vancouver, BC radio station CFUN-AM), the group were featured as the house band on Let's Go, a weekly TV show. In 1965, they released two singles as the Canadian Classics -- "Til I Met You" (Jaguar 2002A) and "I Don't Know" (Valiant 723). The band reinvented themselves as the Collectors in 1966. With former horn player Howie Vickers handling lead vocals, they cut "Eyes" and "Don't Feel Bad" -- both of which later appeared on the History of Vancouver Rock and Roll, Volume 4 (VRCA 004; 1991.) "Eyes" -- a fine folk tune seasoned with tasty guitar and just a dash of psychedelia -- is easily the better track. "Don't Feel Bad" has a vague "On Broadway" feel. By 1967, in addition to lead singer Howie Vickers, the Collectors included Claire Lawrence (tenor sax, organ, recorder, flute), Bill Henderson (lead guitar), Glenn Miller (bass) and Ross Turney (drums) -- the band's "classic" line-up. Recordings from this period include the Vancouver smash hit "Lookin' at a Baby" (New Syndrome 16, 1967, subsequently reissued on the History of Vancouver Rock, Volume 3 VRCA 001, 1983) and two other 45s, "Fisherwoman" and "Fat Bird." "Lookin' at a Baby" is MOR flute-pop floating amidst heady clouds of psychedelia. Vickers' departure from the Collectors in 1969 necessitated Henderson's promotion to lead vocalist. Eventually, the band rechristened themselves Chilliwack. ~ Stansted Montfichet, All Music Guide
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"15 Floorshakers beat cuts from the 60's"
Friday, February 09, 2007
These 3 CDs collect a range of Chatham's work. The entire first disc comprises the piece "Two Gongs," and that's what it is- a whole hour of relentless metallic thunder. I hated it at first but it also can be fascinating and more than a little hypnotic. The other pieces are scored either for a brass ensemble (these two pieces I don't particularly care for) or for a "rock band" consisting of anywhere from one to one hundred guitars, bass, and drums, which are quite impressive. "Die Donnergotter" is twenty minutes of driving, extremely Neu!-sounding blasts of music. Really cool stuff.
Well, it's not every day you stumble across not only on an artist such as Childish but an album such as this. Billy Childish (1959-) has left an obscure and weathered footprint on the face of culture. Besides this recording has done many full-length records, books, and produced a great many paintings. This album highlights aspects of 40s era blues and timeless folk. Its opening track also resounds free-form jazz (with an accordian seconded to none.) Childish gives all he has into everything he does, and this is a fine example, though I now realize credit must be given where it is due, and this record is not by Childish exclusively but with his group The Black Hands. The only other records I know of by the black hands is one entitled "Captain Calypo's Hoodoo Party" and "Live in the Netherlands" but he has a vast catacomb of works with groups including Thee Milkshakes, Thee Headcoats, The Mighty Ceasers, recordings with fellow musican/poet Sexton Ming, and a lucrative solo career.
Baby Night (Sweet Smoke) (16:24)
Silly Sally (Sweet Smoke) (16:22)
Andrew Dershin: Bass
Jay Dorfman: Drums and percussion
Marvin Kaminowitz: Solo guitar, Vocals
Michael Paris: Tenor sax, alto recorder, vocals, percussion
Steve Rosenstein: Rhythm guitar, vocals
Sweet Smoke responsible for all manner of percussion
Sweet Smoke was an American music group living and playing in Europe from 1970 till 1974. Originally from N.Y. the group moved to Germany where they lived as a family commune.
Darkness To Light
Just An Empty Dream (4:20)
I'd Rather Burn Than Disappear (4:15)
Believe Me My Friends (4:29)
Show Me The Way To The War (5:30)
Darkness To Light (12:51)
Michael Paris: Sax, Flute, Vocal
Marvin Kaminowitz: Guitar, Vocal
Steve Rosenstein: Guitar, Vocals
Rochus Kuhn: Violin, Cello
Jeffrey Dershin: Piano, Percussion, Vocals
Andrew Dershin: Bass
Jay Dorfman: Drums
"To Sweet Smoke music was not simply a collection of songs that the audience would sit back and listen to, but rather it was a living vehicle through which they could share with everyone their vision and joy of life.
To Sweet Smoke music was magic, their concerts were an interaction between them and their audiences, and their group was like a Cosmic Space Ship forever exploring the unknown regions of our musical universe."
Sweet Smoke Live
First Jam (Sweet Smoke) (19:19)
Shadout Mapes (Rick Greenberg) (11:18)
Ocean Of Fears (Marvin Kaminowitz) (6:42)
People Are Hard (8:17)
Schyler's Song (9:03)
Final Jam (13:47)
Rick Greenberg: Rhythm guitar, Sitar
Marvin Kaminowitz: Lead guitar, vocals, percussion
John Classi: Percussion, sound effects
Andrew Dershin: Bass guitar, percussion
Jay Dorfman: Drums, percussion
Martin Rosenberg: Tamboura, percussion
Recorded live in Berlin, Musikhochschule, 1974, for the benefit of Ananda
Marga Yoga Society.
Shadout Mapes was a character in Frank Herbert's classic sci-fi novel
"Mid Sixties Berserk Rockin' Bands from All Over"
A super rare psych monster.
"Felt" 2000 (CD Akarma 127, Italy) [digipak]
"Felt" 2000 (Akarma 127, Italy)
Strong Southern psychrock LP that's probably the best thing on the label. Excellent teenage vocals and a wide-ranging spectrum of influences including late Beatle-psych, mellow west coast-jamming and early 1970s hardrock, held together by a tight band who obviously put a lot of effort into this album. Strange that this took so long to get reissued, although the bizarre cover may have contributed. (PL)
Solid album that goes from Beatlesque pop to bluesy hard rock, this one gets everything right. The ten-minute song that starts side two has an awesome riff and maintains a fantastic level of intensity. Sounds awfully mature for the work of a supposedly 17-year-old singer/songwriter. A really good one. The album was mastered a little off-center, and the Akarma reissue was mastered from the vinyl. The last song on both orig and re has an annoying wavery sound to it. A reissue from the master tapes would be very welcome. [AM]
This album is unexpectedly diverse and impressive. The opener 'Look At the Sun' served as an atypical, but gorgeous ballad. It sounds kind of strange but the song actually benefits from Jackson's somewhat quivery vocal performances. Couple with some great lead guitar at the end of the track, it's also the most commercial song on the album. Sporting an anti-drug lyric 'Now She's Gone' starts out with a pseudo-jazzy flavor complete with scat segments before mutating into a bluesy segment and then going back into jazz mode. It probably doesn't sound very promising on paper, but somehow these guys make it one of the album's most entertaining pieces. Musically 'Weepin' Mama Blues' is a pretty standard keyboard and guitar propelled blues workout that sports some killer drum work and a lead guitar and scat vocal combination that won't quit. It may also have Jackson's best vocal performance. He sure doesn't sound like a 17 year old on this one. Clocking in at over ten minutes and going through numerous time changes, "The Change" is an entertaining mix of progressive and hard rock moves. As for the two other tracks; "World" was a decent hard rock number that's knocked down a notch by Jackson's strained falsetto vocal (though part of the problem may explained by a pressing defect that saw the album mastered slightly off center). The final selection "Destination" was simply bland. All in all a real surprise with great songs, great performances and surprisingly clean and sophisticated production work. [SB]
Cymande - Best of Cymande
01 The Message
02 Brothers on the Slide
06 For Baby Woh
08 Equitorial Forest
10 Getting It Back
12 Willy's Headache
14 Pon de Dungle
15 Rastafarian Folk Song
16 One More
17 Zion I
Short-lived but legendary, Cymande is oft-compiled on funk assemblages, but this CD of their first two LPs is altogether necessary, even if the music moves away from tight beats into Rasta-folk toward the end. Cymande's reputation has grown considerably over the last twenty years. Featuring a multi-national crew with a strong Caribbean influence, the band produced a few hits in the early seventies, then disappeared. But the epochal "Brothers On the Side," and the ingeniously structured "Fug" contain a subtlety and tension lacking in all but the best bands of the era. As usual, the Collectables label's sound quality is passable, but nothing to brag about. --D. Strauss
Invigorating head music done Rastafarian style by Cymande. "Zion I" is a spiritual chant put to music, setting the mood for Cymande. A laid-back "One More" lulls you into subliminal meditation before "Getting It Back" jolts you into some scintillating Jamaican funk-fusion. There's a message in many of Cymande's cuts, with "Listen," and "Bra" (a recognition of the women's lib movement), the most inspiring. Both are sung with passion, and are skillfully executed; the former is slow and painstaking in its message, while "Bra" slaps you upside the head with a stirring sax solo and bass-fueled vamp. An air of supreme coolness permeates Cymande, unusual for a first effort written by members of the band. Cymande sound like they have done this before; nowhere is this more evident than on the beautiful "Dove," a gorgeous concoction of lead guitar, tambourines, haunting backing vocals, and percussion, with the horns used as sparingly as table-seasoning on a gourmet dish. Along with "Bra," the group's most popular cut is "The Message" -- it's difficult keeping body parts still on this grooving mutha. All in all, Cymande is a marvelous collection that premiered a fine funk band. ~ Andrew Hamilton, All Music Guide
Although underappreciated and woefully overlooked during their original tenure together, the fine early-'70s outfit Cymande (pronounced Sah-mahn-day) was one of the first to merge African rhythms with rock, funk, reggae, and soul. Comprised of members who hailed from such exotic locales as Guyana, Jamaica, and St. Vincent, the nine-man lineup (who were all entirely self-taught) contained Steve Scipio (bass), Ray King (vocals, percussion), Derek Gibbs (alto/soprano), Pablo Gonsales (congas), Joey Dee (vocals, percussion), Peter Serreo (tenor), Sam Kelly (drums), Mike Rose (alto, flute, bongos), and Patrick Patterson (guitar). The band issued a total of three releases: 1972's self-titled debut (which spawned one of their best-known songs, "The Message," peaking at number 22 on the domestic R&B charts in 1974), 1973's Second Time Around, and 1974's Promised Heights -- before splitting up. But by the '90s, Cymande became the recipient of a strong cult following as another track from their debut, "Bra," was included on the soundtrack to Spike Lee's motion picture Crooklyn, and several of their songs were sampled by rap artists (including Raze, Master Ace, MC Solaar, De La Soul, DJ Kool, and the Fugees). Due to sudden interest in Cymande, a pair of compilations were issued -- a British double CD titled The Message (which collected all three of their albums) and a 13-track collection, The Soul of Rasta. ~ Greg Prato, All Music Guide
Thursday, February 08, 2007
Charles McCormick (lead vocal, bass guitar)
Charles Love (lead vocal, guitar)
Willis Draffen (vocal, guitar)
Henry Williams (vocal, percussion)
Eddie Summers (drummer)
1. Outside Woman
2. What Did You Do To Me? (Part 1)
3. What Did You Do To Me? (Part 2)
5. Everybody Needs Love
7. Keep Our Own Thing Together
8. Let Me Ride
9. Traffic Cop, The (Dance)
10. Moulded Oldies: Hound Dog / Searchin' / So Fine
In fact, Bloodstone was a very good funk-soul group using the Hendrix-derived licks of Charles Love and Willis Draffen against multiple percussion ideas to underpin a vocal blend that still owed its soul to gospel and doo wop. Bloodstone received no record company interest in L.A., however, so at the advice of its manager, the group relocated to London in 1971. There, they teamed up with Mike Vernon, founder of the Blue Horizon label, who'd made his bones producing an album with the great Chicago pianist Otis Spann; white blues acts like Fleetwood Mac and Savoy Brown; and early Euro-rock with Focus. Vernon took Bloodstone into the studio and by early 1973, its debut single, "Natural High," had cracked the RB and pop Top Ten, becoming the group's defining song.
Vernon produced the first five Bloodstone albums, which garnered seven Top 20 RB singles, almost all of which made the pop Top 40. The group was a big concert draw, and its album sold well, if not spectacularly. Somehow, all of this was parlayed into a 1975 film deal. Train Ride to Hollywood is arguably the funniest picture of the whole '70s blaxploitation film boom, derived in equal parts from the Marx Brothers and such early spoofs as The Palm Beach Story and International House. Somehow, amidst the slapstick and the reefer jokes, Bloodstone wedges in a fairly complete history of black vocal harmony music from the Mills Brothers to the Coasters to their own bad selves. They do it even better on the soundtrack album. The group then faded from popular view, despite a brief stint at Motown, until the early '80s, when it hooked up with the Isley Brothers' T-Neck and scored a commercially and artistically successful album, We Go a Long Way Back, produced by the Brothers. The title track returned them to the RB Top Ten in 1982, but although several other T-Neck singles charted, the group's recording career essentially ended there. Nevertheless, this heartland group had made a significant mark and can lay fair claim to being one of the first to figure out its particular era's future.
When I first heard this record upon its initial release I was horrified. The Meat Puppets' previous album had been one of the best things I'd heard during the 80s, but this platter abandoned II's cranium lifting blend of punk and country music for slicker pastures. The songs were studded with ultra-tight digressions straight out of the Al DiMeola tablature charts. Do I really need or want to know how fast the Meat Puppets could play scales?
14 years later, I think I might have been a bit hard on Up On the Sun. The fusion moves are still as tight and twitchy as a squirrel's rectum, and not much better smelling, but there's more to this record than flash. "Swimming Ground," "Two Rivers," and the title song abound with stoned, joyous imagery that offers an unforced, sunbaked spirituality. When Curt Kirkwood got past showing us how fast his fingers could move, his digits coaxed spacy, prismatic colorations and brittle vanilla funk riffs out of his guitar.~Ink Blot Magazine Review
Wednesday, February 07, 2007
CD 2: Live 1981 - 1982
Collectively recorded at the Governors Pleasure, The Rocks, Sydney, January 1981; Bombay Rock, Melbourne, February 1981; Myer Music Bowl, Melbourne, January 1982 and the Family Inn, Rydalmere, Sydney, February 1982.
Why Do I Cry/Guts Of Iron /Love to Rule /Strategy Idol /Tomorrow Will Be Fine /My Only Friend /Alone With You/What You Need /I'm Shakin'/Tunnel Of Love/I Don't Want You /Happy Man /I Can't Talk to You /The Seeker /I Want to Be Alone /Let You Go /Thrill /I'm No Satisfied /Trouble in My Brain /You Need A Friend /Happy Birthday
Sydney band The Sunnyboys remain one of the most highly regarded and best-loved bands of the Australian 'post-punk' era. Fronted by the enigmatic and youthful singer/songwriter cum guitarist Jeremy Oxley, the band breathed some freshness and vitality into the Sydney music scene in the early 80s. Essentially The Sunnyboys wore their influences on their sleeve; The Remains, The Flamin' Groovies, The Kinks and The Beatles with a dash of Detroit muscle thrown in for good measure. They produced melodic power pop classics.The Sunnyboys announced their break-up in June 1984.
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"16 KILLER BEAT-PUNKERS FROM EUROPE 1965-66"
2 The Petards - Baby, Run Run Run (Schrecksbach, Germany)
3 The Bootjacks - Red Big Car (Malmo, Sweden)
4 Les Sauterelles - Janet (Zurich, Switzerland)
5 The Marquees - Marquees Party (Badhoevedorp, Holland) *
6 The Dynamites - Don't Leave Me Behind (Basel, Switzerland)
7 The Mods - Nobody's Woman (Winterthur, Switzerland)
8 The Guards - Hullabaloo (Duisberg, Germany)
1 Los Shakers - Gitana (Madrid, Spain) *
2 The Phafer - Dimmi La Verità (Venice, Italy)
3 The Nightbirds - Nightbirds (Switzerland)
4 The Zipps - Roll The Cotton Down (Dordrecht, Holland)
5 The Safaris - Crazy Crazy (Paderborn, Germany)
6 The Strings - Don't Go (Hamburg, Germany)
7 The Deans - Hurt By Love (Stockholm, Sweden)
8 The Fabulous Blue Jays - I'll Make You Cry Too (Brisbane, Australia)
* indicates that the track only appears on this compilation
"Indiana In The Garage Era"
2 The XL's - Mary Jane
3 The Cirkit - Yesterday We Laughed
4 Shooting Stars - I Love Her Anyway
5 The Ferris Wheel - Come Back Baby
6 Sir Winston & The Commons - One Last Chance
7 Teen Tones - Long Cold Winter
8 Blues Inc. - Tell Me Girl
1 The Endd - Come On Into My World
2 The Tikis - Careful What You Say
3 Wild Things - I'm Not For You
4 The Cirkit - I Was Wrong
5 The Backdoor Men - Evil
6 The Dukes - Take Your Love
7 Idle Few - Farmer John
8 Mere Image - Get Stoned (Goin' Out Tonight)
01 Assault & Battery (part1) (Brock)
02 The Golden Void (part2) (Brock) 10:20
03 The Wizard Blew His Horn (Moorcock/House/Powell/King) 2:00
04 Opa-Loka (Powell/King) 5:40
05 The Demented Man (Brock) 4:20
06 Magnu (Brock) 8:40
07 Standing at the Edge (Moorcock/House/Powell/King) 3:45
08 Spiral Galaxy 28948 (House) 3:55
09 Warriors (Moorcock/House/Powell/King) 2:05
10 Dying Seas (Turner) 3:05
11 Kings of Speed (Moorcock/Brock) 3:25
12 Motorhead (Kilmister) 3:02
Dave Brock - guitar, sybthesiser, bass guitar on track4, vocal on tracks 1, 2, 5, 6 & 11
Nik Turner - tenor & soprano sax, flute, vocal on tracks 7 & 10
Lemmy - bass guitar, vocal on track 12
Simon House - mellotron, moog, piano, synthesiser & violin
Simon King - drums & percussion
Alan Powell - drums & percussion
Michael Moorcock - vocal on tracks 3 & 9
Warrior on the Edge of Time From Wikipedia
Warrior on the Edge of Time is Hawkwind's fifth studio album. It reached #13 on the UK album charts.
Having recruited a second drummer, Alan Powell, this album's line-up was short-lived, by the end of the year, bassist Lemmy had left and vocalist Robert Calvert had rejoined. Originally issued in a sleeve that unfolds into the shape of a shield, Warrior on the Edge of Time features some of Hawkwind's best-loved future showstoppers, like the swirling instrumental "Spiral Galaxy 28948," the frenetic "Assault and Battery," and the "Kings of Speed". Most of the album has a highly psychedelic flavour, consolidating the style of the previous album Hall of the Mountain Grill. Many of the lyrics are by Michael Moorcock and the album is loosely based on the concept of Moorcock's Eternal Champion.Credits :
Recorded Rockfield Studios, Mar-1975. Produced by Hawkwind, engineerd by Dave Charles. Mixed at Olympic Studios, engineered by Phil Chapman and Steve Owen.Kings Of Speed and Motorhead recorded at Olympic Studios, Jan-1975.Sleeve designed by Comte Pierre D'Auvergne. The original album sleeve unfolds into a large shield-shape, revealing that the silhouetted Warrior is standing at the edge of an apparently bottomless chasm. The landscape on the other side of the chasm is a mirror image, with another setting sun. Taken as a whole the image gives the impression of a face, with the suns as eyes, the clouds in the chasm forming a vague nose and mouth, and the cliffs on either side forming a helmet covering the cheekbones. The reverse of the cover depicts a bronze shield bearing the 8-rayed emblem of Chaos, as described in Moorcock's books. There is an optical illusion in this design, akin to the two views of the Rubin vase that provides an alternative, bawdy, picture: the upward curve of the overhang to the chasm making the bridge of the "nose" a phallic tip; the twin suns and clouds become ovaries sweeping into the trees as Fallopian tubes; the alternative image is blatantly that of intromission. In confirmation: the "shield-shape" structure has an alternative interpretation: as a pair of underpants.
On some versions of the vinyl pressing, the fifth track is listed on the sleeve as "The Demented Man", but on the record label itself it is listed as "The Demented King".
"Assault & Battery" lyrics quote from Henry Longfellow's Psalm Of Life poem.
"Opa-Loka" is a homage to Neu!
"Opa-Loka" the bass guitar parts it's played by Dave Brock....Lemmy was sleeping(?)!!!
"Magnu" lyrics are based upon Percy Shelley's Song To Apollo poem.
Band quotes :
"Warrior On The Edge Of Time was a concept of mine. What Dave tends to do is he says 'Do us a concept' or 'I've got this rough concept, can you work it out?' I do it, then Dave has a different idea and the whole thing shifts away, so that's the way it works. It's a perfectly good way of working - it tends to give Dave a bit of a start or whatever. I was doing a lot of my 'Eternal Champion' stuff on stage, so it seemed automatic to do that because there were so many numbers I could fit into that. I was only in the studio about an hour to do the stuff I did, and it was one of those weird things I didn't get the session fee either." - Michael Moorcock, Orbit 6
"The album was a fuck-up from start to finish. That "Opa-Loka" was a lot of fucking rubbish. I wasn't even on that. That was the drummer's thing, that track... We were kind of complacent anyway. If you have a hit album, you're complacent, and if you have two you really are in trouble. With them, they had four, 'cos they had In Search of Space before me... There's great stuff on all them albums. "The Golden Void" was a beautiful track, but by then I was well out of favour." - Lemmy (The Saga of Hawkwind)
"There was some good stuff on that album. I think we peaked then, in 1974/75." - Dave Brock (The Saga of Hawkwind)
“I suppose I’m two-thirds happy with this one. For me that’s not bad as I was only half happy with the last one! Warriors is a different musical thing because it’s Simon House’s first real contribution: on Mountain Grill he was too new to be able to have that much influence, and now, of course we’ve got Allen as a second drummer, which has meant a lot of changes.” - Simon King, Beat Instrumental, July 1975
"The best Hawkwind album ever...Recommended !!!" - Opa-Loka
Tuesday, February 06, 2007
TOMMY LOZANE vcls A
MARK drms A
JOHN MEKENIAN organ, piano A
RONNY REYES ld gtr, vcls A ART SANCHEZ bs, vcls A
(Vernon Joynson/Stephane Rebeschini)
"MASSACHUSETTS TOP BAND OF '66-67"
3 The North Atlantic Invasion Force - Blue And Green Gown
4 The Barbarians - Hey Little Bird
5 Monday's Mondos - I'm Cryin'
6 Love Inc. - She Don't Care About Me
7 The Remains - Talking About You
8 The Shyres - Where Is Love
9 The Insane - Someone Like You
1 The Landlords - I'll Return
2 White Fluff - Vegetable Binge
3 The Blue Beats - Extra Girl
4 The Tallysmen - You Don't Care
5 The Shadows Four - I'm Beggin' You
6 The Renegades - Waiting For You
7 The Plagues - To Wander
8 The Fifth Generation - If I See Her
9 Back Street Boys - Back St. Blues
10 The Others - My Friend The Wizard
1 The Stonemen - No More
2 The Levis - That's Not The Way
3 The Zipcodes - Baby Made A Fool Out Of You
4 The Ramrods - Merry Go Round
5 The Instincts - Don't Look Back
6 The Rising Storm - To R.S. - Who Won't Know
7 The Summer Sounds - First Date
8 The Rouges - Faces On The Wall
Monday, February 05, 2007
1. Africa Steals The Show 12:22
2. Round Dance 8:35
3. 200 Clichés 5:08
4. Das Zwickmaschinchen 4:43
5. Guru Guru Ltd. 11:39
Over four phenomenal extended tracks this 1973 major label debut for the German Krautrock group is an essential ride through space rock territory for fans of early Kraftwerk, Can, and Faust. "Africa Steals the Show," "Round Dance," "200 Clinches," and "Das Zwickmashinchen" are mind-boggling forays into avant-rock territory -- recorded by the stripped-back Guru Guru incarnation. At this point in 1973, Guru Guru was a trio of Ax Genrich on guitar, Hans Hartmann replacing Uli Trepte on bass, and leader Mani Neumeier on drums and keyboards. Essential primitive guitar overload meets avant-rock experimentation results in a powerful album, to say the least.
~ Skip Jansen, All Music Guide
"A Compilation of New England Garage Bands"
1 Groundspeed - In A Dream
2 The Royal Aircoach - Wondering Why
3 The 5: P.M. - How Many Days
4 The Eastern Alliance - Love Fades Away
5 The Instincts - No, No, No
6 Dry Well - Gypsy 7
7 The Fumin' Humins - Relative Distance
"17 FAR-OUT SONGS FROM YOUNG PENNSYLVANIA!"
1 The Shandells - Chimes
2 The Centurys - Endless Search
3 The Kings Ransom - Shadows Of Dawn
4 The Bentleys - Now It's Gone
5 The Colors Of Night - C-O-L-O-R-S
6 The Loose Enz - The Black Door
7 The Loose Enz - Easy Rider
8 Fred - A Love Song
2. It's Forever
3. Life In The Country
4. Sexy Ways
5. I'm So Glad I'm Me
6. I'll Try
7. Nation Time
8. I Believe
9. You're The Reason Why
Hawkwind - Kinetic Playground
Birmingham. 6 December 1971
01 Technicians Of Spaceship Earth
02 You Shouldn't Do That
03 The Awakening
04 You Know You're Only Dreaming
05 Spirit Of The Age
06 Master Of The Universe
08 Earth Calling
09 Silver Machine
11 Born To Go
Dave Brock: guitar, vocals
Nik Turner: flute, vocals
Lemmy: bass, vocals
DikMik: audio generator
Del Dettmar: synthesiser
Bob Calvert: voice
An early audience recording of Hawkwind in full flight.
It's a surprisingly good one as well and very much nature of the band at that time.
The regular drummer at the time, Terry Ollis got mislaid for this show
and so Twink from the Pink Faries is on drums throughout.
Some may be surprised to see Spirit Of The Age in the set
so early on as it's usually associated with later Hawks.
(Shn plug-in for winamp included to the rar folders)
this is not mp3 files but shn !!!
Mahavishnu Orchestra With John McLaughlin
Birds of Fire - 1973 @320
1 Birds of Fire
2 Miles Beyond
3 Celestial Terrestrial Commuters
4 Sapphire Bullets of Pure Love
5 Thousand Island Park
7 One Word
9 Open Country Joy
Sunday, February 04, 2007
1 The Crucibles - You Know I Do
2 The Barons - Tomorrow Never Ends
3 The Uncivilized - Back Again
4 Royale Coachmen - Killer Of Men
5 The Boards - Please Tell Me Why
6 The Half Beats - Should I
7 The Possums - King In His World
8 The Avantes - Baby Go
9 The Bryds - Why Did You Break My Heart
1 The Hearts Of Stone - Too Hard To Please You
2 Les Rockers - There's A Pain
3 Jerry Waugh & The Skeptics - For My Own
4 The Playgue - Baby No More
5 Bo & The Weevils - My Time
6 The Conquests - Is It Right?
7 We The People - Girl Of My Dreams
8 The Shan Dels - Please Stay
9 Pete Morticelli - Lost
Keith Streng: drums, bongos, tamborine, clavas, vocals
Chaz Leiland: bass, backing vocals
Danny Harvey: lead guitar, rithem guitar, grand piano
Garage / Psych
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Pineapples from the Dawn of Time
Saha/Too Much Acid? 7'' (Vinyl) 1986
The Pineapples From The Dawn Of Time formed in 1985, out of the ashes of Brisbane's punk scene from the early part of the decade. A band was formed out of members from outre outfits such as Kicks, Riptides, The Ken Palmer Connection, Tex Deadly & The Dum Dums and The Kingswood Trio.
Often adorned in ridiculous costumes, the band played around Brisbane between 1985 and 1987 while gaining a cult following due to their onstage antics and songs about mass murderers, science fiction shows and drugs. In that time, the Pineapples released the double A side single 'Saha/Too Much Acid?' and an LP, 'Shocker' - both of which sold out shortly after their respective launches.
"18 desperate garage-punkers gems"
1 The Aquinos - Jaguar
2 No Left Turn - In The City
3 Shambles - I Just Think Of You
4 One Of Hours - Trifolia
5 The Beech Resorts - Springtime
6 James & The James Gang - Act Right
7 Fortels - Merry Go Round
8 Michael John & The Pendulums - You're Wrong Girl
9 Noblemen 4 - I Can Hear Raindrops
2(A) ASCENDING (MGM SE-4569) 1968
3(A) JOYFUL (MGM SE-4599) 1969
4(B) ORPHEUS (Bell 6061) 1971
1 Can't Find The Time/Lesley's World (MGM K 13882) 1968
2 I've Never Seen Love Like This/Congress Alley (MGM K 13947) 1968
3 Brown Arms In Houston/I Can Make The Sun Rise (MGM K 14022) 1969
4 By The Size Of My Shoes/Joyful (MGM K 14139) 1970
5 Big Green Pearl/Sweet Life (Bell 45 128) 1971
NB: There have also been some reissue 45s: Can't Find The Time / Brown Arms In Houston (MGM Golden Circle MVG 529) and (Polydor Band Of Gold MVG 529); and Can't Find The Time (Rock 'n Mania RMGD-2424A).
ERIC GULLIKSEN vcls, bs A
JACK McKENES vcls, gtr A
HARRY SANDLER vcls, drms A
K.P. BURKE hrmnca B
HOWARD HERSCH bs B
STEVE MARTIN vcls B
BERNARD PURDIE drms B
ELLIOT SHERMAN piano, clavinet B
From Worcester, Massachusetts, Orpheus were formed by ex-Villagers, Arnold and McKenes, Gulliksen from The Blue Echoes and Harry Sandler from The Mods. McKenes and Gulliksen had earlier worked together in a few folk groups, including The College Boys, who had one 45 The Man (Swan S-4166) 1963. Gulliksen: "This was a Kennedy tribute record; the group name was selected by Swan to remove commerciality from the record!". Under the guidance of Alan Lorber, who produced all their albums, Orpheus became part of the "Boss-town Sound" movement but cultivated an almost singer-songwriter styled soft rock sound with folkie elements, at variance with the overtly psychedelic sounds and image of most of their stablemates. Possibly a marginal case for inclusion here therefore and not recommended to either garage or psych fans, although some of their material could be classified as 'hippie-rock' at a stretch. Check out their contributions to the double CD set The Best Of Bosstown Sound: Can't Find The Time To Tell You (1967), Walk Away Renee (1968), Brown Arms In Houston (1969), Tomorrow Man (1971) - and decide for yourself. They should be given credit for having a wider appeal and more output than most of their regional stablemates which saw them survive most of the hype and subsequent critical backlash. One of their songs, Can't Find The Time, was also covered by sixties instrumental band Groovin' Strings on their 1969 album Groovin' Strings And Things, and Rose Colored Glass, who had a Top 40 hit with the song. Other covers have included Brown Arms In Houston by the Plastic Cow on an album called The Plastic Cow Goes Moog (!?!?) and a very interesting cover of Congress Alley by a New York jazz funk group called "Congress Alley" on their album Congress Alley. Eric G: "A few years after the group split up, Harry Sandler went to California where he did various things like being wardrobe manager for Sha Na Na, cue card boy on "Wheel of Fortune", etc. Later he got into personal management (no, he's not the Harry Sandler who manages John Mellencamp) and handled several fairly successful TV personalities. Harry hadn't heard of the Rose Colored Glass or of their version of Can't Find The Time. At a party, he struck up a conversation with a fellow there ... turned out that he was also an ex-drummer, hailing from Texas, that had also gone ex-pat to California. Harry asked if they had had any records, and the guy said yeah, his group was the Rose Colored Glass, and they had had a hit with Can't Find The Time. That blew Harry away - "hey! I was in Orpheus and that was OUR major hit!" The Texan, on the other hand, had never heard of Orpheus - he said that their singer had brought in the song and suggested that they do it, and they went ahead without ever having heard the original. Small world, eh?"
Fans of the band might be interested to know that legendary studio drummer Bernard "Pretty" Purdie was used on some material on the early LPs but as was the industry standard at the time, he did not receive credit for the work. Orpheus also performed the theme song for the MGM movie "Marlowe", starring James Garner, called Little Sister. Jack McKenes and Bruce Arnold can also be heard on a 45 by The Alan Lorber Orchestra, Massachusetts / Congress Alley (MGM K-13926SS). Can't Find The Time was covered more recently by Hootie and The Blowfish and this version was included on the soundtrack for the 2000 Jim Carrey movie "Me, Myself and Irene". Eric's verdict - "It's not bad at all, certainly better than the one by The Rose Colored Glass back in the seventies".
(Max Waller/Grayson Delworth with thanks to Eric Gulliksen and Bruce Arnold)
Saturday, February 03, 2007
02. The Sand Man
03. Billy Morsa
04. Trouble Child
05. My Love
06. And I Saw Her Walking
09. Baby, Baby (bonus)
10. I Must Go (bonus)
11. Las Mil Millas Del Amor (bonus)
12. Sonrisa De Cristal (bonus)
- Saul Cornejo / guitar, vocals
- Manuel Cornejo / drums
- Eddy Zaraus / bass
- David Levane / guitar, vocals
- Carlos Salom / keyboards
- Alex Abad / percussion
Laghonia - 1971 - Εtcetera
02. Mary Ann
03. I'm a Nigger
04. Everybody on Monday
05. Lonely People
06. Speed Fever
07. Oh! Tell Me Julie
08. It's Marvelous Cornejo
09. World Full of Nuts (Bonus)
10. We All (Bonus)
11. No Solution (Bonus)
12. Bengal Tiger (Bonus)
- Saúl Cornejo / guitar, piano, vocals, guitar (12 string acoustic)
- Davey Levene / guitar, vocals
- Ernesto Samamé / bass (electric)
- Carlos Salom/ organ (Hammond B2)
- Manuel Cornejo / drums
- Alex Abad / percussion
- Carlos Guerrero / vocals (background)
LAGHONIA biography (from Progarchives)
Album 1.- Glue (1971) All material recorded since 1971
Album 2.- Etcetera (1971)
Album 3.- Unglue (2004)
2 Zoo - Go
3 The Idols - Wanted By The Law
4 The Crowns - You're My Only Love
5 The Idols - He's The One
6 New Hopes - I Found A Love
7 The Bluebirds - Just Remember
8 The Vikings - I'm Trying
9 The Olympians - Hopeless Endless Way
10 Zoo - Six Miles From The Cage
11 The Juniors - Miss Blue Jeans
12 Phoenix - Senza amore
13 Uptight - I Love You
14 Nelli Manou - Crazy Girl
15 The Bluebirds - Sweet Polly
16 The Charms - It's My Life
Giant Sand, originally The Giant Sandworms, is an American rock band, based in Tuckson,Arizona(although Los Angeles, California was its home for many years). Overseen by singer-songwriter-guitarist-pianist Howe Gelb sideman). Guest artists -- though it is hard to tell at times where the band leaves off and the guests begin -- have included , its membership has shifted over the years -- at times with each album -- though for a long while the drum and bass duties were handled by John Convertino and Joey Burns, who went on to form Calexico. Other members have included keyboardist Chris Cacavas (of Green on Red), bassist Paula Jean Brown (a late-period Go-Go, and married to Gelb at the time) and drummer Tom Larkins (afterward a Jonathan RichmanVictoria Williams, Neko Case, Juliana Hatfield, PJ Harvey, Vic Chesnutt, Steve Wynn, Vicki Peterson, Rainer Ptacek, nearly all of Poi Dog Pondering and regular cameos from Gelb and Brown's daughter, Indiosa Patsy Jean.
The line-up was Holly Golightly, Kyra LaRubia and Ludella Black. Bongo Debbie often performed songs with the band when they played live (she left in 1999).
Some of the trippiest soul music ever recorded -- an amazing collection of work by the legendary Rotary Connection -- early home to vocalist Minnie Riperton and arranger Charles Stepney!
Minnie Riperton, soprano (voice)
Kitty Haywood, soprano & alto (voice)
Shirley Wahls, contralto (voice)
Dave Scott, tenor (voice)
Charles Stepney, piano, harpsichord, organ, electric piano
Sydney Simms, bass
Donny Simmons, drums
Phil Upchurch, Pat Ferreri, guitar
Master Henry Gibson, congas
Produced by Charles Stepney
A1 If I Sing My Song (2:53)
A2 The Sea & She (3:30)
A3 I Am The Blackgold Of The Sun (5:20)
A4 Hanging 'Round The Bee Tree (3:32)
A5 Hey, Love (4:00)
B1 Love Has Fallen On Me (4:10)
B2 Song For Everyman (5:32)
B3 Love Is (4:42)
B4 Vine Of Happiness (4:36)
A massively beautiful piece of work by "the new Rotary Connection" -- a version of this groundbreaking Chicago soul ensemble which featured Phil Upchurch, Henry Gibson, and Charles Stepney -- the cream of the Chicago production scene! Minnie Riperton's still in the band on vocals, and her work on the LP is similar to that on the legendary Come To My Garden LP. The album features the incredible track "I Am the Blackgold of the Sun" -- a haunting soul anthem that has been a favorite of groovers for years, and which was later made into a house track by NuYorican Soul. A great album all the way through, and filled with loads of excellent cuts! Other tracks include "If I Sing My Song", "Hey, Love", "Love Has Fallen On Me", and a cover of Terry Callier's "Song For Everyman
The Rotary Connection's final album, "Hey, Love" is, in my opinion, their very best. The light Brazilian "If I Sing My Song" will put a smile on the face of the most critical listener. Our heart strings are gently pulled by "The Sea & She" and we remember sweetly. The jazzy-funky "I Am The Black Gold Of The Sun" takes us back to a time of self realization and acknowledgment of human spirit. We are then intellectually reminded of the paradox and complexity of "Hangin Round The Bee Tree". The title track, "Hey, Love" is a bountiful and jazzy tune that is enjoyed just as much in 1999 as in 1971. "Love Has Fallen On Me" (covered by Chaka Khan in 1978) is an upbeat blues/gospel tune. And if all of this brilliance wasn't enough, Rotary Connection sweetly and lovingly covers the Dell's classic "Love Is". "Vine of Happiness" is the perfect final track as is "Hey Love" the perfect final group effort.
The Charles Stepney headed psychedelic soul band that introduced the world to the voice of Minnie Riperton.The Rotary Connection were Chess/Cadet records answer to the late sixties and early seventies flower power movement.Now this could well have been a total disaster as the label went looking to cash in on the hippy market.Well with Stepney at the helm writing,producing and arranging as well as playing keys we get a soul gem on an orchestral scale that has four singers,some incredible Stepney production and one of the greatest songs ever written namely I Am The Black Gold Of The Sun. Just wonderful music that lifts the spirit.
Friday, February 02, 2007
Kill Them All
Die You Fuck
Lipstick On My Dick
Thank Rob Vomit for this...
2 The Saints - Girl Forgive Me
3 Psychedelic Sound - Sorry Baby - Goodbye
4 Yesterday's Obsession - Complicated Mind
5 The Kids - Lovin' Everyday
6 The Young Tyrants - She Don't Got The Right
7 The Barons - I'll Never Be Happy
8 Tomorrow's Headlines - Walking In The Rain
9 The Berries - What In The World
1 George Washington & The Cherry Stompers - The Back Shelf Of Your Mind
2 Facts Of Life - All In Good Time
3 Tony Sales & The Tigers - When The Party's Over
4 The Lost Chords - I Want To Be Her Man
5 The Impacts - Don't You Dare
6 The Wizards - I'm Blind
7 The Chancellors - Don't Tell Me
8 The Pastels - Where Is The Answer
9 The Ethics - Can't You See
*Special thanx to my friend Aris
1 The Finestuff - Big Brother
2 Denis & The Times - Just If She's There
3 The Bells Of Rhymny - She'll Be Back
4 The Wild Things - I'll Taste Your Lips
5 Hoi Polloi - Better Things
6 The Chancellors - 5 Minus 3
7 Jimmy C. & The Chelsea Five - Play With Fire
1 Barry Ebling & The Invaders - Sunny Day Rain
2 The Escapades - I Try So Hard
3 The Missing Lynx - Hang Around
4 The Weads - Today
5 The Uncalled For - Get Out Of The Way
6 The Regents - Words
7 The Affection Collection - Time Rests Heavy On My Hands
1 The Shaynes - You Tell Me Girl
2 The Loose Enz - Mister You're A Better Man Than I
3 The Down Children - I Can Tell
4 The Centurys - Hard Times
5 The Centurys - And I Cried
6 The Dogs - Don't Try To Help Me
7 The Flowerz - Flyte
1 The Flowerz - Talkin' About Love
2 The Shaynes - From My Window
3 The Bounty Hunters - The Sun Went Away
4 The Bounty Hunters - Somewhere
5 The Bucaneers - I'm A Fool
6 Bright Image - People In The Town
7 Kindred Spirit - Blue Avenue
2 The Mystifying Monarchs - Soldier Of Fortune (Fargo, ND, U.S.A.)
3 The Shags - Louie Louie (New Ulm, MN, U.S.A.)
4 Defiants - Maggie's Farm (MN, U.S.A.) *
5 Psychotics - (I'm) Determined (Charlotte, NC, U.S.A.)
6 The Ferraris - I'm Not Talkin' (Winona, MN, U.S.A.)
7 Kinetics - I'm Blue (Houghton, MI, U.S.A.)
8 Kinetics - Feeling From My Heart (Houghton, MI, U.S.A.)
9 Bad Omens - Chimes Of Freedom (MN, U.S.A.) *
2 Toronados - She's Gone (MI, U.S.A.) *
3 Minutemen - Another Day With Me (Grand Rapids, MI, U.S.A.)
4 The Pastels - 'Cause I Love You (MI, U.S.A.)
5 The Penetrators - What Went Wrong (MI, U.S.A.)
6 Headlyters - Girl Down The Street (MI, U.S.A.)
7 The Chancellors - Dear John (Lansing, MI, U.S.A.)
8 The Satisfactions - Only Once (MI, U.S.A.) *
9 The Satisfactions - Never Be Happy (MI, U.S.A.)
01 The World Is Cold Without You
02 Excerpt from "The Blind & The Beautiful"
03 I Talk to My Room
04 Christopher Lucifer
05 Aline Cherie
06 Tres, Tres Bien
07 It Happened Two Sundays Ago
08 Black Flower
09 Love Suite
Nirvana's third and final album for Island (sometimes titled Dedicated to Markos III in discographies) was extremely rare in its first 1969 LP issue, the U.K. release limited to a few hundred promo copies. The group's cutesiness was toned down considerably for this LP, though they were still offering the kind of light orchestrated pop-rock that they had on their previous Island records, with some jazz and classical influences. It's a more mature product than their first two albums, but a little tired-sounding, and lacking in the more psychedelic ambition that produced some of their best songs, like "Rainbow Chaser" and "I Believe in Magic." In fact they sometimes sound rather like film composers or pop-jazz-vocals singer/songwriters caught in a different era, what with the rather grandiose (and certainly grandiosely arranged) Euro-romantic sweep of most of their songs. Although the orchestration, often combining strings with harpsichord, is often sumptuous (if just short of cloying) and the melodies pleasant, not much of this sticks to the bones. The somewhat more soulful, straightforward rock of "Christopher Lucifer" and "It Happened Two Sundays Ago" provides some nice relief, if only because it's different from the wistful fantasy aura that predominated in Nirvana's world. This rarity gained easy availability with its 2003 CD release on Universal/Island, which despite remastering still has some noises that sound suspiciously like tiny vinyl bumps at the beginning of "Black Flower," one of the more dramatic and better numbers. Also in the package are extensive liner notes, though these (like those on all the 2003 Universal/Island reissues of Nirvana's first three LPs) contain annoying undue repetition of the text that appears on the liners to the other Universal/Island Nirvana re-releases.
~Richie Unterberger, All Music Guide
Get It Here :
Nirvana (UK) - 1971 - Local Anaesthetic
01. Modus Operandi (16:15)
02. Home (19:12)
Get It Here :
RapidShare or SendSpace
Nirvana appeared in 1967, starting as a six-piece led by Patrick Campbell-Lyons from Ireland, and Alex Spyropoulos from Greece. They were quickly signed to the fledgling Island label, which had formed out of Chris Blackwell's street-level R&B and rocksteady label operations, when Blackwell recognized a need to hook into the exploding psychedelic genre of the time. The first LP to emerge was the science-fiction concept album, The Story of Simon Simopath, which yielded their second single, "Pentecost Hotel" (their first and third singles appeared on the follow-up, All of Us.)
The band's early performances yielded something of an audience, but this did not translate into explosive sales in England or America, though the band achieved some success in Europe. Winnowing down to the core duo of Campbell-Lyons and Spyropoulos, Nirvana continued to release singles from All of Us, with the title track going on to be selected as the theme song for The Touchables, while "Rainbow Chaser," an almost-hit, came to be considered a classic psychedelic outing.
Life at Island Records did not go so well, unfortunately, with Chris Blackwell refusing to release their third album, Black Flower, so the duo picked up and moved on to Pye Records, home of the Kinks. Black Flower was bought back from Island and worked over, finally being released as Dedicated to Markos III. The result was disastrous. The constantly beleaguered Pye (which would eventually founder) managed to shift only a few hundred units, while the U.S. label to which the album was licensed promptly went under with no more than a few promotional copies having been sent out. Dedicated to Markos III eventually received another release in 1987, restored to the original title of Black Flower, with the 1993 Edsel CD release including a re-recorded version of "Pentecost Hotel" and a newly recorded track titled "Shine."
With the release of Dedicated to Markos III, Spyropoulos quit to pursue other musical work. Nirvana had become very much Campbell-Lyons' venue by this point, and Spyropoulos had had enough of feeling constrained. Campbell-Lyons then signed to Philips' new progressive label, Vertigo, recording and releasing Local Anaesthetic, a heavily jazz-influenced album featuring only two cuts: "Modus Operandi," and the somewhat less epic "Home." The album was quick to disappear from view, as was Songs of Love and Praise, which featured several re-recorded cuts, including both "Rainbow Chaser" and "Pentecost Hotel."
Campbell-Lyons came out from behind the Nirvana name for an attempt at a solo album, Me & My Friend, which came and went swiftly in 1973. In 1980, he reunited with Spyropoulos to write a musical, Blood, which has yet to surface. The duo have sporadically performed and recorded as Nirvana, which led to Bam Caruso's 1987 reissue of Black Flower, as well as renewed interest in the group. Most of the original albums have been reissued by either Edsel or Repertoire (Songs of Love and Praise is the sole exception), a collection of demos and outtakes, entitled Secret Theatre, has been released, and a new album, Orange and Blue, featuring material previously unrecorded by the band, was issued in 1996.
~ Steven McDonald, All Music Guide
Thursday, February 01, 2007
ERNIE KAMANIS drms, vcls A
PETER MALICK gtr A
WALTER POWERS bs A
MICHAEL TSCHUDIN organ, keyb'ds, vcls A
1(A) LISTENING (Vanguard 6504) 1968
NB: (1) reissued on CD and LP (Akarma AK 050).
1 I Can Teach You/Cuando (Vanguard 35077) 1968
2 Life Stories/Hello You (Vanguard 35094) 1968
NB: (2) both sides non-LP.
From Boston and rated highly by some, this album includes some fine guitar and organ work on cuts like Baby: Where Are You?. Still an undiscovered gem this is worth searching out. Most of the vocals were performed by drummer Ernie Kamanis, and Peter Malick who was 16 at the time the album was recorded. Walter Powers had previously been in the famed punk band The Lost. A reworked version of the album's opener, Michael Tschudin's You're Not There, appears on the highly-touted album ...Setting Forth... Improvising Against The Future by Odyssey. Michael Tschudin later played with Cynara and produced the Fort Mudge Memorial Dump album. He became a session man and producer during the seventies, notably working with Tim Curry. Peter Malick played with the James Montgomery Band and is is still active, fronting his own Peter Malick Band playing blues / R&B influenced music in/around Boston. Walter Powers teamed up with his old Lost companion Willie "Loco" Alexander in the final incarnation of The Velvet Underground. The uplifting baroque-pop of Hello You can be found on Bring Flowers To U.S. (LP), whilst one track from the album, Stoned Is has also resurfaced on Marijuana Unknowns (LP & CD). (Vernon Joynson/Max Waller/Stephane Rebeschini w/thanks to Peter Malick)
1. Come Around
2. Something To Say
3. Love Is All
5. Strange Roads
6. Things You Cannot See
8. Look At The View
9. Climbing Up The Wall
10. Really Doesn't Matter
11. I'm A Stranger
12. Little Boy
13. Follow Me
14. In My Dream
15. Bonus Track 1
This San Jose band from the mid-1960s has had a cult following for quite some time based on a tiny handful of local sides that passed from one collector to another, enhancing their rep by word of mouth. This ten-song issue on Sundazed's vinyl only subsidiary label captures them raw 'n' nasty, blasting through some studio covers of Who, Cream and Yardbirds tunes and a brace of their own stuff. Lead singer Beau Maggi was one of the best garage-band Jagger soundalikes, and the band had that nether ground between British fuzztone band and coming psychedelia down pretty darn well; it's all here to enjoy.
An amazing blend of soul, Psychedelia and rock, this is an album with great power
"Time has come today" is an all time classic anthem.
2 People Get Ready (3:52)
3 I Can't Stand It (2:42)
4 Romeo and Juliet (4:32)
5 In the Midnight Hour (5:32)
6 So Tired (4:05)
7 Uptown (2:56)
8 Please Don't Leave Me (3:00)
9 What the World Needs Now Is Love (3:20)
10 Time Has Come Today (11:06)
The Chambers Brothers: Lester Chambers, Willie Chambers, Joe Chambers, George Chambers, Brian Keeney. Producer: David Rubinson. Recorded between 1966 and 1967. A black four-piece vocal group with a white drummer in the '60s may not have been unique, but it was still something of a revolutionary act, and this, coupled with their smash hit "Time Has Come Today," ensures the Chambers Brothers their place in rock history. The group started out as the house band at the hip Electric Circus club in New York's East Village. Besides their hit, THE TIME HAS COME revolves around the band's gospel roots, which are effectively used to sweeten and develop a variety of R&B and pop material such as Bacharach and David's "What the World Needs Now Is Love," and the gently swinging "Romeo and Juliet." Their version of Curtis Mayfield's "People Get Ready" is perhaps the most obviously gospel-based cut here, and with hindsight it's apparent that, rather being a new direction, the band's trippy excursion was something of a detour. But the cowbell and guitar intro to "Time" still thrills today check out the sly "Little Drummer Boy" quote on the extended guitar solo, too. And in the light of later developments such as Parliament/Funkadelic, the rest of the track sounds like a prophecy.
This, the Chambers Brothers' coming-of-age record, was a well-timed and even better executed exercise in modern record-making. The brothers had recorded several excellent gospel-folk sides on a few labels (including CBS) in the mid-'60s. They were darlings of the folk set, and even sang backup on a few unreleased Bob Dylan sessions in 1965. By 1967, they were at loose ends. Having demoed a slightly demented song called "Time Has Come Today" that year, the group entered the studio with producer David Rubinson, who was fresh from some critical acclaim after recording Moby Grape. The resulting album and subsequent title-track hit were huge successes, especially on FM radio. The rest of the album shows the brothers not just embracing the psychedelic trends, but also redefining their RB leanings. Fabulous. - Matthew Greenwald, All Music Guide
01 - Jack the Ripper Lover