Wednesday, January 31, 2007
The finest selection of 14 rare US mid-60s moody diamonds! A compilation of 14 dreamy masterpieces written by teen heart-broken souls for sensitive and delicate moods
1 The Weads - Don't Call My Name
2 The Rumbles - Fourteen Years
3 The Cobras - Goodbye
4 The Soothsayers - Please Don't Be Mad
5 Little John & The Monks - Black Winds
6 The Front Page News - You Better Behave
7 The Todds - Things I Will Change
1 Blue Boys - Why Did You Go
2 Richie's Renegades - Don't Cry
3 Jerry Waugh & The Skeptics - I Told Her Goodbye
4 The Specktrum - I Was A Fool
5 The Maltees Four - All Of The Time
6 Brym-Stonz LTD. - Times Gone By
7 The Impacts - Don't You Dare
2 Roosters - Waiting For You Baby (sweden)
3 The Mascots - I Want To Live (sweden)
4 Group $oall - By My Side (holland)
5 The Rolling Beats - Sweeter Than You (holland)
6 Les Sauterelles - Forget It All (switzerland)
7 Les 5 Gentlemen - Si Tu Reviens Chez Moi (france)
8 Goblins - We Like The Rain (holland)
9 Het - Allen Op Het Kerkhof (holland)
Tuesday, January 30, 2007
January 30 1969
For The Beatles Rooftop Concert.
Includes Excerpts, Warmups And Alternate Song Segments
That Have Not Been Released On Any Other Bootleg CD
The Beatles - 1969 - The Complete Rooftop Concert
01 Get Back #1 warm-up Camera A
02 Get Back #2 Camera A
03 Get Back #3 Camera A
04 Don't Let Me Down #1 Camera A
05 I've Got A Feeling #1 Camera A
06 One After 909 Camera A
07 Dig A Pony Camera A
08 I've Got A Feeling #2 Camera A
09 Don't Let Me Down #2 Camera A
10 Get Back #4 Camera A
11 Get Back #2 Camera D
12 Get Back #3 Camera D
13 Don't Let Me Down #1 Camera D
14 I've Got A Feeling #1 Camera D
15 One After 909 Camera D
16 Dig A Pony Camera D
17 I've Got A Feeling #2 Camera D
18 Get Back #4 Camera D
19 I've Got A Feeling #2 Camera C
20 Don't Let Me Down #2 Camera C
21 Get Back #4 Camera C
01 Get Back #1 warm-up jam - Camera B - street
02 Get Back #2 - Camera B - street
03 I Want You - Camera B - street
04 Don't Let Me Down - Camera B - street
05 Get Back #3 - Camera B - street
06 Don't Let Me Down #1 - Camera B - street
07 I've Got A Feeing #1 - Camera B - street
08 One AFter 909 - Camera B - street
09 Dig A Pony - Camera B - street
10 God Save The Queen - Camera B - street
11 I've Got A Feeling #2 - Camera B - street
12 Don't Let Me Down #2 - Camera B - street
13 Get Back #4 - Camera B - street
14 Announcement only - Camera B - street
15 God Save The Queen - Camera B - control room
16 I've Got A Feeling #2 - Camera B - control room
17 Don't Let Me Down #2 - Camera B - control room
18 Get Back #4 - Camera B - control room
19 I've Got A Feeling - Camera B - Apple reception
20 One After 909 - Camera B - Apple reception
21 Dig A Pony - Camera B - Apple reception
The Rooftop Sessions
The Beatles were going to make a documentary film of themselves producing a TV show and writing a bunch of new songs for their next album, which was to be a return to their roots of the rocking days. This was probably inspired by the emergence of The Band, straightforward, downhome and everyone's favourite name to drop at the time.
With a working title of "Get Back" rehearsals began at Twickenham studios on January the 2nd, 1969. The project quickly ran into trouble, George Harrison walked out after eight days complaining of continual criticism from Paul McCartney. However, he returned a week later. The TV show idea had to be dumped because they couldn't find a suitable location. They thought about hiring an ocean liner, but somewhere along the line that idea was also shelved, along with a number of other exotic suggestions. But it was John Lennon's suggestion to record a selection of songs in the controlled atmosphere of a studio.
At this time, plans were made to turn the roof at No 3 Saville Row, the Apple Corps HQ, into a tranquil roof garden, and so Ringo Starr and Michael Lindsay-Hogg decided to take a look. It seemed ideal for what they had in mind.
The Beatles last ever public concert took place around mid-day
on Thursday January the 30th
and lasted a full 42 minutes, and may well have gone on longer had it not been for the complaints of the neighbour, Stanley Davis. The wool merchant next door was not a Beatles fan so it seemed. He was quoted as saying "I want this bloody noise stopped. It's an absolute disgrace". But the banker, Alan Pulverness, at the end of the street was kinder, he said "Some people just can't appreciate good music".
The film won an Oscar for best musical score and it was presented to Paul McCartney by non-other than John Wayne, Big Leggy.
But by the time it was premiered on May the 13th, 1970,
The Beatles had split. The dream was over...
Download: VA - Angeldust - Music For Movie Bikers
A Classic Motown Psychedelic soul album with one of the best singles ever "War"
In 1970, Motown producer Norman Whitfield was producing The Temptations' LP " Psychedelic Shack". When the LP was released, it contained the song " War". College students all over the country began to write to Motown about releasing the song as a single. This is during the time when young college students began to protest about the war in Vietnam. Motown decided not release the song on the Temps because of other plans they had for the group at that time.
So Norman Whitfield asked Edwin Starr would he like to record the song. Edwin agreed because he hadn't recorded anything in over six months and was ready to get back into the studio. The song was released in the summer of 1970 and became an instant million seller. Edwin would go on to win a Grammy in 1971 for " War" for best R&B Male Vocal Performance.
War & Peace' is by no means a psychedelic soul album but a mixture of classic Motown uptempo songs in the same vein as his two sixties classic albums 'Soul Master' and '25 Miles'.
The music itself speaks volumes and 'War & Peace' whilst featuring the 'new' sound of Motown at the end of the sixties still managers to capture the excitement of his output during the sixties. 'War' became an anthem in 1970 and whilst many believe the song was an anti Vietnam song, Edwin is on record as saying that the song was about the war in the university campus within the USA at the time, yet that said, the follow up to that ferocious call and reply plea 'Stop The War' DID have all the ingredients of an anti Vietnam plea, yet who could argue wit the man himself.
Uptempo goodies are a plenty as he takes on the Johnny Bristol song 'I Can't Escape Your Memory' which he talks about on the aforementioned audio interview, but for many it will be his classic northern soul outing 'Time/Running Back and Forth' that many will rate as his best ever recordings and both are featured here. Cover versions of other Motown classics are included especially 'California Soul' and 'At (Last) I Found A Love' (also covered by Marvin Gaye) and his rendition of the BJ Thomas hit 'Raindrops Keep Falling On My Head' is actually soulful and a pleasure to listen too.
(And Other Joys)
02.Shiva-The Third Eye
04.Hare Krishna-Hail Krishna
05.Hatha-Sun And Moon
Tony Scott (vocals, clarinet)
Collin Walcott (sitar)
Recorded in February 1968. Originally released on Verve (8742). This is part of Verve's By Request series. Tony Scott introduced Western audiences to the minimalist pleasure of shakuhachi flute and Japanese kora on his 1964 album MUSIC FOR ZEN MEDITATION. Four years later, the jazz clarinetist came out with this deeply meditative duet with sitarist Collin Walcott. Each track explores a different theme of yogic philosophy. The playful "Hatha/Sun and Moon" pits the clarinet's lowest tones against the sitar's highest, suggesting the dynamics of yin and yang. "Samadi/Ultimate Bliss" is a slow, droning dirge that evokes the stillness of enlightenment. "Hare Krishna" is simply a Hare Krishna/om chant with simple sitar backing. This album will enliven any hatha yoga session, and sounds astonishingly fresh decades after it's first release.
Since leaving New York in 1959, Tony Scott (a top bebop-oriented clarinetist) has been an eager world traveler who enjoys exploring the folk music of other countries. Unfortunately, his post-1959 recordings have been few, far between, difficult-to-locate, and sometimes erratic, but Scott was an unheralded pioneer in both world music and new age.
Tony Scott attended Juilliard during 1940-1942, played at Minton's Playhouse, and then after three years in the military he became one of the few clarinetists to play bop. His cool tone (heard at its best on a 1950 Sarah Vaughan session that also includes Miles Davis) stood out from the more hard-driving playing of Buddy DeFranco. Scott worked with a wide variety of major players (including Ben Webster, Trummy Young, Earl Bostic, Charlie Ventura, Claude Thornhill, Buddy Rich, and Billie Holiday), led his own record dates (among his sidemen were Dizzy Gillespie and a young Bill Evans) which ranged from bop and cool to free improvisations (all are currently difficult to locate), and ranked with DeFranco at the top of his field.
Unfortunately the clarinet was not exactly a popular instrument in the 1950s (as opposed to during the swing era) and Tony Scott remained an obscure name outside of jazz circles. In 1959, he gave up on the U.S. and began extensive tours of the Far East. He played Eastern classical music, recorded meditation music for Verve, and, other than some brief visits to the U.S, has lived in Italy since the 1970s where he has sometimes experimented with electronics.
~ Scott Yanow, All Music Guide
17Pygmies - Hatikva
Philip Drucker, alias Jackson Del Ray, is a curious and somewhat mysterious figure whose music is undeservedly little known. Drucker was an art student who first came to most people's notice as a founding member of Savage Republic. The band was initially musically primitive, with frequently out-of-tune instruments backed by percussion as simple as Drucker pounding on a 50-gallon oil drum, but there were hints of Greek and Middle Eastern music in their sound. As the band matured, these elements became more pronounced, but so did the rivalry between guitarist Bruce Licher and Drucker over who was in charge of the band. A close associate remembers that virtually every rehearsal ended with a bitter argument, or at least with one member of the band sulking in a corner somewhere.
Drucker quit at least twice only to rejoin the band, and in 1982 he started a side project called Seventeen Pygmies with fellow Savage Republic alumnus Robert Loveless and drummer/vocalist Debbie Spinelli. The release of the Hatikva EP in 1983 showed that the new band was vastly more sophisticated than the old and gave a strong clue regarding the source of the more interesting elements in Savage Republic's sound. The Middle Eastern stylings on Hatikva are much more pronounced, and both the songs and arrangements are much more sophisticated. Seventeen Pygmies released two more full-length records, Captured in Ice and Jedda by the Sea, which gradually moved away from the folk influences and toward a soft, distanced, and melancholy sound. ~ Richard Foss, All Music Guide
Drucker and Loveless launched a side band, 17 Pygmies, to delve into lighter, more melodic music than Savage Republic. Retaining the group's tribal percussion and Arabic feel, they added electronic keyboards for Hatikva, an EP which crosses Emerson, Lake & Palmer's "The Sheriff," a spaghetti western soundtrack and a Caribbean rhythm fest. Only a thousand copies were originally pressed, but it was reissued by an Italian label. (Trouser Press)
Hatikva was 17 Pygmies' first release. It came out on Resistance label RR-0001), in 1983, in a limited edition of 1000 copies. Later (1988) reissued on the italian label Viva (REVI-003) again in 1000 copies and in 1995 on the Lazy Dog/Meshcalina Productions in Greece in a CD including Jedda By the Sea & Hatikva.
Cover art by Robert Loveless
Hand Colored by The Pigs and Friends!!!
Line-up: Jackson Del Ray, Michael Kory, Robert Loveless, Debbie Spinelli.
Lawrence of Arabia
To No Avails
cover of the italian reissue
After a coincidental 17 year absence, Jackson Del Rey and Louise Bialik have revived the 17 Pygmies name, returning with a seasoned elegance, not a vengeance as might be expected from hints by both Del Rey's vigorous 2005 release I Am the Light and for a collective once noted as a reference point to a young Godspeed You Black Emperor.
In 2005 Philip Drucker released I am the Light as Del Rey & the Sun Kings, an album with some brutal in-your-face moments with rocking guitars and guttural vocals. It's the rare points of elegant beauty, however, like the instrumental "Rose Garden (for Saadi)" which are reminiscent of a song like "Kristalnacht" from Welcome, and perhaps it was the reception of a strong track like this which made him reconsider the 17 Pygmies thing. I'm glad he did. 17 Pygmies resurfaced in 2006 with a 7" single "Last Train"/"Mocha Polka." The A-side with its drum machine and synth recordings hints more to the pop aesthetics of Captured In Ice period while the instrumental B-side is a fiery accordion, clarinet, drum and string jam. 13 Blackbirds is far more subdued, graceful, and tender.
13 Blackbirds is the 17 Pygmies of Welcome, except there's no goofy interludes, Philip Drucker has reclaimed the name Jackson Del Rey and Jeff Brenneman (an original member of White Glove test) has joined Louise Bialik seemingly at the center of the group, once again joined by various other players of stringed instruments and singers. While first listens immediately demonstrate the fantastic piano, guitar, and vocal work, they also show the group's very calculated arrangement—like the organic/acoustic and unique soul mashing like Blood-era This Mortal Coil and Lovetta Pippen-era His Name Is Alive—subsequent repeat listens over time bring out the great strength in the songwriting. Songs like the simple guitar and vocal "Cras Amet" or the instrumental piano melody of "Ubi Sunt?" I can hear long after they're over while the string arrangement on "Lila Pausa" is out of this world. The vocals of the song "Lotus" are buried deep in echoes and reverb while prominent beats like some of the best Scala music from the '90s.
Packaged in a very Constellation Records-looking earthy gatefold cardboard sleeve, 13 Blackbirds is packaged with 13 Lotus, a CD of 13 remixes and reinventions of the song Lotus by various artists. It's filled with a couple beat-friendly takes, like the "Bum 'n Bass Drop" version by Freakshot and the hip-hop "Notorious P.Y.G." version from once 2Pac remixer Lea Reis. Jo Gabriel's sparse piano version is probably the most striking while Echo Wanderer give two echoey versions which are a throwback to the spacey dub/rock overlap that signalled the untimely end of shoegazing in the mid-'90s. It's a complete contrast to 13 Blackbirds but nothing is surprising me about 17 Pygmies now that they've surprised us all by their return.
I'm excited that 17 Pygmies have returned. In an effort that isn't unlike their Welcome album, 13 Blackbirds/13 Lotus is quite ambitious. The payoff here I feel is far more enjoyable, however. If anybody's wondering where Debbie Spinelli ended up, her creepy group the Spirit Girls also have a release on the Trakwerx label. I hope that with this Trakwerx label the 17 Pygmies back catalogue will become available again, but as the notes say in the sketchy looking 1995 CD of Jedda By the Sea/Hatikva, my guess is that some of those masters are long lost. Of course, you could always try digging around auction websites for this stuff but with the recently re-sparked interest in Savage Republic, the competition for this stuff will be fierce. With any luck 17 Pygmies are forming some sort of live ensemble, and in the age of myspace, they seem quite approachable and amicable, so a letter campaign to them probably can't hurt. (Written by Jon Whitney)
Marnie's "Songs Hurt Me"
Paniolo's "City of Refuge" - in both Jackson Del Rey was involved
Go to Trakwerx blog to read more reviews
Go to Trakwerx Label for the above mentioned new releases
Go to MySpace.com to hear some songs from them.
Monday, January 29, 2007
Magic In The Air / Colour Of My Mind / Mr Pinnodmy's Dilemma / Hi Ho Silver Lining / Try It / Freedom For You / Anymore Than I Do / Strange House / Neville Thumbcatch / Feel Like Flying / Lady Orange Peel / We Don't Know / Too Old / Go Your Way
They soon came to the attention of entrepreneur (gangster?) Don Arden, who then signed them to Decca and changed their name to the Attack. Their debut single released in January 1967 was an extremely anglicized cover of "Try It," an American hit for both the Standells and Ohio Express, whose versions were exemplar of the sneering garage sound. However, the Attack's powerful vocals, pop art guitar, and the underbelly of a warm Hammond created a similar atmosphere to the Small Faces (also managed by Don Arden), the Birds, and the Creation.
Shortly after the single was released, Davy O'List was handpicked by Andrew Loog Oldham to join the Nice (who were to act as the backup group for newly acquired American Soul singer P.P. Arnold) and quit the group in late February. Meanwhile, Shirman, a regular visitor to the London clubs had been keeping a watchful eye on a young guitarist he had seen jamming with Jimmy Page. Shortly thereafter John Du Cann (mainstay, and songwriter) was introduced into the group. As a follow-up to "Try It," a version of "Hi-Ho Silver Lining" was then released, but Jeff Beck got the hit first in Britain in 1967. The third 45, "Created By Clive"/"Colour of My Mind," backed a foppish sub-Kinks-style number with a fairly groovy mod-psych tune penned by DuCann. Kenny Harold (bass) and Geoff Richardson (guitar) left shortly after the disappointment of "Created By Clive," leaving John as the only guitarist. Jim Avery (who later went on to the revolutionary Third World War) was drafted in on bass, with Plug (whom later went on to Welsh acid rock outfit Man) still on drums. After yet even more disappointment surrounding the "Magic in the Air" single (Decca refused its release on the grounds of it being too heavy), Plug and Jim Avery left the ranks to be replaced by Roger Deane (bass) and Keith Hodge (drums).
The final single, released in early 1968, was "Neville Thumbcatch," a fruity mod-pop tune with spoken narration, like a lesser counterpart to Cream's "Pressed Rat and Warthog." Decca's deal with the Attack expired after that single, with a projected fifth 45, "Freedom for You"/"Feel Like Flying," remaining unreleased. Both sides of that single, as well as seven Attack demos recorded around that time, are included on Angel Air's CD reissue of the rare 1968 album by the Five Day Week Straw People, a studio-only outfit that was led by DuCann.
DuCann became the dominant creative force in the group prior to their 1968 breakup, and the likes of the unreleased "Mr. Pinnodmy's Dilemma" and "Strange House" showed the group developing a heavier rock sound, although still maintaining a sense of British mod-psych whimsy. DuCann would continue to explore a heavier direction with his subsequent group Andromeda, and joined Atomic Rooster in the '70s. ~ Jon 'Mojo' Mills, All Music Guide
listen to the attack here :
Download them there :
Download Link: http://rapidshare.com/files/13994169/attack.rar
I request all of you if you have it at higher bitrate, thank you!
PLAY IT LOUD and ENJOY!
2 Reality Durrill, Ezell, Rabon 2:15
3 Western Union Durrill, Ezell, Rabon 2:36
4 The Losing Game Durrill, Ezell, Rabon 2:34
5 The Train Durrill, Ezell, Rabon 3:11
6 Good Times Durrill, Ezell, Rabon 1:56
7 No Communication Duboff, Robinson 2:16
8 I Know They Lie Durrill, Ezell, Rabon 2:51
9 If I Could Durrill, Ezell, Rabon 2:02
10 Now That It's Over Durrill, Ezell, Rabon 2:16
11 Zip Code Durrill, Ezell, Rabon 2:30
12 Sympathy Durrill, Ezell, Rabon 1:53
13 She's - A - My Own Durrill, Ezell, Rabon 1:49
14 It's a Crying Shame Durrill, Ezell, Rabon 2:28
15 The Outcast Durrill, Ezell, Rabon 2:11
16 Stop Light Durrill, Ezell, Rabon 2:42
17 Evol-Not Love Durrill, Ezell, Rabon 2:21
18 Don't Blame Me Dinsmore, Durrill, Ezell ... 2:04
19 Sound of Love Durrill, Ezell, Rabon 2:23
20 Show Me Durrill, Ezell, Rabon 1:58
21 You Can't Win Durrill, Ezell, Rabon 2:25
22 She's Too Good to Me Nichols, Williams 2:19
23 Virginia Girl Durrill, Ezell, Rabon 2:22
24 7: 30 Guided Tour Brians 2:40
25 Letters, Pictures, Melodies [#] Durrill, Ezell, Rabon 3:21
This is a straightforward, filled-to-the-gills 25-track best-of for the band remembered by most listeners only for its big hits "Western Union" and "I See the Light." Actually, they released a lot of records during the last half of the 1960s that reveal them as a versatile, polished, yet often derivative group. They were best when putting a thumping beat to accomplished harmonies, catchy pop/rock melodies, and rolling high organ playing, as exemplified by "I See the Light" and "Western Union." They never did come up with other songs as catchy as those, and the other songs on this anthology find them combining lots of influences: Midwestern frat rock, Beach Boys and Association harmonies, and British bands like the Beatles and (on "The Losing Game" in particular) the Zombies. Sometimes the derivativeness comes perilously close to imitation. The folk-rock of "Sympathy" almost duplicates the melody of the Statler Brothers' "Flowers on the Wall" in places, "I Know They Lie" is a little-known lightweight Byrds sound-alike, and "Don't Blame Me" sounds like a tough American garage take on the Dave Clark Five. Their small 1967 Top Forty hits "Sound of Love" and "Zip Code" are here, as are two previously unissued songs of minor interest, "You Can't Win" and "Letters, Pictures, Melodies." Incidentally, this is not merely an expanded version of the 20-song best-of (Western Union) issued on same label (Sundazed) in 1989, 13 years before The Best of the Five Americans. Though five songs shorter in length, Western Union has a half dozen tracks that don't show up on The Best of the Five Americans. More surprisingly, the liner notes, while comprehensive in both CD packages, might be preferable in Western Union, which goes into much more extensive detail on specific songs.
1 Smoking the Day Away
2 I Don't Know?
5 Tomorrow May Come
6 Fire Queen
7 Virgin Waters
Sunday, January 28, 2007
1 Voodoo Child
3 Free The Spirit
4 In Shadows
5 Eyes The Change
1 Psychedelic Dreams
3 Love Is Like A Knife
5 Acid Tales
The Seeds - 1967 - Future
01 Introduction (3:03)
02 March of the Flower Children (1:45)
03 Travel With Your Mind (3:00)
04 Out of the Question (3:02)
05 Painted Doll (3:20)
06 Flower Lady and Her Assistant (3:15)
07 Now a Man (3:20)
08 Thousand Shadows (2:25)
09 Two Fingers Pointing on You (3:10)
010 Where Is the Entrance Way to Play? (2:55)
11 Six Dreams (3:05)
12 Fallin' (7:40)
The "A Thousand Shadows" 45 rpm from this album, Future, came in a pink sleeve decorated by gray four-leaf clovers and a negative picture of the Seeds next to a sign that says "Wishing Well - Help Us Grow." "A Thousand Shadows" is the melody as well as the feel of their Top 40 1967 hit "Pushin' Too Hard." Breaking no new ground, the band insisted on revisiting its formula, reinventing new versions of "Pushin' Too Hard" like "Flower Lady & Her Assistant." This is a sophisticated package with a gatefold which includes lyrics over pastel sunflowers as if the band was Joni Mitchell. Three colorful pages come inside the album, including two beautiful photos of the group along with single flowers representing the songs on the disc with instructions: "Cut out paste on whatever" for grade schoolers or those so strung out on LSD they have regressed to that point. "Six Dreams" is Black Sabbath's Ozzie meeting George Harrison in some biker film soundtrack with weird sound effects and a sitar. The harp on "Fallin'" underscores Saxon's passionate garage vocal. Imagine, if you will, Brian Jones during the recording of Satanic Majesties deciding to bare all the excesses of rock stardom.
This album is a trip, not because it reflects the ideas captured in the Peter Fonda film of the same name, but because a band had the audacity to experiment with record company money and make something so noncommercial and playful. Droning organ sounds penetrate "Fallin'," the seven minute, 40 second final track. Saxon writes in the inner-sleeve essay "Originations of the Flower Generation" "...The farmer lives by the elements alone, the sun, the rain, and the earth, but the earth needs its seeds to sow the flower generation of the leaf...." It's heady stuff, and the melody and sound of "Pushin' Too Hard" permeates incessantly. Hardly a Future, as the title proclaims, this is actually the Sgt. Pepper of the flower-power set, a reinvention of past efforts, but no "Strawberry Fields" or "Day in the Life" to bring it out of its cult niche.
Very listenable, highly entertaining, and totally not for the mass audience. GNP stands for Gene Norman Presents, and the label should be commended for allowing such creativity which inspired Iggy Pop and the Lyres' Mono Mann. Saxon played his game to the hilt, and that followers like Mono Mann and Jeff Connelly would get stuck in his groove is only testament to how original and enthralling these sounds are. Tunes like "Now a Man" are low-key Ventures riffs with naïve guitar and Saxon being as indulgent as humanly possible. Fans should also seek out a 45 on Expression records, "Beautiful Stars" by Sky Sunlight and Thee New Seeds featuring Rainbow. Despite its musical limitations, Future holds up quite well to repeated plays by sitting firmly in the past. ~ Joe Viglione, All Music Guide
-Merlin's Music Box-
01 Introduction By _Humble_ Harv
02 Mr. Farmer
03 No Escape
04 Satisfy You
05 Night Time Girl
06 Up In Her Room
07 Gypsy Plays His Drums
08 Can't Seem To Make You Mine
09 Mumble Bumble
10 Forest Outside Your Door
11 900 Million People Daily (All Making Love)
12 Pushin' Too Hard
The Seeds were an exceptional band that never achieved the success that they inspired. This album has a truly psychedelic cover with too-dark-for-pastel colors, swirling letters over eerie faces, and dynamic black and white photos on the back. If you want to see the image of Iggy Pop clothed, just look at Sky Saxon in the bottom right photo on the back cover with the screaming girl holding a flower grabbing at him. He had the image down, as well as the music. "900 Million People Daily All Making Love" sounds so much like the Doors and Jim Morrison's "When the Music's Over," one has to wonder which came first, or did they copy each other? "Mumble and Bumble" is a trippy "Alabama Song," but where Morrison is looking for the next whiskey bar, Saxon is off looking for flowers and magic mushrooms. The band has great energy which is pierced by annoying canned applause à la the Rolling Stones' Got Live If You Want It. This is a record album, not a situation comedy TV show, after all; what's the point of overdubbing an audience onto what is really good music? Sure, "No Escape" is a prelude to the closer and hit "Pushin' Too Hard" with a tip of the hat to Martha & the Vandellas, while "Can't Seem to Make You Mine" is placed nicely in mid-set, a song after the truncated "Up in Her Room." The revelation that is this "concert" album is what a great band the Seeds really were, and how Sky Saxon's vocals have a gritty edge that he held back on us in many of the studio recordings. "Gypsy Plays His Drums" has a great chug-chug guitar, nice off-key backing vocals, and a driving pulse which is present throughout the performance. If you can ignore the extraneous additions, a song like "Forest Outside Your Door" shows really how creative and influential this pioneering band was, while "Satisfy You" is Saxon's direct sexual rock to Mick Jagger's "(I Can't Get No) Satisfaction." Sky claims he can get satisfaction, and can satisfy you at the same time. He then veers off into more familiar psychedelic territory with "Night Time Girl" which combines the sex and the psychedelia. If they taught rock & roll in school, "Raw & Alive" would have to be the textbook for image, design, and content. ~ Joe Viglione, All Music Guide
The Wind Blows Your Hair
- Head Shop (Milan/Maxim/R. Craig), 2:56
- Heaven Here We Come (Milan), 2:40
- Sunny (Bobby Hebb), 3:11
- Listen with a Third Ear (Milan/Maxim), 2:30
- Opera in the Year 4000 (Milan), 4:25
- Revolution (John Lennon/Paul McCartney), 2:28
- I Feel Love Comin' On (Milan), 6:20
- Prophecy (Maxim/Milan), 2:17
- Infinity (Milan), 4:45
- Danny Prosseda, Guitar
- Drew Sbordone, Bass
- Joe Siano, Vocals
- Jesse Luca, Drums, Percussion
- Milan, Rhythm Guitars and Screams
- Geoff Wright, Hammond/Farfisa Organ, Fuzz Bass (on "Heaven Here We Come" and "I Feel Love Comin' On")
- Maxim, Violin Solo (on "Prophecy")
- Larry Coryell, Guest Musician, Guitar Solo (on "I Feel Love Comin' On")
The Head Shop is a psychedelic rock band from New York that released one eponymous album on Epic Records in 1969. According to promotional material for the album, the band performs "9 musical chapters that will lead you into new musical and audiophile dimensions of psychedelic art of music". A commercial ad in New York's Screw magazine was blazoned with: "Do You Want Head? Blow Your Mind with the Head Shop Album!" The music features fuzztone bass and guitars, Farfisa as well as Hammond organ, and unusually soulful vocals for this type of music.
The album was produced by Milan, and the associate producer is Maxim; they are also listed as the songwriters on the original songs, which include "Listen with a Third Ear", "Heaven Here We Come" and "I Feel Love Comin' On". Larry Coryell, a respected jazz guitarist is a "guest musician" that provides a guitar solo on one track, "I Feel Love Comin' On". Coryell's debut album on Vanguard Records was also released in 1969.
Side 1 ends and Side 2 begins with two extremely familiar Beatles songs, "Yesterday" – reminiscent of the Deep Purple cover of "Help!" – plus a propulsive rendering of "Revolution". "Yesterday", along with an original song called "Where Have All the People Gone", are combined into "Opera in the Year 4000" that may function as a commentary on the state of the music world at the end of that decade: even if all the people are gone in two thousand years, the then omnipresent Beatles standard would still survive. The album also includes a melancholy version of another hit song of the period, "Sunny" by Bobby Hebb. Like "Yesterday", hundreds of other cover versions of "Sunny" are extant, but not like this.
The album cover feature a swirling group of multi-colored (and numbered) boxes that surround a black-and-white image of a shrunken head. The back cover is mostly black with minimal copy but also shows a shot of the band lit from beneath.
One recent reviewer describes the music as "a demented fusion of ’69 era heavy psych and ’66 era garage punk" . An anonymous fan called this "a very special album" and cited influences on the album ranging from Arthur Brown to James Brown, and, regarding the "Revolution" cover: "The original idea was to mix Beatles with contemporary music (Schönberg and Mahler) into a new trip of music, making new music in a true ‘progressive’ edge." .
Although the band is obscure by any standard, The Head Shop is probably the best known and one of the last of the many projects masterminded by Milan, an enigmatic music industry professional who produced and performed on a variety of recordings released in the 1960's. Virtually all of the Milan projects, including The Head Shop are highly sought collectors' items, and original sealed copies of the Epic album surface occasionally.
The album has been reissued on two different German labels, Synton Records in 1998 and World in Sound Records in 2004. The latter reissue includes 7 bonus tracks, along with a copy of the 1969 Screw Magazine ad. The bonus tracks run the gamut from folk to flower power to psychedelic pop and include songs by Household Sponge (the predecessor band to The Head Shop), Licorice Schtik (a band being promoted by Maxim in the same time period), and other earlier Milan projects including The Aladdins.
Download Link :
01 Don't Need Your Lovin'
02 No Way Out
03 It's All over Now, Baby Blue
04 I'm Not Like Everybody Else
05 Misty Lane
06 Loose Lip Sync Ship
07 Are You Gonna Be There (At the Love-In)
08 Gone and Passes By
09 Sitting There Standing
10 She Weaves a Tender Trap
11 Sweet Young Thing
12 I Ain't No Miracle Worker
13 Blues Theme
The Chocolate Watchband were one of the most important garage bands of the '60s, which makes the lack of an in-print anthology of their work all the more puzzling. Sundazed has released their three albums with copious bonus cuts and Rhino had a nice compilation in the early '80s, but is now out of print. 44 is a decent overview of their best cuts, including the rare singles released as the Hogs. ~ Brian Downing, All Music Guide
The Chocolate Watchband never charted a record nationally. Indeed, ask most casual 1960s rock fans about them and you'll probably get little more than a blank stare. Most will remember their AVI Records labelmates the Standells more clearly, because they actually managed to chart a few singles. Alas, the Watchband had the disadvantage of being a punkier band than the Standells, and suffering continual lineup changes. The Chocolate Watchband was a mod-outfitted garage punk unit par excellence, their sound founded on English-style R&B with a special fixation on the Rolling Stones at their most sneering. After hooking up with producer Ed Cobb, a former member of the 1950s vocal ensemble the Four Preps, the group released No Way Out in mid-1967, though the Watchband had already begun breaking up. A new incarnation carried them through 1967, though the band's existence as a viable performing unit were all but over. The group's producers had other ideas, however, releasing two more albums (The Inner Mystique, One Step Beyond) in 1968 and 1969 , sporting the band's name but not too much else associated with the group. That would probably have been the end of the group's story, but in the early '80s, record buyers and, more particularly, young musicians discovered the Watchband. A set of Australian reissues of the group's albums quickly found a market in America and Europe. Thus, it was no surprise when, in 1994, Sundazed Records reissued the complete Watchband catalog on compact disc. ~ Bruce Eder, All Music Guide
One of the rarest psych/prog albums recorded by a Spanish band in the early seventies. A world class item featuring spaced vocals, effects, astonishing guitar work, flute...
Orginally released in 1971 on the Dimension label it has a ghostly, surreal atmosphere and is reminiscent of early Pink Floyd & Group 1850 with acid folk chucked in for good measure/madness.
Arturo Domingo: bass and vocals
Alfonso Bou: guitars, vocals
Pedro Van Eeckhout: drums, percussion
Guillermo Paris: vocals, flute
One of the pioneers of the Spanish Progressive, in the vein of the psychedelic-prog ambience. A band with a high instability in its line-up that didn't let it to become an important one. J.J. Iglesias (Revista Atropos)
Spain isn't the first place you think of for psychedelic gems, and especially not during the Franco regime, but Pan & Regaliz pulled off such an album, in 1971, during Franco's regime. This album was thought of as sounding like Jethro Tull's Stand Up under the influence of acid.Strange psychedelic sounds can be heard in the background to many of the songs. And while released in 1971, the music has a more late 1960s feel. All the vocals are in English. Some of my favorites include "I Can Fly", "One More Day", "Today, It's Raining", "Waiting in the Monster's Garden", and "Thinking in Mary". A wonderful album that really took me be surprise. Also, this album is very rare and collectible, but if you can track down a copy, you too will be pleasantly surprised.
The first incarnation of Agua de Regaliz released a first single with the historic Els 4 Vents. Then, they decided to sign a better contract with Dimension label and change the name to "Pan" and eventually to "Pan & Regaliz" for the people to identify them with the first band. They had contract problems with the label but that was not a problem to record and release their only long play "Pan y Regaliz, featuring now Pedro Van Eeckout on drums. They recorded eight songs in english in a progressive psychedelic style, very unusual in Spain. Songs like "Dead of love", "Thinking in Mary" and "A song for a friend" were made thinking of a single in the purest psychedelic pop style with Jethro Tull touches. But songs like "One more day", "When you are so bring down", "I can Fly" and the experimental ones like "Waiting in the Munster's Garden" and "Today it is raining" make this record highly recommendable. e special touch of Guillen Paris on flute and the way that he modulates his voice, in addition to the excelent contributions of the other muscians, make this record one of the best in that time, and it has nothing to miss from any Krautrock or English prog band. Manuel Dachada
This is another long OOP Lp from Voxx, that never reissued. Recorded in Albuquerque, New Mexico and released in 1985 from Voxx (and Lolita in Europe). The band (never seen performing live, as mentioned in "Knights of Fuzz") maybe had the "curse of Voxx" i.e disbanding right after the release of their album, or maybe was an one-off only project.
The album kicks off with "Fly Tonight", a crazed garage track, followed by the 6 minute-long title track, which speeds up and slowes down, complete with an eastern scale solo from the Vox organ of the leader Bob Fountain. The highlight is "She's so wild", another speeding-slowing track, with a superb guitar-organ dialogue. The speedy instrumental "Go-Go 85" closes the a-side. The b-side runs in the same vein with 3-minute songs, delivered straight from 1966, full of teenage fever and naive lyrics, with "Tell me why" and "One Last Kiss" outstanding, and closes with the calmed-down "Bittesweet", up-lifting, almost pop-psych tune that features a nice guitar solo.
To my ears, this one stands side-by-side with the teenage garage anthems of the Pebbles or the Moxie records, which apparently the band had studied very well, alongside with the ? and the Mysterians. Its garagey, vox organ-dominated sound, the tempo changes and the very american backing vocals are refreshing enough for me.
Bob Fountain: Vox orgn, lead vcls
Larry Otis: gtr, vcls
Nancy Martinez: bs, vcls
Richard J.Perez: drms, vcls
At the top of this post is the Lolita cover and right above is the Voxx cover
P.S. Although I don't post something already posted, I made an exception for this: It was posted in July 2006 in the TwilghtZone blog. Not only the link is long gone, but my dearest RYP has posted a review from an (Amazon?) listener, that totally dismissed it as "80’s retro garage band who if they had heard The Fuzztones, The Morlocks or Plan 9 before going into the studio they would have realised they were in the wrong job". Well, this record slipped in my head in a summer night of 1985 and it's there since then. I felt that I ought to give it a chance.
P.S.2 This is my rip, not RYP's
Lazily Spun - 1999 - Untitled cdr
The Lazily Spun are:
Matt Woolham - vocals, acoustic and electric guitars, percussion, soundscapes, sound manipulation, bike & bell
Harry Sumnall - bass, harmonium, guitars, q-chord, percussion, tamboura, sitar, autoharp, gopichand, synthesisers, mellotron, sampling, sound FX, soundscapes, theremin, bells & whistles
James Pagella - drums and Ire~Sensi Wisdom
Juan Bercial-Velez - lead guitar & ritual theremin-pole dancing
With co-founding member Anshu Asthana (currently a London based freelance designer), and exploding from a fluctuating free-lifestyle awash with entheogens, the band crafted their sound based upon their love of far out 60s psychedelia, contemporary psych-miscreants, mycology, and studio trickery. Gigs in Manchester (UK) caught the ear of local music legends John Squire (Stone Roses) and Clint Boon (Inspiral Carpets) who offered guidance on the golden road (to unlimited devotion). A lovingly crafted demo tape was recorded in 1996, capturing the attention of respected the Ptolemaic Terrascope magazine. A feature article and tracks for consecutive Terrascope 7" releases releases - "Old Guy" and "A Puce Moment" (the latter a cover of the legendary Hermit by Kenneth Anger soundcraft wizard Jonathon Halper) led to a hasty assembled private issue of the band's tunes. Despite being considered a 'demo' (with a view to re-recording with better equipment at a later date) the album was well received in the underground scene and "The Whole" was included on the Camera Obscura compilation Serotonin Ronin II). An EP, Double B Side, was recorded for Earworm records, gaining national airplay on John Peel's Radio 1 show.
Partly due to disillusionment with the Lazily Spun's slow progress, internal tensions, and challenging life events, the original band slowly dissipated. Harry moved cities to Liverpool in order to pursue (and complete in 2002!) a PhD in the psychopharmacology of MDMA, and all seemed lost. Matt resolved many complications by laying down tracks that were to form the backbone of the new Lazily Spun sound. Reconnecting with Harry, the band rehearsed songs with new members until settling with the current (perfect!) line up. James and Juan were both Liverpool based musicians playing and recording with the Living Brain, Vitamina, and Hand Museum. (Sidebar: Harry joins James in Zukanican, a dense free-form outfit dripping with klanging Krautrock influences - debut release expected on Pickled Egg records in late 2002/early 2003).
Photo Scott SterbenzFrom original demos to final mixdown The Lazily Spun's debut album was assembled over 3 years and released on Camera Obscura in March 2003. Some sound samples date back to the first phase of the Lazily Spun and the album features all key members of the band's history in some sonic shape or form. Songs were recorded at Matt and Harry's PC based home-studios (Manchester & Liverpool), Testa Rosa studios (Manchester), Elevator Studios (Liverpool) and Living Brain rehearsal studio (Liverpool).
Their name derives from classic experiments performed in the 1950's whereby flies were injected with various drugs (mescaline, cannabis preparation, LSD, and caffeine) and then fed to the spider Zilla-x-notata Cl. The subsequent webs produced by the spiders were then analysed. LSD and mescaline webs looked as if they were "lazily spun" (!).
Band's Web site
CAM055CD - Lazily Spun - s/t
Album "Straight Ahead! The GoldeBriars"
From left: Curt Boettcher, Dotti Holmberg, Sheri Holmberg & Ron Neilson
“The GoldeBriars”--An innovative folk-pop-rock group of the 1960s... On the Brink of Success…Starving, Laughing, CryingTheir important role in the Birth of Sunshine PopYou have now beamed yourself back into the 'Sunshine pOP' era of the sixties where you will get to know THE GOLDEBRIARS, a 1960s group who recorded 41 songs with Epic Records & with two released albums: "The GoldeBriars" & "Straight Ahead!"
"Straight Ahead" (Epic #LN24114 & BN26114 (Stereo & Mono) released Aug. 1964)
Biography by Richie U.
Rising from teen girl band ashes known as the Tremolons, guitarist-gal rocker visionary Char Vinnedge put together the Luv'd Ones, Dunwich's only all-girl punk group. But the Luv'd Ones were no mere boy toys with instruments; under Vinnedge's direction, she wrote the dark, somber originals, played lead guitar and generally directed the band in the male-infested waters of mid-'60s rock & roll. That their siren song was unheard 'til now (a small batch of singles only) is no reflection on their material or their talents, both in abundance on this excellent 20-track compilation. Largely comprising unissued demos and long lost sessions (their sides as the Tremolons are on a separate Sundazed vinyl EP) and all of it steeped in fuzztoned swirls of sound, this is a pretty amazing little collection of DIY female punk spirit done just right. A missing chapter in rock & roll history.
Warning: Bitrate 160, except for 3 songs in 128...sorry... I searched and I searched and I searched...
Friday, January 26, 2007
01 You're A better Man Than I
02 Saturday's Son
03 Feathered Fish
04 Baby Show The World
05 Tomorrow's Gonna Be Another Day
06 Take My Hand
Six of their rare songs, probably dubbed from the vinyl of the original singles. "Baby Show the World" is first-class psychedelic raunch; "Take My Hand" is a poppy number with nice harmonies that sounds kind of like a raw, garage-psychedelic Monkees; and "Saturday's Son," their best track, is a taut, Love-ish rocker with both harmonies and hard-driving guitars. Things get even more Love-ish, naturally, on their cover of the Arthur Lee-penned "Feathered Fish," which guitarist Randy Holden would also record with his next band, the Other Half. This seven-inch EP reissue is hard to find these days, but is definitely worth picking up if you're into rare psychedelia or garage music, as they were one of the best California bands that didn't last or succeed for one reason or another. ~by Richie Unterberger
Releasing a few obscure singles in the mid-'60s, this Los Angeles psychedelic band is primarily remembered for just two things. Their guitarist, Randy Holden, went on to Blue Cheer, and they recorded an Arthur Lee composition, "Feathered Fish," which Love never released in their own version. The slim evidence that survives on record suggests they were a good band, though, striking a midpoint between garage pop and California freakouts, and employing distortion and feedback when those traits were still innovative. Their material has been very hard to come by, although an EP reissue appeared in 1980s; someone should reissue their singles on CD, or pad them out with any available unreleased tapes to make an album compilation. ~by Richie Unterberger
2. You're Not Smiling
3. I Had A Dream
6. Eye To Eye
7. I Put A Spell On You
8. The House On The Hill
9. Indian Summer
Thursday, January 25, 2007
ANDREW ABBOTT bs A B
GEOFF BROWN vcls A B
DAVE CASWELL woodwind A B
RICHARD PANNELL gtr A B
LESLIE PODRAZA drms A B
JOHN SMITH woodwind A
HARALD BECKETT trumpet, flute, horn B
JOHN HUGHES trombone B
LYLE JENKINS sax B
JOHN MORTON keyb'ds B
TONY ROBERTS sax, flute B
TOMMY THOMAS perc B
2(B) NEW DAWN (Deram SML 1075) 1970 R2
NB: (1) and (2) reissued on one CD (Two Of Us 002) 199?.
1 I Wrapped Her In Ribbons/Hermit And The Knight (Deram DM 306) 1970
(Marcel Koopman / Vernon Joynson)
One of the masterpieces of Psychedelic soul- funk - rock.
It contains one of the best guitar's solo ever made!
In March 2005, Q magazine placed "Maggot Brain" at number 71 in its list of the 100 Greatest Guitar Tracks, which I personal think is not fair as it should be at least at top 20!
Maggot Brain is a 1971 album by the American funk band Funkadelic. It was released on Westbound Records. The music swings through psychedelia, hard rock, gospel and soul music, with tremendous variation between each track.In 2003, the album was ranked number 486 on Rolling Stone magazine's list of the 500 greatest albums of all time
1. "Maggot Brain" (George Clinton, Eddie Hazel) – 10:20
2. "Can You Get To That" (Clinton, Ernie Harris) – 2:50
3. "Hit It And Quit It" (Clinton, Billy Bass Nelson, Garry Shider) – 3:50
4. "You And Your Folks, Me And My Folks" (Clinton, Judie Jones, B. Worrell) 3.36
5. "Super Stupid" (Clinton, Hazel, Nelson, Tawl Ross) – 3:57
6. "Back In Our Minds" (Fuzzy Haskins) – 2:38
7. "Wars Of Armageddon" (Clinton, Tiki Fulwood, Ross, Worrell) – 9:42
Lead Guitar: Eddie Hazel
Rhythm Guitar: Tawl Ross
Keyboards: Bernie Worrell
Bass: Billy Nelson
Drums: Tiki Fulwood
Vocals: Parliament, Gary Shider, Bernie Worrell, Tawl Ross
What can I say, everyone should own this album. "Maggot Brain" may be Eddie's finest moment ever. The lyrics are particulary poignant and clever, especially "Can You Get To That" and "You And Your Folks...". Bernie really becomes a dominant force on this album, with his organ adding texture to the acid/R&B guitar stew. Did I mention the beautiful singing? No Funkadelic album would be complete without a freakout song, and "Wars of Armageddon" fits the bill here. It sounds like they pulled out a sound effects album and got funky with it. "Maggot Brain" was written when George asked Eddie to think of the saddest thing he could, to imagine his mother dying. George faded out the rest of the band when Eddie played this, because they weren't playing as well as Eddie, and the result was excellent. The album is Funkadelic at its best in that it's impossible to predict. It starts with a psychedelic solo guitar piece, moves on to a gospel-inflected soul-stirrer, continues with a hard-rock organ-driven tune, swings toward a politically charged soul-gospel piece, soars with one of the first heavy metal tunes in history, moves back into the political realm with a touch of taste and a horn influence, and concludes with a freakout as bizarre as anything ever recorded. This kind of heavy eclecticism would be seen on several of the next Funkadelic albums, but this one is my favorite.
"Maggot Brain" is the greatest instrumental the band ever recorded, owing everything to the genius of Eddie Hazel, who makes listening to the piece an exhausting, terryifying and exhilarating experience. "Can You Get To That", yet another rewrite of a Parliaments song, starts off with acoustic guitars, giving more of an emphasis to Bernie and his organ, with some of the best singing and lyrics on the album. "Hit It & Quit It" is a Worrell showpiece, featuring his vocals and dominated by that heavy organ sound. Hazel's solo at the end is excellent. "You And Your Folks..." is a sequel of sorts to "I Got A Thing...", with impassioned lyrics about the poor and the irresistable 'yeah, yeah, yeah' chant. "Super Stupid" is a high-powered Hazel metal tune, with a still-tasteful if over-the-edge swooping solo. "Back In Our Minds" settles the whole angry stew down, with Environmedian J.W. Jackson playing jew's harp. He would open for Funkadelic on many occasions, doing a stand-up routine. Just when everything has settled down, they finish it with the utterly bizarre "Wars of...", a song that has a great Hazel jam, a ton of sound effects, commentary on urban society, lyrics that include 'more power to the peter, more power to the pussy, more pussy to the peter', and much, much more. Buy this album now if you don't own it!
Wednesday, January 24, 2007
COLIN FORSTER gtr A
JOHN FORD bs A B C
ELMER GANTRY vcls, gtr A B C
RICHARD HUDSON drms A B C
JOHN JOYCE vcls C
1(A) ELMER GANTRY'S VELVET OPERA (Direction 8-63300) 1967 R1
2(C) RIDE A HUSTLER'S DREAM (CBS 63692) 1969 R1
NB: (2) Credited to Velvet Opera. (1) reissued on CD (Repertoire REP 4495-WP) with their six non-album 45 cuts. Also of interest is The Very Best Of (See For Miles SEECD 437) compilation, which compiles tracks from both albums, alongside single tracks and four previously unreleased songs. Fans may also be interested in a mini-LP Elmer Gantry's Velvet Opera (Apothecary SORCERY 001), which contains a 1968 BBC Saturday Club session alongside an acetate version of Flames.
1 Flames/Salisbury Plain (Direction 58-3083) 1967
2 Mary Jane/Dreamy (Direction 58-3481) 1968
3 Volcano/A Quick 'B' (Direction 58-3924) 1969
This Coventry band are best remembered for hard rock single, Flames, a cut from their first album which narrowly missed the charts in 1967. The track was also featured on The Rock Machine Turns You On compilation LP. Featuring Richard Hudson and John Ford of The Strawbs and Hudson-Ford fame the album was full of variety spanning Motown, pop-psych and harder rock genres. Other tracks which catch the ear include the laid back Oscar Brown song I Was Cool, the instrumental Walter Sly Meets Bill Bailey, the Eastern-influenced sitar-based Air, the Beatlesque What's The Point Of Leaving, the melodic Long Nights Of Summer and two tracks - Dream Starts and Reactions Of A Young Man - which veered towards psychedelia.
For the later single, Volcano, they shortened their name to Velvet Opera and also recorded a second album under that name. Although a popular underground band, commercial success eluded them. Ford and Hudson joined The Strawbs when The Velvet Opera disintegrated. In the seventies Elmer Gantry was in Stretch.
The Very Best Of Elmer Gantry's Velvet Opera (See For Miles SEECD 437) 1995 includes the 'best' of their first album alongside material from Ride A Hustler's Dream, their more progressive second effort recorded under the name Velvet Opera and four previously unissued cuts of which Talk To The Devil is a superb slice of freakbeat from an obscure movie of this name. This stands alongside Flames, their best known cut, as their finest moment on a CD which includes covers of Statesboro Blues and Eleanor Rigby.
Artefacts From The Psychedelic Dungeon CD also features two cuts from a session the band did on John Peel's 'Top Gear' around 1968: their best known number, Flames, and a version of Hendrix's All Along The Watchtower. Other compilation appearances have included:- Air on Electric Psychedelic Sitar Headswirlers, Vol. 2 (CD); Mother Writes, All Along The Watchtower and Mary Jane on Hard Up Heroes, Vol. 2 (CD).
2 Mother Writes
3 Mary Jane
4 I Was Cool
5 Walter Sly Meets Bill Bailey
7 Lookin' For A Happy Life
9 What's The Point Of Leaving
10 Long Nights Of Summer
11 Dream Starts
12 Reaction Of A Young Man
13 Now She's Gone
14 Flames, Single Version
15 Salisbury Plain
16 Mary Jane, Single Version
19 A Quick "B"
GRAB YOUR ELMER
Tuesday, January 23, 2007
01-Imitation Situation 1 (Toccata And Fugue).mp3
02-Where Do You Go.mp3
03-San Franciscan Girls (Return Of The Native).mp3
04-Ninety-Nine And One-Half.mp3
05-Man Who Paints The Pictures.mp3
06-Filligree And Shadow.mp3
07-The Sun Also Rises.mp3
08-Day TripperWe Can Work It Out.mp3
09-Nowadays Clancy Can_t Even Sing.mp3
10-Unlock My Door.mp3
11-Come With Me (Rainsong).mp3
From Wikipedia, the free encyclopedia
Fever Tree were an American rock group of the 1960s chiefly known for their anthemic 1968 hit San Francisco Girls (Return of the Native).
The band hailed from Houston, Texas and started in 1966 as folk rock outfit The Bostwick Vines, but changed their name to Fever Tree a year later after the addition of keyboard player Rob Landes. They subsequently moved to San Francisco and got sucked up by the flower power music scene there.
Their fifteen minutes of fame arrived when their anthemic song San Francisco Girls reached #91 in the U.S. charts, somewhen late 1968. Like most of the band's material, it was written by the couple of Scott and Vivian Holtzman who also were their producers. This 4-minute track captured all the band's trademarks: Dennis Keller's incantation-like vocals, the quick shifting between slow parts with an almost sacral feeling and faster, more rock-oriented parts and especially the searing guitar work by Michael Knust.
Fever Tree also released their self-titled debut album in 1968, which charted at #156. A second album, Another Time Another Place followed in 1969. Apart from San Francisco Girls, they never had another hit, although they later also tried writing songs themselves when they had dropped the Holtzmans as producers. The band finally called it a day in 1970 but reformed in 1978 with only guitarist Michael Knust remaining from the original line-up. This new formation made no impact whatsoever, and Fever Tree was not heard of again until 2003 when Michael Knust passed away from an accidental drug overdose.
Fever Tree's first two albums ("Fever Tree" and "Another Time, Another Time") were re-released on October 31, 2006.
* Dennis Keller - vocals
* Michael Stephen Knust (b. March 11, 1949; d. September 15, 2003) - guitar
* Rob Landes - synthesizer, organ, piano
* E.E. "Bud" Wolfe - bass guitar
* John Tuttle - drums
* Fever Tree (Uni Records/MCA) - 1968
* Another Time, Another Time (Uni/MCA) - 1968
* Creation (Uni/MCA) - 1969
* For Sale (Ampex) - 1970
* Live at Lake Charles 1978 (Shroom) - 1998
It is "an independent mixture of psychedelic, progressive rock, classical music, electronics, jazz & blues with highly artistic demands." This was the masterpiece, which was never reached in level by themselves again. The LP got even better critics than Emerson, Lake & Palmer΄s work Tarkus at the time. The original-LP was released in an edition of 1500 copies. Four discs in Hans Pokora's book 1001 Record Collector Dreams and it can hardly be found today. (with bonus tracks)
1. New born Child (7:45)
2. Selfmade Trip (10:29)
3. A New Way (7:04)
4. Indra Elegy (11:43)
5. Irminsul (2:10)
6. Yggdrasil (3:40)
7. Stories (4:39)
8. Cheese (4:38)
Horst Waber / drums
Harald Zuschrader / organ, flute, guitar, sax
Hubert Bognermayer / keyboards
Gerhard English / bass
Heinz Gerstenmair / guitar, organ, vocals
Will Orthofer / vocals, sax
Austria really isn't a hotbed of prog rock, but EELA CRAIG was by and far that country's best known prog rock band, name, for no apparent reason by original guitarist and founder Heinz Gerstmair. This self-entitled album from 1971 is very obscure and known by very few, as it was originally released on a small Austrian label called Pro-Disc and original LPs since commanding around the $500 range. While their later albums tended to be synth-heavy symphonic prog, this one tends to the bluesy/jazzy psych/prog realm, with the Wurlitzer electric piano dominated (and Hammond organ on only two cuts). The bluesy nature of this album has to do with original guitarist Heinz Gerstmair, and vocalist Wil Orthofer, while drummer Horst Waber gave the band that jazzy touch, add that on with the flute, organ, and acoustic guitar of Harald Zuschrader, bass of Gerhard Englisch, and electric piano of Hubert Bognermayr, and you have the original EELA CRAIG lineup.
While their later albums will be in the symphonic-type prog, this debut album is much more experimental somehow close to the Krautrock scene with moments of proto-psych-prog, as their opening track two-part New Born Child (with its primal screams) and jazz-rock (still NBC), but they were sometimes patchy or sloppy (ie: the NBC’s abrupt end of one riff into the final riff break is very clumsy). The self-explanatory Selfmade Trip is an incredible 10-min+ voyage into heavy psychedelic-spacey expansion-minded trip, which will simply ravish early 70’s experimental progheads. Not completely flawless, this track is pure prog. The second side is also made up of two lengthy tracks with the aptly-titled heavily flute-induced A New Way where they share their absolute enthusiasm with us. But the other lengthy (almost 12-min), Indra Elegy, is a keyboard fest mixed with dramatic saturated guitars, heavenly flutes, constant drumming fury, abrupt (but this time well-designed) tempo changes, good bass lines.The bonus tracks on this album are essential to the band’s history and help explain what these guys did for four years between albums.
Personnel incl: ANDY MOBRAY vcls
An English band who recorded in France. They released an album, Live Your Life (French Vogue CLVLX 148) and EP (Suddenly Tomorrow/Letter To Rosetta/Time Of The Season) (French Vogue EPL 8520), both in 1967. Essentially they comprised straight pop material, but Suddenly Tomorrow, was a bit more inventive with some good guitar work and a catchy chorus.
Their French album is now very rare.
Compilation appearances have included: Suddenly Tomorrow on Psychedelia, Vol. 1 (LP) and Hen's Teeth Vol. 1 (CD); Suddenly Tomorrow, Letter To Rosetta, Time Of Season, Live Your Life, Hall Of The Viking, Sunny Cloud, The Train, Childs Song, Willy 'D' Fixer and Jam Around on Sixties Years, Vol. 1 - French 60's EP Collection (CD).
Monday, January 22, 2007
Man feat. John Cipollina - 1975 - Maximum Darkness
(Roundhouse Chalk Farm, London 26-May-1975)
- (UK) United Artists UAG 29872
- (German) Electrola 1C 064-82 936
- (cd) BGO CD 43
- 7171-551 11:07 (Deke Leonard)
- Codine 7:54 (Buffy St. Marie)
- Babe I'm Gonna Leave You 6:19 (Smith)
- Many Are Called, But Few Get Up 13:42 (Ace/John/Jones/Leonard/Williams)
- Bananas 11:11 (Jones/Ryan/Williams/John)
- THE BAND
- Micky Jones--Guitars, Vocals
- Deke Leonard--Guitars, Vocals
- Terry Williams--Drums, Percussion
- Martin Ace--Bass, Vocals
- John Cipollina--Guitars, Vocals
Produced by The Man Band
Recorded live at The Roundhouse, Chalk Farm, 26th May 1975 by Vic Maile with the Manor Mobile.
Mixed at Pye Studios, London by Man and Vic Maile
Front Cover Photography by Keith Morris
Lettering & Logos by Rick Griffin
Inside Photos by Keith Morris & Edmund Shea
Poster photography, Keith Morris
Inside Spread designed by AD (Design Consultants Ltd.)
Stage Lighting by Rick Lefrak, Laughing Whitefish Productions
DEDICATIONS - Special ThanksRon Sanchez & Discount Records, San Jose, Phil Charles & KSAN-FM, San Francisco KSJO-FM, San Jose, Greg & Ria Lewerke, Kathy Sherry & Marty Capune, Danny Alvino, Joe Collins (KMET) Los Angeles, Sherry Grafman, KSHE, St. Louis, Bill Graham & Jerry Pompeli (Winterland), San Francisco, Ed Ward & Edmund Shea, & Aquarius Records, Castro Street, San Francisco, Matthew "King" Kaufman & EarthQuake, of Beserkley, The Sausalito Heliport, Michael Oster, Scott Piering, & Howard Johnson's Motor Lodge, Pete Frame, Andrew "Jake" Jakeman, Ray Williams, John Curd, Tommy Cooper and The people who always get mentioned (thanks again).
Dedicated to the Memory of Ralph J. Gleason, Tom Donahue an d Peter Ham.
MANAGEMENT Barry Marshall, 177 Upper Street, London N1.
CommentaryI was reading through the list of dedications, and noticing that just about everybody is from the San Francisco area (even though the album was recorded in England), and was thinking: 'These are all the people they had to go through in order to meet John Cipollina (just kidding guys).
This is a magnificent live album, three lead guitars, a wall of great hard rock, and an intensity (God, I'm starting to use that word too much) which is not for the faint of heart. I once went over to the house of a friend who claimed to be a fan of great guitar music. He played me some Steely Dan and I played this album, and he was very intimidated by the music. This is loud, it's nasty and its full of delicious licks.
It starts off with Deke's "7171-551" from 'Iceberg' which had been expanded from a perky little single to an 11 minute assault on the senses. Next are "Codine" and "Babe I'm Gonna Leave You", two old standards that Quicksilver had originally recorded for the 'Revolution' soundtrack album (which was somewhat rare at the time, but was later reissued), Deke's vocals on "Codine" are incredible. For the B-side there are two old classics "Many Are Called" and "Bananas" both turned into extended jams with all three guitars getting a chance to stretch out.
Ted Koehorst's commentary on allegations that Mickey Jones went back and rerecorded much of John Cipollina guitar work (see his liner notes for 'Be Good To Yourself') deserve refutation, but since I really don't know any better, all I can say is that if they are true I prefer to live in an alternative reality where Minni-Vanilli can sing, Michael Jackson is innocent, and Mr. Cipollina's guitar work didn't need any studio tampering, and shame on you Mr. Koehorst for spreading vicious allegations about the non-existence of Santa Clause, etc.
But the real highlight of this album is Deke's longest set of liner notes to date (reproduced in glorious HTML for the first time below). It's a classic essay on the history and habits of Man's extended family, with further notes on the philosophy of car theft, police notes in triplicate, the dangers of Argentine Corned Beef and bolas in general. Last night I met and old record critic friend of mine at a concert and he could still quote large sections of the notes, having last read them some 15 years ago. He also wondered why I couldn't, and all I could say was that this was the first time I had read them while not stoned.Deke's Liner Notes from the Back of the Poster That Came With the LP
Kings of Oblivion - Gotta Love Me/Only You To Blame/No Way To Be (Dionysus ID-074510)
For the end here's some wild garage rock from Kings of Oblivion, a band from Los Angeles which appears on Dionysus site as "Detroit '68 meets LA '77". Their sound on this 1990 single reminds me of Jeff Dahl or the Lazy Cowgirls. Kings of Oblivion had some success (in Europe mainly), but now they've sank in oblivion.
The Dispossessed - Moon and Midnight/The Thin Men (Di-Di Music DiDi 155, 1988)
The Dispossessed from Connecticut, appeared in the mid-eighties, released a single and an obscure LP, which sounds to my ears like an american version of the uk post-punk groups, and then (after the suicide of their guiar player Jeremy Guenter), they disbanded, to resurface in the early 2000s! These two tracks appeared on a limited edition 7" included with the European release (on Greek label Di-Di Music) of the band's first and only LP "Sister Mary", from 1988.
Lee Joseph - Four By One EP (Mystery Scene ms 004, recorded 1984)
In the summer of 1984 Lee Joseph recorded four tracks in his home, with the help of Rich Coffee (gtr) and Zebra (handclaps). There are three covers (Stay By My Side (Music Machine), The Special Ones (Shames) and Splash One (R.Erickson)) and a Rich Coffee song (Sounds of Color). He mixed them in 1986 and sometime later (I believe circa 1989) they were released by the German label Mystery Scene. The covers are faithfull, but I think the best track is the Rich Coffee one. One last note: on "Spash One", besides the off-key vocals you may notice that it sounds as if it was mixed in the wrong speed.
Lance Kaufman - Peaceful Amazon Village/They Dug Up Elvis (Dionysus- ID074513)
After years as an obscure lounge pianist in his native Cleveland Ohio, humble Lance Kaufman was bonked on the noggin by a fowl ball at an Indians game and became Karla Pundit, musicologist and keyboard wizard extraordinare! For more than a decade he was hearing mysterious voices and a form of exotic music seemingly from another sphere. Lance saluted the exotica era years before it was fashionable to do so with this Dionysus single. Lance was also behind the Farfisa organ on the early very 60s garage inspired records by Yard Trauma, a band who also included the Dionysus Records Empire head-honcho, Lee Joseph. You have to listen to believe it!
Gorehounds - Necrosis/Voodoo Priest (Alien Cactus Records ACT THORN 002)
Well, don't be scared with this one! The Goreounds from Maine were deep in the creepy side of garage. They put out this single in 1986 and an LP (Halloween Everywhere) again on Alien Cactus in 1987. Except from their LP title , their references to the Elevators exceed to the use of an electric jug.
1313 Mockingbird Lane - Hornet's Nest/My Hearse (Is Double Parked) (Scarab S-001)
This is the first single of this "third generation" garage group, that came out in 1989, in their own Scarab label. They play a straight 60s/Chesterfield Kings garage with a lot of energy. They released several singles and LPs and they're still active.
The Cynics - I'm In Pittsburgh And It's Raining/Smoke Rings (Get Hip GH-106)
No need to tell you 'bout the Cynics, except that this single came out from Get Hip as release #2 of the Cynics fanclub in 1990, and of cource the a-side is about their hometown.
Here they are 7 X 7 is - pt.5
Edit: Jordan Kratz founder of the Gorehounds posted a comment, inviting us all to his webside to download for free all The GoreHounds LP , 7", and unreleased stuff.
Sunday, January 21, 2007
His music said it all !!
Jimi Hendrix - Electric Church
Jimi Hendrix - 51st Anniversary
(8 CD's Boxset)
(click on covers for tracklists)
(click on covers for tracklists)
New set of Links !
Saturday, January 20, 2007
"Psychedelic Shack" – 3:51
"You Make Your Own Heaven and Hell Right Here on Earth" – 2:46
"Hum Along and Dance" – 3:53
"Take a Stroll Thru Your Mind" – 8:37
"It's Summer" – 2:36
War" – 3:11
"You Need Love Like I Do (Don't You)" – 3:58
"Friendship Train" – 7:49
Psychedelic Shack is a 1970 album by The Temptations for the Gordy (Motown) label, which represents the Temptations' full-blown submergence into psychedelia. Completely written by Norman Whitfield and Barrett Strong and produced by Whitfield, Psychedelic Shack almost completely abandoned the "Motown Sound" formula for this LP; hard rock guitars, synthesizer sound effects, multitracked drums, sampling, and stereo-shifting vocals giving most of the album's songs a harder, less traditional feel than the Temptations' previous work.
Psychedelic Shack was the final album completed before the third incarnation of The Temptations (Dennis Edwards, Paul Williams, Eddie Kendricks, Melvin Franklin, and Otis Williams) broke apart.
Psychedelic Shack U.S. Billboard Pop Albums 24
Psychedelic Shack U.S. Top R&B Albums 1
Psychedelic Shack U.S. Billlboard Pop Singles 7
Psychedelic Shack U.S. Billboard R&B Singles 2
Download Link :
this is a compilation from their first albums
"The Readymen tip their derbies toward the coolness that was the Astronauts... these guys just crank and this is teen garage poop at its apex."
1. See the Light
2. Make It Easy
3. Hey Lord
5. Don't Worry, Bill
6. Get Your Mind Made Up
7. Highs and Lows
8. I'm So Happy
10. Another Day Like Heaven
11. See the Light (Reprise)
2. TERRY & THE PIRATES - INLAWS & OUTLAWS featuring NICKY HOPKINS (demo take 2)
3. TERRY DOLAN - DOG MOUNTAIN BLUES (demo version)
4. RON NAGLE W/MICK WALLER, DAVID JENKINS & PETE SEARS - FRANCINE
5. RON NAGLE & JOHN CIPOLLINA - BERBELANG
6. BRUCE STEVENS (BLUE CHEER) - HOLE IN MY SOUL
7. BRUCE STEVENS - DOPE AND MONEY
8. LOOSE GRAVEL - STYROFOAM (demo short version)
9. LOOSE GRAVEL - BAGOFAIR (demo)
10. SOUNDHOLE with JOHN CIPOLLINA - CHINATOWN
11. SOUNDHOLE with JOHN CIPOLLINA - THE WAY THAT YOU ARE
12. SOUNDHOLE with JOHN CIPOLLINA - NIGHT AFTER NIGHT
13. RON NAGLE & THE FAST BUCKS - 61 CLAY (demo version)
I DELETED FROM THE ORIGNAL TAPE THE TRACKS FROM KALEIDOSCOPE, CHARLATANS, TRIPSICHORD, TOUNGUE &GROOVE, STORIES & BEEFETEARS CAUSE THOSE TRACKS WERE NOT DEMOS, BUT WERE TAKEN FROM THE OFFICIALRELEASED LP'S AND CANNOT BE SEEDED OVER HERE.
KSAN SOUNDBOARD PARTIALLY BROADCASTED.
Golden Dawn - 1968 - Golden Dawn
2 This Way Please
4 I'll Be Around
5 Seeing Is Believing
6 My Time
7 A Nice Surprise
8 Every Day
9 Tell Me Why
10 Reaching Out to You
Here's another one of my favorites...
check out the allmusic blurb:
Friday, January 19, 2007
"Seething with poison and apathy, the seven band members (six perform on stage) of the Murder City Devils have supposedly turned rock'n'roll on its own deaf ear and kicked it while it was down. Every netherworld and stygian reference in the book (even the Good one) has been bestowed upon these new darlings of the media by adoring critics, who find Spencer's snarling indifference and silver-tongued, heart-on-his-sleeve lyrics nothing less than beguiling and the gut-wrenching, dirty-secret, darkest-corner-of-your-mind musical accompaniment nothing less than cathartic. Spooks and creeps, these medicine men (& woman) of hurt make snake oil of your worst pain, bottle it and clandestinely sell it back, never hesitating to share a shotglass or five of the stuff with you, huddled in the lonely alleys of your riddled brain. You'll be on your knees, repenting like a tent-revival sinner." By RumbleStripper
"And the second the Devils ascend to the stage and rip into a soul-spearing rocker, onlookers who'd joke about honor-roll-this or math-geek-that bite their tongues. As the other band members--Dann Gallucci (guitar/keyboards), Nate Manny (guitar), Derek Fudesco (bass/keyboards) and Coady Willis (drums)--careen around with kinetic energy, Spencer Moody's unassuming appearance becomes twisted into a spastic mass of flesh, cloth and microphone cords. Suddenly, when he sings that his "heroes have always been flunkies and drunk," it all makes sense. Rock 'n' roll is reborn again, the phoenix rising to torch non-believers with a fiery touch.
When ex-members ofthe Unabombers, Death Wish Kids and Area 51 came together in 1996, they weren't thinking about igniting a stagnant scene. They just wanted to get electric, to plug in and rock out. That's what they did, and Seattle took notice.
Soon they were opening for national acts and gaining notoriety for their furious, ranting performances. If the crowd didn't want
to respond, Moody's anti-apathy maledictions made sure they did. Eventually Sub Pop chose Murder City Devils as the inaugural act on its new offshoot; the band was even allowed to name the label (Die Young Stay Pretty, after a line from Gallucci's favorite Blondie song).
When the self-titled release arrived in '97, it may not have broken new ground historically, but it didn't merely dig up the bodies of old punks and trot around in their skins for a while, either. The influences are obvious--Iggy and the Stooges, Johnny Thunders, Dead Boys--but don't forget, those acts had their own lineage to live up to. Iggy was inspired in part by Jim Morrison, while Thunders' New York Dolls worshiped the Stones.
Moody insists the band is not trying to cop someone else's attitude. "Sometimes, in consciously or unconsciously trying to imitate other people, you come up with something that's yours," he says. He understands that this may lead to some criticism, but adds that the Devils are not capable of simply "imitating any of those people, so it's gonna come out as something new."
It's all cynical bickering anyway. The album is a solid chunk of vintage punk that strays far enough from formula to guarantee an attentive audience. When organs shimmy into earshot, the music almost seems closer to the Animals than anything Stiv Bators might've written. (Listening to the disc's slow, almost ballad-esque closer, "Tell You Brother," one notes similarities to "House of the Rising Sun," not "Sonic Reducer.")
Still, if there's one undeniably punk aspect of the Devils' music, it's their attraction to--and reflection of--the damaged messiahs of music and literature. In addition to Iggy and Stiv, Moody lists Burroughs, Bukowski, Jean Genet and Steven Jesse Bernstein as favorites.
"What's important to me is that the types of people I've always looked up to are the ones who did things outside of the normal way," he explains. "The famous people I've admired in the past, or been influenced by, it seems like they're more the degenerate portion of our society. I believe in the idea that you don't need outside sources to validate what you do. Like rock 'n' roll--in the beginning it wasn't 'valid' because society as a whole didn't think it was a legitimate art form. They did it because it felt natural for them to do. Everything good starts out that way." - John Graham
Vocals: Spencer Moody
Guitar: Dann Galluci
Bass: Derek Fudesco
Drums: Coady Willis
Guitar: Nate Manny
Keyboard: Leslie Hardy
1. Dance Hall Music
2. It's in My Heart
3. Boom Swagger Room
4. Get off the Floor
6. Broken Glass
7. Murder City Riot
8. Sick of Dreaming
9. Make It on My Own
10. Tell You Brother
Download Link (30 Mb)
1. Wade In The Water
2. Lights Out
3. Bradley's Barn
4. You Can't Tell Me
5. Nashville 1 A. M.
6. Cristo Redentor
7. Before Six
8. Lark, The
10. Long Wait
The legendary and indispensable 1968 psych-rock classic. The work of a guitar master so admired that he was auditioned by the Rolling Stones in 1975.
We would like to see some comments. We post music we like and we want your opinion. All the posts have more than 200 downloads and no comments. Don't be shy!!!!!
Now about this......Not much except that has some rare recordings from the Syd's period. Plus the only live recording from Syd. Keep Listening!!!!!!
As promised, this is the first album of this Mexican legend, one of these albums that you must own. Probably the best acid rock album ever made in Latin America, plenty of fuzz guitars and excellent compositions.
La Revolución de Emiliano Zapata, Polydor, 1971, LP
The Group: Javier Martín del Campo (guitarra, flauta, piano), Oscar Rojas Gutiérrez (vocales), Antonio Cruz Carbajal (batería), Francisco Martínez Ornelas (bajo), Carlos Valle Ramos (guitarra)
1. Nasty sex
3. I wanna know (Quiero saber)
4. If you want it (Si tu lo quieres)
5. Shit City (Ciudad perdida)
6. A king's talks (Pláticas de un rey)
7. Still don't, not yet (Todavía nada)
8. At the foot of the mountain (Al pie de la montaña)
9. Under heavens (Bajo los cielos)
Thursday, January 18, 2007
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 02
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 03
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 04
Link : p1 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 05
Link : p1 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 06
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 07
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 08
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 09
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 10
Link : p1 ~ tracklist
Covers : F In B
Another Great U-Spaces comp...
More Info Here.
Light hippie folkrock with great male/female harmonies, strong tracks and a general uplifting quality about it. Pressed in Canada but the group was from Marin County and had help from David Crosby , who even on coke knew good music when he heard it. Although this album was pressed in Canada and lists no home base for the group on the cover, it is known that they were based in Marin County. The album, which is pop rock with male and female vocals, sounds like a cross between Pablo Cruise and later-day It's A Beautiful Day - which is defined as "psychedelic" by some record dealers in Europe. The group was previously known as RJ Fox, who saw a double CD issue of their early seventies material issued in Summer 1994: RJ Fox: Retrospective Dreams (Black Bamboo).
Shelly Fox was previously in Cookin Mama and Stephen Barncard also worked with Chet Nichols and David Crosby. Kelly Bryan had earlier been in the short-lived Grootna, and later played on a couple of albums by Jesse Colin Young.
Wednesday, January 17, 2007
01 Mercury messenger
09 Dans L'oeil De L'oeil
11 Marion dreams
12 Laser Sunset
13 La Fin De La Vie...
Jean-max Peteau: guitar, voice
Stephan Rossini: drums, voice
Michel Peteau: guitar, voice, sax
I do not have information on this French group, this CD is a first live edition of recordings (repetitions or concert) between 1971 and 1975. Music planing between Gong and The Cosmic Jokers.
Thanks a lot for all your great posts. Since I am downloading/discovering very good material here since few weeks, in my turn here is a modest contribution to your amazing blog.
This is an album of Cheval Fou (psych french obscure rock band of seventies) ripped from my own CD (320k) with full HQ artwork.
So, here is the Links:
Man From Missuri - 1990 - Bwanger Tatalingus Debase
This record asks a post in my friend's Mystery Poster style: just the cover, the title and the link.
But I'm afraid that even if the curius listener search for it, there's nothing to find. You see this LP released in Greece only, on Nate Starkman & Son Greece, in a limited edition of 500 numbered copies, and I don't know if anyone noticed it. The record came with an insert in the Indepented Project Records style (only this was in black with silver letters).
As for the band, the only things I can tell you are these: they were a quartet from California and they may have sort of relation with Indepented Record/Nate Starman & Son chief Bruce Licher. Some of the tracks of this self-produced album released as an EP in the U.S., I presume in equaly limited quantity.
And now the music: how about frenzyfied-fuzzed-out-surf-cow-psyche? The LP starts with an instrumental blast of energy, "Hygiene" which incoroporates tribal drums and surf guitar played with the amps at 10. Side-a continues (a bit calmed-down), then another killer cow-surf track ("Bwanger Tatalingus Debase") till the last track, "Epitaph", which colses this side with an electrified cowboy tale. B-side begins with the bass-driven dark-Brittish-sounding "Cover Tailor", continues with "Eat My Iron", a short track with metallic (not metal) guitar sounds, and then with "American Dogs" one of the best songs Wooden Wand never wrote (yet). The disc closes with "Accident" and the up-beat surf "Six" with fine ringing guitars. Maybe you can call them surf-Caroliner? Maybe not. You decide.
Jon Jarrett - vcls,gtr
Kelly Mason - bs, vcls
Art Byington - gtr
Steve Hadley - drms
PS Google shows a Jon Jarrett DJ in LA, and an Art Byington guitarist of Destroy All Monsters - I don't know if they are the same.
Edit: You can take a look in the comments for more about the band, as one "Man From Missouri" signing as "old man" posted a comment recently
01. Good old rocn'n roll (Michaels/Smith/Equine/Chin/Parker)
a. Sweet little sixteen
b. Long tall Sally
c. Chantilly lace
d. Whole lotta shakin'Goin'on
e. Blue suede shoes
f. part doll
02. Favors (Michaels/Smith/Equine/Chin/Parker)
03. Chalie's Waltz (Charlie Chin)
04. How I spent my Summer (Robert Smith)
05. Marie (Chin/Smith/Parker)
06. Probably won't (Robert Smith)
07. Can you dance to it? (Robert Smith)
08. Bramble Bush (Roy Michaels)
09. Bad news (Chin/Michaels/Equine)
10. Boston Burglar (Michaels/Smith/Equine/Chin/Parker)
11. Track in 'A' (N. Nights/Michaels/Smith/Equine/Chin/Parker)
Cat Mother And The All Night Newsboys
The original line-up of this eclectic quintet included Larry Israel Packer (vocals/guitar/harmonica/mandolin), Charlie Chin (guitar/banjo/vocals), Bob Smith (keyboards/vocals/drums), Roy ‘Bones’ Michaels (bass/guitar/banjo/vocals) and Michael Equine (drums). Packer was a former member of the New York Rock 'N Roll Ensemble, while Michaels had served in the Au Go Go Singers, a clean-cut folk ensemble which also included Stephen Stills and Richie Furay, both of whom would later appear in Buffalo Springfield. Chin, another coffee-house acolyte, coincidentally supplied the distinctive banjo coda on the latter group's exemplary Bluebird. Cat Mother's debut album, which was produced by Jimi Hendrix, reflected contrasting backgrounds. Chin then left the group, which sought a more receptive audience on America's west coast. Their music reflected a good-time, almost communal spirit, but a notorious instability undermined their undoubted potential. A 1973 release, LAST CHANCE DANCE, marked the end of the group's recording career, although they remained a popular live attraction for several years. Late arrival Charlie Harcourt was the only former member to prosper on Cat Mother's demise when he latterly joined Lindisfarne.
Tuesday, January 16, 2007
Rainbow in the Rain
Prelude to Love
Show Me How to Cry
Crying Eyes and an Empty Heart
Come on and Get It
In the Late Afternoon
Keeping Your Love
Love Has Got Me Down
Daniel Derda (Drums)
Eddie Haddad (Organ/Piano/Vocals)
Keith John (Guitar (Bass)
2. What It Is? (4:58)
3.Ungena Za Ulimwengu (Unite the World) Friendship Train (8:54)
4. Superstar (Remember How You Got Where You Are) (3:10)
5. Take Me in Your Arms and Love Me (4:04)
7. What's Going On (9:24)
As another vehicle for the talents of producer Norman Whitfield, soul trio The Undisputed Truth never quite enjoyed the same success as his other notable musical charges, The Temptations. With hits like "Ball of Confusion" and "Cloud Nine" The Temptations pointed the way to soul music's future in the late 1960s and early 70s. Their other great hit of the era, "Papa Was A Rolling Stone", was originally recorded by the lesser known group, before getting its definitive reworking with The Temps.
Released in 1972, the spirit of the age is very evident on this record. The conscious lyrics, the psychedelic riffs and dark and brooding funk rhythms- it's a world away from the assembly line pop of Motown's golden era. Joe Harris's heavy baritone is rich and clear, making "You Make Your Own Heaven And Hell Right Here On Earth" a compelling lesson in the era's political realities.
Like Rotary Connection they may have been a little ahead of their time, and perhaps a little way out for many. That said, most of the tracks have stood up well to the passing of the decades. (Apart from the baffling inclusion of a funk-light cover of "Take Me In Your Arms & Love Me.") There's even an introspective and mellow version of Marvin Gaye's "Whats Going On" that, despite the risks, works well.
The Undisputed Truth offered Norman a space to experiment in, exploring ideas he would later refine with his more mainstream projects. And, although theres nothing quite as good here as the bands earlier hit "Smiling Faces Sometimes", this album offers a fascinating insight into the mind of one of soul's most adventurous producers.
I like Randy Burns, I think he really made emotional albums….i like his voice too…
In all these kind of albums, the minor inside major chords is killing me…what to say..
Actually I think in all these folk guys, the melody is been built with the sudden use of a minor chord between of all major chords (the scale)…
Just my point of view….
RAY CHARRON drms A
BOB DOOR bs A
RALPH MAZZOTTA ld gtr, vcls A
JOHN POLLANO ld vcls, gtr A
This outfit came out of Northern Massachusetts with what some would argue is the ultimate psychedelic album, full of superb Beatles - like vocals and songs with great guitar work.
All the band's members had previously been in an outfit called The Road Runners, who released an acetate single, You Don't Understand/One Light and Charron, Mazzotta, Door and Pollano were helped out on the album by Joe Villanucci, who played electric piano on Sarah Saturday. Original copies of Corridor Of Faces now change hands for hundreds of dollars and are virtually impossible to find in the U.S. let alone elsewhere.
The album was recorded between 22nd June and 13th July 1968 on a budget of $1000 and emphasised the softer, more reflective side of the band, which was apparently a lot heavier live. Although lacking the range of the Beatles, the album perfectly establishes a mood - musing and introspective but not melancholy - with guileless vocals expressing a rapt, unhurried contentment. While not overtly psychedelic, the atmosphere strongly suggests the drug experience in its basking-in-the moment serenity. At times the band sound almost dead-ringers for Kaleidoscope (UK version) on tracks like Salty People, How Was Your Day Last Night and Come With The Day. Under Skies has all the evanescence and permanence of a hazy Summer's day, while Sarah Saturday and How Did You Die sound like parodies of Paul McCartney and John Lennon respectively. A beautiful album that keeps on improving with further acquaintance.
By the time the album was released, the band had split up (Door had left so soon after the album's recording that he wasn't included on the album cover), but Pollano cut one post-album 45 in a trio called The Owl, which is in similar style to the album. The twelve bonus tracks on the excellent Arf! Arf! CD, (which contains a full history of the band including many photos) are mainly acoustic demos recorded in the Autumn of 1967, seven of which are early versions of songs from the album.
Pollano also recorded twelve further songs in Boston in the Winter of 1969 for an intended second album, but only two of them surfaced on a single, You Always Seem To Know/It Happened Again that was included with the vinyl reissue on the Onyx label. Mazzotta later played with Euclid and was playing in a country band in Massachusetts in the early-90s.
Very recently a reunion album was recorded, Pictures In The Smoke.
Compilation appearances include: There Was A Time on Love, Peace And Poetry, Vol. 1 (LP & CD); and All These Years on The Arf! Arf! Blitzkrieg 32 Track Sampler (Dble CD).
(Vernon Joynson / Lloyd Peasley)
CORRIDOR OF FACES 01 All These Years, 02 How Was Your Day Last Night?, 03 Come With The Day, 04 Salty People, 05 Jackie-Marie, 06 Under Skys, 07 Sarah Saturday, 08 There Was A Time, 09 Am I Wrong?, 10 How did You Die?
UNPLUGGED DEMOS 11 I Don't Need The Sun, 12 Changing The Time, 13 I Could Fall Asleep , 14 Wait Till You See, 15 Scarecrow, 16 All These Years, 17 Come With The Day, 18 Salty People, 19 Jackie-Marie, 20 There Was A Time, 21 Sarah Saturday, 22 Am I Wrong?
Monday, January 15, 2007
01 Codine Blues
02 Alabama Bound
03 I Always Wanted A Girl Like You
04 I Saw Her
05 How Can I Miss You When You Won't Go Away
07 We're Not On The Same Trip
09 Sweet Sue, Just You
10 East Virginia
11 The Shadow Knows
12 I Got Mine
13 Steppin' In Society
14 Devil Got My Man
15 By Hook Or By Crook
16 'Long Come A Viper
18 Alabama Bound
19 Number One
20 Baby Won't You Tell Me
21 Jack of Diamonds
22 The Blues Ain't Nothing
23 Groom N' Clean Ad
George Hunter – autoharp, percussion, vocals
Michael Ferguson – piano, vocals
Mike Wilhelm – lead guitar, vocals
Richard Olsen – bass guitar, clarinet, vocals
Dan Hicks – drums, rhythm guitar, vocals
No relation to the British alternative rock band, the Charlatans, this San Francisco group has been widely credited as starting the Haight/Ashbury psychedelic scene. In retrospect, their contribution was more of a social one, planting seeds of a rock counterculture with their unconventional, at times outrageous dress and attitudes. While they occasionally delved into guitar distortion and fractured, stoned songwriting, the Charlatans' music was rooted in good-time jug-band blues, not psychedelic freakouts. That's not to say their records didn't have a low-key, easygoing charm, although they didn't match the innovations of the Jefferson Airplane and other peers. Cutting demos for a couple labels in 1966, most of the material they recorded at this time was unissued, and the commercial explosion of San Francisco rock passed them by. The band eventually did release a nationally distributed album in the late '60s, by which time personnel changes had diluted some of the crazy energy of the original lineup, although the LP has its engaging moments. ~ Richie Unterberger, All Music Guide
Get it Here !!!
(part I ~ part II)
Second album of this Mexican legend, excellent psychedelic acid rock with ripping fuzz lead guitars and quality vocals in English.
Probably one of the best pieces of Latin American psychedelic rock ever made.
La Revolución de Emiliano Zapata, Nada del hombre me es ajeno (La verdadera vocación de Magdalena), tambén se conoce como Hoy
Polydor, 1972, LP
Javier Martín del Campo (guitarra), Oscar Rojas Gutiérrez (vocales), Antonio Cruz Carbajal (batería), Francisco Martínez Ornelas (bajo), Carlos Valle Ramos (guitarra), Patricia Paty Ayala (coros) y Marilú Mairfufa (coros)
1.In the middle of the rain (Enmedio de la lluvia) 7,55
2. Now listen this song (Ahora escucha esta canción) 6,00
3. Petra y sus camaradas 6,02
4.Again (Otra vez) 4,10
5. Preludio a la felicidad 3,03
6. Fatman (El Kuino) 6,10
7. So long ago (Hace mucho tiempo) 4,49
8. I dig it 10,15
Superb late sixties styled trippy psychedelia with male/female vocals and some killer lead guitar make this an essential purchase for anyone investigating this area of collecting.
Impressive hard psych with some fantastic guitar work that could compete with US and European counterparts. With only one song in Spanish, the lyrics are few but not corny. The opening track is amazing with some very powerful guitar work. The next song is a bit more subdued though still awesome. The fifth track is the song with no English. The closing ten minute track closes the album out well with some great instrumental parts. Highly recommended.
Some more heavy-psych for your enjoyment. The guitar playing here is definitely the highlight; Jon Uzonyi's style was certainly ahead of its time. Here's the allmusic review:
1 Sea of Nightmares
2 Angel of Love
3 I Can Never Take Your Dreams Away
4 Carry on Together
5 A Bikers Tune
6 Open Your Mind
7 The Day the War Has Ended
8 Love Shines
9 Keep a Smilin' Cari [*]
10 The Sun Won't Shine Forever [*]
11 Lazy River Blues [*]
Peacepipe were the brainchild of guitarist John Uzonyi. They were a power trio that played Southern California and Arizona in the late '60s. They released a single during their existence, and also cut this album, which remained unreleased until the mid-'90s. Originally released on Rockadelic on vinyl only, Shadoks has now reissued it on compact disc, remastered from the original tapes. If you're into heavy psych guitar, you really need to hear this album. Uzonyi has a monstrous tone on guitar, similar at times to Jimi Hendrix's feedback dive-bombing, but the two have very different playing styles. Uzonyi is aided by drummer Gary Tsuruda and keyboard player Rick Abts, but the show belongs to Uzonyi. There are at least two guitars present most of the time, Uzonyi is the singer, and he most likely plays the bass tracks as well. The material ranges from superheavy guitar insanity to more poppy material. To be honest, Uzonyi's lyrics and vocals are nothing to write home about (especially the awful lyrics to "Angel of Love"), but his guitar playing saves the day. There's no studio trickery to speak of (except for the weird tremolo vocals on the last track), although engineer Eirik Wangberg did a masterful job of capturing what Uzonyi was trying to do, and came up with a great, dynamic mix and fun stereo panning effects. The album sounds of its day, but some of the guitar playing still sounds inventive. Shadoks specializes in releasing unknown, obscure material, and they've dug up a great one here.
Sunday, January 14, 2007
Vinyl Version :
1. The World's On Fire
2. Birds In My Tree
3. Lose To Love
4. Strawberries Mean Love
1. Rainy Day Mushroom Pillow
2. Paxton's Back Street Carnival
3. Hummin' Happy
4. Pass The Time With Sac
5. Incense And Peppermints
6. Unwind The Clocks
by Lindsay Planer AMG :
This is the debut long-player from the southern California-based Strawberry Alarm Clock — the title track of this album topped national singles charts in December of 1967. As the cover art might suggest, their image practically defined both the musical as well as peripheral aspects of the pseudo-psychedelic counterculture. However, below that mostly visual veneer, Strawberry Alarm Clock actually have more in common with other "Summer of Love" bands such as Love and Kak than the bubblegum acts they have long been associated with.
Prior to Strawberry Alarm Clock, the band was initially named Thee Sixpence and issued a 45 — "In the Building" b/w "Hey Joe" — in the spring of 1966. As legend has it, none of the actual bandmembers sang lead on the hit single; the singer was in fact a vocalist named Greg Munford, who was attending the session as a visitor. The track was originally issued by Thee Sixpence on the regional All-American label. By the second pressing, however, the band's name had changed to Strawberry Alarm Clock. Sensing the possibility of a national hit, they were scooped up by the MCA Records subsidiary Uni and given the go-ahead to commence recording this, their debut LP.
Much of the band's sound is due at least in part to the writing styles of George Bunnell (bass/vocals) and the uncredited Steve Bartok (flute/vocals). The edgy fuzz-toned guitar sound of "Birds in My Tree" and the Los Angeles freeway-inspired "Paxton's Back Street Carnival" exude a garage rock flavor similar in style to that of Spirit's self-titled debut long-player. Another distinguishing factor is Strawberry Alarm Clock's multi-layered vocals.
02. Baby You've Been On My Mind
03. Four Strong Winds
04. Summer Flower
05. Step By Step
07. Six Days On The road
08. Everydody's Talkin'
09. Donald Duck
10. Settin' The Woods On Fire
11. New England Winter
One of many rock groups signed to Columbia or its Epic subsidiary that got lost in a shuffle of under-promotion in the 1960s, West played mild folk-rock emphasizing their clean, careful vocal harmonies. Their self-titled 1968 debut was produced by Bob Johnston (who also did Bob Dylan, Simon & Garfunkel, Leonard Cohen, and Johnny Cash in the late 1960s), and comes off as a sort of Byrds-lite with some country and pop influences. Their most famous member, by far, was ex-We Five leader Michael Stewart (brother of singer-songwriter John Stewart), although indeed it's hard to figure out exactly who was in the band. The brief liners for their first LP state that "West is comprised of no less than four and no more than six members--Ron Cornelius, Michael Stewart, Joe Davis, Lloyd Perata, (Bob Claire and Jon Sagen)." The inexactitude was compounded by cover photographs showing five guys. Not that it was much cause for speculation among the public, since few listeners heard the album oAlthough West manage a pleasing, Byrdsy sound on their Bob Johnston-produced debut, overall it sounds rather thin and unoriginal. Half of the LP consists of competent covers of material by contemporaries like Bob Dylan, Fred Neil, Ian & Sylvia, and Dave Dudley ("Six Days on the Road"). To be unkind but accurate, these sound like the sort of cover bands that low-budget movies would employ to play familiar material when the original performers and versions were obviously unavailable for the soundtrack. The few slices of self-penned material are very much in the mold of California folk-rock circa 1967-68, and are pleasant though not outstanding. Occasionally country influences become pronounced (as on Stewart's eccentric "Donald Duck"), and at other points there are odd touches of poppy production that sound like folk-rock with a half an ear cocked toward easy listening airplay.r its 1969 follow-up.
A request. At 128, sorry about that but this one it's very rare.
Here's the deal...
Saturday, January 13, 2007
If you find Undisputed Truth great you will adore this one.
Fisrt album of those funky legends. The music shifts between psyche rock flavours, trippy guitar arrangements, hot brass arrangements and strong funky grooves.
A must to all Funk – Soul – Psych lovers!
1) Girl You Move Me 8.30 2) Starchild 5.15 3) Who's Gonna Take The Weight 5.25
4) Don't Knock My Love 7.42 5) Green Grass 3.32 6) Toe Hold 3.30 7) Found A Child 4.28
Styles : European Grooves, Blue-eyed soul funk / Psychedelic funk
Media : LP
Label : akt - epic
Press : EPC 64797
Year : 1972
Country : France
Staff : french thompson (lead vocals,arrangements), blinky bostic (conga,timbale), garland edwards (guitar), norris ridguard (trumpet,valve,trombone), pee wee carter (drums), george alford (trumpet,vocal), doc brown (bass), billy ellis (alto & tenor sax), tony lytle & hasan tayratira (help)
A fantastic bit of tripped out funk! Cane & Able were one of the many groups that came out of the collective surrounding the Lafayette Afro-Rock Band in the early 70s -- and like that group, Cane & Able draw on a wide range of influences to create a heavy funky sound. The album mixes the African influences used by the LARB with more of a hard soul vocal approach, with some cuts sounding a bit like material from Atlantic albums of the late 60s, but handled with more of a fuzzy edge. Includes a great funky reading of Wilson Pickett's "Don't Knock My Love", a cover of "Who's Gonna Take The Weight", and the long tripped-out groover "Girl You Move Me"!
Here's your links with all the art!!!
Friday, January 12, 2007
MIKE DAY bs A TONY DURANT gtr, vcls A
MICHAEL GREGORY drms A
VANESSA HALL SMITH violin, vcls A
JANET ROGERS violin, vcls A
ALBUM: 1(A) FUCHSIA (Pegasus PEG 8) 1971 R2
Dick Hopp(Electric Violin,flute)
Mike Gunn - 1995 - Coduh
One of Texas' most revered psych bands, The Mike Gunn spent its 5 years of life keeping the forces that threatened to pull it apart at bay. Finally, with the mysterious disappearance of its beloved drummer, in 1994 the band relented to the inevitable chaos that threatened to consume it for so long.
Born on the ashes of the legendary Houston Schlong Weasel, it included John Cramer (vocals, guitar), Tom Carter (vocals, guitar), Scott Grimm (bass), Curt Mackey (drums). Mike Gunn is the name of the Schlong Weasel musician who named the band but never played in it.
The Mike Gunn put out a handful of now-hard-to-find releases, then broke up. Afterwards the former members went on to found DunLavy, Charalambides, Project Grimm, and are peripherally connected to the Linus Pauling Quartet. All are Texas-based psych bands of various styles. However, IMHO none have reached the sheer 'blanga' power of the original Mike Gunn.
Mike Gunn's embrionic first single, Tom's In The Bathroom (1990), displayed a soul tune over a slow, martial tempo. Hemp For Victory (Anomie, 1991) shows more of a Butthole Surfers via stoner-rock influence (A Song About Horses, Narcolepsy), not to mention a morbid fascination with Jimi Hendrix (Scary Black Man). Durban Poison (Double Naught, 1992), recorded with the help of Scott Ayers , has a languid sound (Nazy Eyes).
After this CD Tom Carter gave his walking papers to devote his time to Charalambides.
The band continued on for one more year and finally collapsed upon the mysterious disappearance of Drummer Curt Mackey (later to turn up 2 years later). John Cramer started the Grimm Experience, Tom Carter started the Charalambides, and Scott Grimm started the Dunlavy. Like a beast that would not die, the next two years saw 2 posthumous releases. The limited edition "Coduh: A Collection of Live and Studio Recordings" contained the full final live performance of the Mike Gunn and bonus studio tracks. The final scrape of the bottom came with the limited edition release of "A Dream About Jim" (vinyl-EP) on September Gurls.
(The above notes were culled from the Worship Guitars site, Scaruffi.com and Tucson Weekly)
IN ADDITION TO 74 minutes' worth of brain-melting psychedelia from one of the greatest Texas garage bands ever to stagger from den to rehearsal room, you also get a handy graph outlining the ratio of pot intake to listening enjoyment. Since these hemp farmers never toured, fans had to be content, anyway, with extended bong sessions grokking the three extant albums. This postscript has loads of ferocious live gunk, fuzzed-out riffers falling somewhere between MC5, Black Sabbath and Hawkwind. A lighter, more sunbaked touch comes through on the studio material, most notably the 14-minute flute/Moog/guitar inner space excursion "Holger" which sprinkles a dash of peyote into the bowl. --Fred Mills
This a limited edition CD of 920 numbered copies. It's almost hand-made, on every cover there's a different photograph and the insert booklet is cut with a scissor. The cover you see at the top of this post is a photo of my copy.
P.S. The link for "Almaron" is dead. You can bug Pound For A Brown to reupload it.
Thursday, January 11, 2007
Ploughing the Boots Vol 1
01 Martin's Tune
02 Guitar Solo #1
03 Hard-Headed English General
04 WarChild Intro Tape
05 WarChild Suite
06 How Much Is That Doggy In The Window
07 Pop Goes The Weasel
08 Keyboard Instrumental
09 Instrumental #1
10 Instrumental #2
11 Guitar Solo #2
13 Beethoven's Ninth
14 Wardrobe Whopper
15 Pomp & Circumstance
16 Slipstream Intro
Ploughing the Boots Vol 2
01 Jams O'Donnell's Jig
02 Peggy's Pub
04 Reynard The Fox
05 The Swirling Pit
06 Barre's Folly
07 Vettese-Conway Instrumental
08 Level Pegging
09 Double Violin Concerto
10 Unknown Dreams
11 William Tull Overture
13 The Girl From Ipanema
14 Machine Instrumental
15 Drowsy Maggie
16 Folk Instrumental
17 Nellie, The Revenge
19 Guitar Solo
Ploughing the Boots Vol 3
01 I Wonder Who
03 Roots To Bells Intro
04 Dust Devils-She Moves Through The Fair
05 Dangle The Billies
06 Dot Com Intro
07 Martin Barre Instrumental
09 70s Medley
A compilation of 45 unreleased Jethro Tull tracks performed Live over the years.
|Biography||by Richie Unterberger|
Not to be confused with the famous Surfaris, the ones who did "Wipe Out," this entirely separate surf group from Orange County, CA, was forced to change their name when the other Surfaris got a big hit. A respectable band in their own right, they managed to record a few very obscure singles and compilation LP tracks, as well as an unreleased album. Their best tracks, "Bombora," "Surfari," and "Latin'ia," boast the spooky reverb guitar lines and Latin-influenced minor melodies that were hallmarks of much of the best instrumental surf music, although the bulk of their recordings were run-of-the-mill.
Wednesday, January 10, 2007
BLO - 1972 - Chapter 1
01 Preacher Man
02 Time To Face The Sun
04 We Gonna Have A Party
06 Chant To Mother Earth
07 We Are Out Together
08 Miss Sagitt (instrumental)
This band from Nigeria became very famous among collectors worldwide. Perhaps this is the most sought after album from Africa. The 3 members, Berkely Jones, Laolu Akintobi and Mike Odumosu created the name BLO from B for Berkely, L for Laolu and O for Odumosu. 2 members toured with Ginger Baker in 1972 and BLO supported Osibisa on tour in Nigeria. At that time BLO was voted as the best band in Nigeria.
BLO - 1974 - Phase II
02 It's Gonna Be A Good Day
03 Native Doctor
04 Do It, You'll Like It
05 Don't Take Her Away (From Me)
06 Whole Lot Of Shit
Second LP with guitarist Berkely Ike Jones, Mike "Gbenga" Odumosu and Laolu "Akins" Akintobi.
Great Afro Funk and Afro Psych album.
BLO - 1975 - Step Three
01 Mind Talk
02 Rhythm Of Coils
04 Gotta Get Has Me Better Head
05 Hot Chase
06 Don't Sweater The Form Under Me
3rd album of BLO (Berkely, Laolu, O'Wright), definitively afro funk. On this album, Mike Odumosu was replaced by Biddy O'Wright. This album is the best album of this group, more funky than the two debut albums and less disco than the fourth and the fifth album. This album was recorded in 1975 at Decca Studios Lagos, Nigeria. Every tracks are winners like "Mind Talk", "Gotta Get Has Me Better Head"
Blo fused the Afrobeat rhythms of their native Nigeria with the mind-expanding psychedelia and funk of late-'60s Western rock to forge a wholly original sound embracing the full spectrum of black music. The roots of the group lay in the Clusters, already one of the most popular Nigerian highlife acts of the mid-'60s even prior to a stint as the support band for the Sierra Leonean pop superstar Geraldo Pino, once dubbed "the West African James Brown." In 1970, guitarist Berkely "Ike" Jones, bassist Mike "Gbenga" Odumosu, and drummer Laolu "Akins" Akintobi left the Clusters to join Afrocollection with twin sisters Kehinde and Taiwo Lijadu (featured a decade later on the British television show The Tube), moving away from their highlife roots to explore a more pronounced Afro-Rock approach. While performing at the Lagos club Batakuto, Afrocollection jammed with Ginger Baker, the renowned drummer from the British blues-rock supergroup Cream; in late 1971, the members of Afrocollection joined Baker in forming the jazz-rock ensemble Salt, making their live debut the following year alongside the legendary Fela Kuti. Despite a series of well-received live appearances throughout Western Europe and North America, the Salt project proved short-lived, and in late 1972, Jones, Odumosu, and Akintobi formed Blo, touring relentlessly in the months to come, prior to recording their EMI Nigeria label debut Blo: Chapter One. The 3 members, Berkely Jones, Laolu Akintobi and Mike Odumosu created the name BLO from B for Berkely, L for Laolu and O for Odumosu. Drawing equally on the pioneering Afrobeat of Fela and Tony Allen as well as the American psych-rock of bands like the Grateful Dead and the Byrds, the record failed to live up to EMI's commercial expectations, and after signing to Afrodisia, Blo resurfaced in 1975 with Phase 2, pushing further into funk and R&B territory. Grand Funk Railroad and the Isley Brothers were the primary influences on the trio's third LP, Phase 3, but as lackluster sales continued to dog the group, Blo faced greater corporate pressure to reflect contemporary musical trends — specifically, disco, a shift culminating with 1980's Bulky Backside, recorded in London. Blo dissolved following the 1982 release of Back in Time; the retrospective Phases 1972-1982 appeared on the Afro Strut label in 2001.
~ Jason Ankeny, All Music Guide
MARK BAKER drms A
REALITY D. BLIPCROTCH vcls, perc A
ROGER CRISSINGER keyb'ds A
DONALD ENSSLIN gtr, banjo A
FRANK TREVOR FEE bs A
MARV GRANAT gtr, sitar, dulcimer A
SARAH OPPENHEIM vcls, autoharp A
LAURIE PAUL vcls, tampura A
THEODORE TEIPEL flute, hrmnca, piano A
ALBUM: 1 ONE (Grunt FTR 1009) 1972
45: 1 Free Rain / One Of A Kind (Grunt 0509) 1972
This album is rather naive, but a precious document of the hippie community, mixing jazz with country and western, Eastern and renaissance sounds.
Roger Crissinger had earlier been in Pearls Before Swine.
I didn't find any info about this band. It's a hyppie music, it's very good and rare.
Here's the deal :
02.For Heaven's Sake
08.My Narrow Mind
11.Sac of Religion
13.Heel on the Shovel
with cd covers
your download link:
02 Give Him A Sip 'Cause His Mind's Messed Up'
05 Diminished Ideal
06 This Is The Big Tree
07 Cartwheels Of Glory
08 At Sea
11 On The Beach
Loved by those who were lucky to hear them.Formed in the early '80s by ex-Saccharine Trust drummer Rob Holzman and other hangers-on of the LA scene, they went on to release a string of stunning, evocative and highly individual records that still amaze today. There is truly no other band that sounds like Slovenly. Sometimes they evoke memories of No Wave, Beefheart, MX-80 Sound, Wire, Television, Pere Ubu and The Fall, yet their synthesis of these influences is their own. The guitars weave throughout each other like a good Magic Band should, or Lloyd and Verlaine in Television once did, the rhythm sections anchors itself into a beat to allow their fellow members to achieve this, and the vocalist, the deapan Steve Anderson, delivers his sermons of love and woe. Three completely brilliant LP's were released in a row: Thinking of Empire from 1986, Riposte from 1987, and We Shoot For the Moon from 1989
Thinking of Empire is Slovenly's first mature work, a flowering of art-punk influences and California punk mindset.Listeners struggled with Slovenly's prickly sound chiefly because of the monotone delivery of singer Steve Anderson and his tendency to toss off lyrics. After getting a handle on Anderson's delivery, however, it's easy to hear how magnificently the singer sways with the sideways lashings the shifting layers of guitars concoct. The band's three guitarists alternate on bass and six-string electrics, applying a bracing angularity to songs like "Distended," "Cartwheels of Glory," and "At Sea," which fasten driving riffs to becalmed, drifting interludes, resulting in musical mazes that, when solved, are endlessly rewarding. Thinking of Empire is the link in the SST label chain that connects the punk, to an instrumental art-damage. Rarely has the beauty of post-punk's gray areas been so strikingly captured.
Clean Old Man
Love In Your Face
Tossin' & Turnin'
Quiet Before The Storm
Love In Your Face
You Don't Remember
It's All In My Head
Blues With A Feeling
Only Thing That's Wrong
Stallion Of Fate
Hall Of The Mountain King
Twentieth Century Zoo:
Originally released on Vault in the late '60s by Phoenix shroom-heads that stirred the savage fuzzback-laced sounds of the garage generation with the brain-baking trippiness of the emerging San Francisco ballroom scene and concocted their own psychedelic sound.
Download Links :
part 1 : http://rapidshare.com/files/10839480/20th_part1.rar.html
part 2 : http://rapidshare.com/files/10673159/20thCenturyZoo_2.rar.html
Here are the three LPs that Viv Akauldren released after Old Bags & Party Rags. I'll post their 7" single in the 7X7 is series.
Viv Akauldren came from Trancegland, a Detroit band of Jeff Tarleton, Keir McDonald and Robert Wonnacott. In February 1985 Wonnacott left and Deb Agolli took his place in drums. In May 1985 the group changed to Viv Akauldren and entered a recording studio. The result was Old Bags & Party Rags, a powerfull collection of songs that received much praise and airpaly on the underground circuit. The record went out of print pretty soon and a year later released in Europe as the first licencing of the newly formed Resonance Records. Despite advice to work the album, Talreton was drained. Dropping everything he spent a month travelling (Dec.85) alone on the Moroccan Sahara. After he returned they begun a huge round gigging: San Francisco, St.Louis, Oklahoma, Kansas City, Dallas, Phoenix, L.A, Seattle... Shortly after they begun recording their second album.
I'll Call You Sometime (1987)
I'll Call You Sometime...a concept work of titanic proportions, it encompasses vast and subtle nuance...A classic winter time record wich demands attention (and headphones) was on a lot of D.J's list as a top album of 1987, and finaly established Tarleton (Phry) as a poet-mystic in the same school as Patti Smith/Morrison etc.
After getting a taste of the road in '86, they immersed themselves in it during 1987. With a coast-to-coaster in the Spring and another in the autumn plus more regional in between and after a total of 5 months were spent touring North America...it;s here the bands reputation was made...Viv Akauldren, once a strange Detroit combo,now belonged to the Kosmos..
Sporadic Eastern and Southern tours continued till May 1988 when a tour of Europe was proposed by a Dutch agency for Nov.88. To accompany the tour, Resonance agreed to licence an EP of new songs. In a blur of activity V.A. rehearsed 5 new songs, pulled out 1 old one and selected a cover. Unfortunately the tour was postponed, but the result was Witness.
The cover of the MC5 classic "Looking at You" which with a few key word changes fit in perfectly with the V.A material and actually rivals the original, if you're not too sentimental!..and yes, the guitar work is classic. The mini LP was released in Europe in Nov.88. A limited edition red single Eye/Suck/Depth Charge was issued. The US release of Witness was scheduled for Feb.1989 and a accompanying US tour was booked, but this time the tour went on, but the album was delayed! In April was released the second 7-inch single Magnolia/Channel Lore constituted a return to keyborads and the 13 minute, 33 1/3 single is vintage Viv Akauldren.
A Eurpopean tour was finally confirmed for Sept.-Oct. 1989. Not only was the band to go over and tour but Resonance was also putting them in the studio to record another LP. Going thru a considerable amount of unrecorded songs, the idiea would be to reveal the continuity, depth and unity of thei writing from their undocumended inception, right up thru 1989. Wonnacott was even asked to contribute his drumming on the Trancgland period songs...Spet. 20 1989, Viv departed for a 20 date European tour, and played some of their best shows ever with the tour culminating at the "Berlin Independent Days" festival on Halloween night 1989.
From Berlin V.A. travelled down to Nurnburg to commence work on Vivian's Fountain. The LP was recorded during a one month rental of the 24-track Son House Recording complex.
Vivian's Fountain (1990)
The resulting 12 song collection is slated for a spring 1990 release and is, indeed music of the 90s...McDonald is obviulsy one of rock keyboards most distinctive voices and evolutionary proponents...someone had to bridge the 70s with the 90s! Taking the arrangemental discipline of the classical, the dialog and freedom of jazz, ethnic and folk traditions from all over the world, R&B, Delta Blues and a million other influences have all become Viv Akauldren.
(from the liner notes of Vivian's Fountain by John Cammeron)
Jeff Tarleton (or Tarlton nowadays) has released two solo albums in 1997 and 1999, described as psych-folk, that are strongly recommended. You can buy them at Delerium records, where you can also visit Tarlton's pages
As for Keir McDonald, his recordings as Medusa Cyclon are here in this very blog.
Tuesday, January 09, 2007
Iron Butterfly was signed to ATCO records (a division of Atlantic Records) in the spring of 1967 and released their first album, aptly titled Heavy, the following winter. While the band was on the road with the likes of: The Doors, Jefferson Airplane, The Grateful Dead, Traffic, The Who, and Cream, their impressive debut stayed on Billboard's album charts for almost a year.
In July of 1968, Iron Butterfly released the monumental LP, In-A-Gadda-Da-Vida, featuring the 17:05 minute side-long track that shook the entire music industry with its phenomenal reception. 'Vida outsold every record in the history of recorded music within the first year of its release (over eight million copies sold) and therefore outgrew and outsold the standard of the music industry's "Gold Album" award. For this achievement, Iron Butterfly was subsequently awarded: The Industry's Very First "Platinum Album"! This historic award was created and presented by then-president of ATCO Records Ahmet Ertegun, who went on to become the current CEO of the WEA Group. Most recently, "Vida" received the Multi-Platinum award.
In-A-Gadda-Da-Vida, stayed on the charts for 140 weeks, with 81 weeks in the Top Ten. To date the album has sold in excess of 30 million copies and remains an undisputed classic in the archives of rock with DJ's and audiophiles worldwide.
Within a year of releasing In-A-Gadda-Da-Vida, Iron Butterfly had charted a third album, Ball, - which surpassed "Vida" (still in Billboard's Top 10) turning "Gold", and climbed to No. 1. Ball remained on the charts for 44 weeks, followed by two more album releases in 1970 - Live, and Metamorphosis, each charting respectably in the Top 20.
Babe Ruth - 1975 - Babe Ruth
01 Dancer 6:01
02 Somebody's Nobody 3:06
03 A Fistful of Dollars 2:40
04 We People Darker Than Blue 4:47
05 Jack O'Lantern 3:25
06 Private Number 3:40
07 Turquoise 3:11
08 Sad but Rich 3:56
09 The Duchess of Orleans 5:02
Babe Ruth was formed in 1971 in Hatfield, England, and adopted their name after the legendary American baseball player. The band, lead by Alan Shacklock (guitars, vocals) and consisting of Dave Hewett (bass), Jenny Haan (vocals), and Ed Spevock (drums), was signed to the Harvest label and released their debut album, First Base, in 1972. The album didn't make much impression in England, but went gold in Canada and was a strong seller in the U.S. The band's second album, Amar Caballero, also released on Harvest in 1973, was a repeat of the debut and sold similarly well in North America, but not in England despite aggressive marketing. In 1975, the band went through some lineup changes and released the self-titled, album early in the year. Later in 1975, Shacklock left the band to be replaced by Bernis Marsden on guitars and vocals and the group recorded a second album that year, Stealin' Home. It was released on the U.S. Capitol Records label. This reissue on the British-based B.G.O label pairs the two 1975 albums together on a single CD. While both albums are not the band's strongest works, Babe Ruth contained some memorable moments, including a delightful version of Morricone's "Fistful of Dollars," as well as the hard rock song "Jack O'Lantern" that was a concert favorite. For the Stealin' Home album, the band moved away from the hard rock experimentation of their early works and into a more commercial driven hard rock blues based sound. The band would record one more album, Kids Stuff, in 1976 with yet another lineup before breaking up later that year. This set has been remastered from original master tapes, and the package contains an in-depth essay on the history of the band along with photos and reproductions of the original album graphics. ~ Keith Pettipas, All Music Guide
Demos all recorded in a single day one year prior to the recording of the album that started it all, Black Monk Time. Not as good (what could be?) as Black Monk Time itself, but certainly worth a listen. Every song opens with a little pseudo-church organ riff. Thank goodness they decided to get rid of that schtick when they went back into the studio.
Dr. Syn/I Don’t Need Your Love/Speed Freak/Born Loser/Out Of The Question/Teenage Caveman/Don’t Mess With My Mind/Down/Cry/Hey Hey Comin’ Back Alive/I’m Going Away/Don’t Put Me Down/Valley Surf Stomp/I Leave/Dr. Syn/I Got No Name/My New Woman/Wild Trip
Stefan Kery, vocals/guitar
Martin Skeppholm, drums
Lars Kjellen, guitar
Par Stavborg, bass
Anna Nystrom, organ
More albums here
01 Look Over Yonders Wall
02 Born In Chicago
03 Love Her With A Feeling
04 Walking Blues
05 Don't Say No To Me
06 One More Heartache
07 Work Song
08 Thank You Mr. Poobah
09 Serves You Right To Suffer
10 Got A Mind To Give Up Living
11 Walking By Myself
12 Baby Please Don't Go
13 World Is In An Uproar
14 Got My Mojo Working
Paul Butterfield - harp, vocals
Mike Bloomfield - guitar
Elvin Bishop - guitar
Mark Naftalin - keyboard
Jerome Arnold - bass
Billy Davenport - drums
Seven more singles from the cellar...
Aching Void - Swirling Colors/Voices (Rockadelic RR-106)
Aching Void were a trio, possibly from N.Y. This single, released around 1989, on the cult Rockadelic label, is full of fuzz, that creeps in your brain. Here's the Lama review: The titles and band name promise some pretty hardcore neo-psych, and the A-side single delivers, from the heavily reverbed bass riffs to the incessant, spastic lead guitar to the sound effects on the vocals to the absurd scream that ends the verses. There’s a scattershot feel to this one, and it comes off as a random burst of wacked-out energy. The B-side is a bit slower, but has the same spaced out, crude feel to it (at one point it seems like the bass player or the drummer misses a cue), and plenty more of the fuzz guitar. Fun, indeed.
Marble Orchard - Something Happens/Ever Think About Me? (Estrus ES75)
A trio from Eugene, Oregon, released a few more singles and three or four albums, mostly on the Septembergurls label. This is their first single from 1990, pressed on marble-grey vinyl, with two driving garage songs, one of the best releases of Estrus.
Ten Foot Faces - Don't Want Love/Sand Fuck/Dangerous Visions (Independent Project IP017)
The Ten Foot Faces is, as the name suggests, a wall of sound based upon SoCal surf music. Three tracks of crazed surf-garage, perfect for this time of year. Surprisingly, this came out on Independent Project records, in 1985, complete with hand-printed card stock cover and insert (in a limited edition of 1500). Its produced by Vitus Matare. Ten Foot Faces released an LP on Camper Van Beetoven's label and several years later their guitarist played with the Urinals.
Dead Moon - D.O.A./Dagger Moon (Tombstone T-34)
These are two classic songs from the recently retired Dead Moon, from Portland, Oregon. I'm sure we all know singer/guitarist/songwriter Fred Cole, almost 60 years old now, who gave us several mastrpieces from the sixties till now. Mayby wider known in Europe than in the U.S., Frec Cole, his wife Toody and Andrew Loomis from 1987 (as Dead Moon) put out great records (originaly on their label Tombstone and on Music Maniac in Europe). This is in mono as almost all the Tompstone recordings.
Fingers of Doom - White Gods/I Don't Understand It + Yellows (Tombstone T-14)
This is another Tombstone release, again in mono and in 33 1/3! Fingers of Doom is (I think) a one-shot band, lead by Kate Fate (vcls, bs), a Portland figure (was also in Sam Henry’s Lone Strangers and maybe in the recordings of other Portland groups), featuring Toody Cole and Chris Newman on gtr (great!). The a-side starts with a rip-off of the Nuns' "Do You Want Me On My Knees" and ends as 'jazz piano' which has no piano but a great Cippolina guitar!, while b-side contains a streight garage-punk track and a talking blues!
Brian T. & Plan 9 - Hideaway/Echoing Sunshine/Walls of Paradise (Midnight MID 4506)
This came out in 1984, in a cheap black and white cover, painted with marker!. It's from the period that Plan 9, from Rhode Island, had Brian T. (singer and guitarist Brian Thomas) as their lead singer. Two of these tracks resurfaced in the French version of the "Plan 9" LP.
Three Women In Black - Grace Of God/Cards/Submission (Dionysus ID073303)
Another obscure single from an one-shot band on Dionysus. Lead by Micheline (Johnoff), Three Women In Black offer two originals and a Sex Pistols cover, right from the garage caves of Hollywood, CA. Slow crawling rhythms and the dusty voice of Micheline make this a fine listen. Who was Micheline? Lee Joseph only knows.
As you may have noticed there's an edit in this post (on the last single). The rar file is fine, it just contains the Three Women In Black single instead of the Kings of Oblivion's one. Apologies.
Monday, January 08, 2007
Flying Teapot (Radio Gnome Invisible, Pt. 1)
01. Radio Gnome Invisible
02. Flying Teapot
03. The Pot Head Pixies
04. The Octave Doctors And The Crystal Machine
05. Zero The Hero And The Witch's Spell
06. Witch's Song/I Am Your Pussy
- Daevid Allen / guitar, vocals
- Francis Bacon / VCS3 synth, electric & upright pianos, bass
- Tim Blake / VCS3 synth, crystal machine, vocals
- Steve Hillage / guitars
- Rachid Houari / drumbox
- Didier Malherbe / soprano & tenor saxes, flute
- Gilli Smyth / orgone box, vocals, space whispers
- Christian Titsch / slide guitar
Produced by Giorgio Gomelsky, notable for his work with the Yardbirds, Brian Auger, and Magma, this relatively early Gong project is a great representation of the Daevid Allen-era Gong. Though not as intricate as its follow-up companion piece, Angel's Egg, The Flying Teapot is more of a true prog/space rock outing, where hippie-trippy lyrics and space whispering abound, as evidenced in the opening track, "Radio Gnome Invisible." The following cut, "Flying Teapot," is the sprawling highlight of the album. At times reminiscent of some early Weather Report jams, though not as jazzy, the tune features prominent bass, standout percussion/drums, and space whispering courtesy of Smyth. Improvisational groaning and percussion bring this jam to a close. "Pothead Pixies" is a fun pop (pot?) tune which probably received very little, if any, airplay due to the lyrics, followed by Blake's brief synth interlude, "The Octave Doctors and the Crystal Machine." "Zero the Hero and the Witch's Spell," another lengthy composition, features Malherbe's sax playing, which, at this early point in the Gong evolution, is credited for most of the jazz sounds heard in the music (remember, Pierre Moerlen has yet to join the band). This cut becomes quite heavy near its end before making a clever transition into the final cut, "Witch's Song/I Am Your Pussy." Here you hear Smyth's strange, sexually explicit lyrics, which she embellishes with ethereal voicings and cackling. This, combined with a jazzy sax from Malherbe and some very groovy musical lines near the closing, make for another fun tune. ~ David Ross Smith, All Music Guide
Angel's Egg (Radio Gnome Invisible, Pt. 2)
01. Other Side Of The Sky
02. Sold On The Highest Buddha
03. Castle In The Clouds
04. Prostitute Poem
05. Givin' My Love To You
07. Flute Salad
08. Oily Way
09. Outer Temple
10. Inner Temple
12. Love Is How You Make It
13. I Never Glid Before
14. Eat That Phonebook Coda
15. Ooby-Scooby Doomsday Or The D-Day Got The D.D.T. Blues
- Daevid Allen / vocals, guitar
- Tim Blake / VCS3 synth, vocals
- Steve Hillage / guitars, vocals
- Mike Howlett / bass, vocals
- Didier Malherbe / saxes, flute, vocals
- Pierre Moerlen / drums, vocals
- Gilli Smyth / vocals, space whispers
The companion piece to The Flying Teapot, Angel's Egg is not your usual progressive rock album. Very quirky, with many, mostly brief compositions, the album is a tad less spacy than Teapot, with just a few psychedelic-inspired lyrics, and it's very technically adept. Angel's Egg opens with a true space rock cut (one of the few on the album), filled with the usual Gilli Smyth space whispering and Daevid Allen voicings, then leads into the cleverly titled "Sold to the Highest Buddha," with Steve Hillage and Didier Malherbe prominent figures. The instrumental "Castle in the Clouds" finds Hillage coming into his own, with a sound identical to his solo work. "Givin' My Love to You" sounds like a bar song, with no music and a cluster of seemingly drunken fellas trying to sing. The instrumental "Flute Salad" gives way to "Oily Way," a showcase for Malherbe's jazzy flute. "Inner Temple," an instrumental space rock track, moves along with a jazz edge, provided by Malherbe's sax. The final three tracks are the real highlights on Angel's Egg. "I Never Glid Before" is a fantastic prog rock tune, replete with blistering Hillage solo, primo Allen lyrics and vocal, and the precise percussion of new bandmember Pierre Moerlen. This eclectic composition travels through several movements and time changes, and comes across as a perpetually progressing piece. The imaginative and jazzy "Eat That Phone Book Coda" brings the album to a close. ~ David Ross Smith, All Music Guide
You (Radio Gnome Invisible, Pt. 3)
01. Thoughts For Naught
02. A P.H.P.'s Advice
03. Magick Mother Invocation
04. Master Builder
05. A sprinkling Of Clouds
06. Perfect Mystery
07. The Isle Of Everywhere
08. You Never Blow Your Trip Forever
- Daevid Allen / vocals, glissando guitar
- Mireille Bauer / percussion
- Tim Blake / Moog & EMS synths, Mellotron
- Steve Hillage / lead guitar
- Mike Howlett / bass guitar
- Didier Malherbe / saxes, flute, vocals
- Benoît Moerlen / percussion
- Pierre Moerlen / drums, percussion
- Gilli Smyth / wee voices, chorus
- Shakti Yoni / poem & space whispers
Conveying more advice from Aph.P., You emerges thematically as the third part in the Radio Gnome Invisible series, though not titled as such. Overall a fair release, the album seems somewhat poorly planned and insubstantial, with brief tunes punctuated by several long jams. Guitarist Steve Hillage's role in Gong had become quite prominent, to the point of overshadowing founding member Daevid Allen. You marks Allen's last stand with the band, at least until his quasi-return many years later.
The album opens with three light, ethereal pieces. Among the short tunes, "Perfect Mystery" is the standout, a fun but very advanced, jazz-oriented composition. The lengthy, epic-like structures on the album are generally solid (though at times uninspired), jazz-tinged progressive rockers, with the instrumental "Isle of Everywhere" taking top billing. Each piece features Pierre Moerlen's hot percussion, and each band member steps up front at one time or another. The awkward moments occur in the final cut, the jazzy "You Never Blow Yr Trip Forever." At times early in the song Allen's vocal presentation and lyrics seem at odds with music which dares to outdate him, making some of the most progressive music on the recording. ~ David Ross Smith, All Music Guide
Second Hand Love
As She Walks Away
Glad I Could
Look in the Sky
Man in a Fast Car
Although it's considered a desirable psychedelic rarity in some collecting circles, For Fox Sake is an also-ran British psychedelic pop album of the sort that was a year or two behind the times upon its 1970 release. The best thing the Fox have going for them on this record is the swirling, at times piercing Hammond organ of Alex Lane. The songs, however, are ordinary trendy U.K. psychedelic pop with some solid vocal harmonies and light shades of soul music from time to time. Certainly "Second Hand Love" and "Lovely Day" sound extremely close in spots to the sort of music the Spencer Davis Group made just after the departure of Stevie Winwood, with some of the late Zombies' Baroque melodic sense coloring parts of both "Lovely Day" and "As She Walks Away." Some curve balls arrive in the form of a pretty folky acoustic guitar ballad, "Butterfly," the dull good-time soul-rock of "Goodtime Music," the blunt sledgehammer anti-straight world rant of "Mr. Blank," and the epic-to-little-purpose "Madame Magical," whose nine minutes feature some extended jazzy psychedelic organ improv.
Undoubtably a very interesting album ,necessary for fans of UK psych pop
This is a fine album of Psychedelic Soul
Just listen the thrilling hit “smiling faces sometimes”
the guitars and jamming in “ball of Confusion” the covers of famous “aquarius” and “I heard it through the grapevine” and finally “like a rolling stone”.
The year was 1970 and the man behind this project was famous Motown producer Norman Whitfield.
1. You got the love I need – 2.57
2. Save my love for a rainy day - 04:00
3. California Soul - 03:55
4. Aquarius - 02:39
5. Ball of confusion - 10:30
6. Smiling faces sometimes
7. We've got a way out love -02:55
8. Since I've lost you - 03:20
9. Ain't no sun since you've been gone - 02:42
10. I heard it through the grapevine- 02:51
11. Like a rolling stone - 06:35
Norman Whitfield was responsible for the radical change in The Temptations' sound. He brought in some adventure and innovation to Motown. The idea with the Undisputed Truth was problably to try out new stuff and experiment. At least you get this feeling when you look at the sleeves of Cosmic Truth and Higher Than High. The members of the group are not listed, only the studio musicians.
Undisputed Truth has always been regarded as some sort of forever-and-ever warm up band, and not as a real group. Even if Norman saved his goodies for The Temptations to record, it's not fair to put the Undisputed Truth off as guinea-pigs. All three members had voices that cannot be neglected. Calvin's and Joyce's harmonies were like two singing birds around Harris' great lead. In fact, Temptation's monster hit Papa Was A Rolling Stone was first recorded by the Undisputed Truth. But their version never reached the same commercial success as Temptation's Grammy award winning version
The debut album The Undisputed Truth was released in 1971. A soulful record with Motown feeling. They enjoyed a top 3 R&B hit with Smiling Faces Sometimes. A piece of psychedelic soul from Whitfield and his writing partner Barrett Strong. This was their biggest hit and nothing of later material could match this success.
Joe Harris served as main lead singer, with Billie Rae Calvin and Brenda Joyce, formerly of The Delicates, on additional leads and background vocals
The group, in my opinion, got more interesting as time went on. The original trio broke up in the mid-seventies and a new line-up was formed, based around original member Joe Harris. The new people coming in was Taka Boom (sister of Chaka Khan), Virginia McDonald, Tyrone "Lil Ty" Barkley and Calvin "Dhaakk" Stephenson. Whitfield kept on toying with their sound and they underwent a dramatic change in image and sound, resulting in a range from psychedelic soul and funk to black rock. They got dirtier and nastier and shocked the fans with the clear Funkadelic influences on their releases from the second half of the 70's. Painted faces and white afros became their special trademark.
The group's music and unususal costuming (large Afros and white makeup) typified the then-popular trend of "psychedelic soul". A number of their singles became minor hits, and many of them were also songs for Whitfield's main act The Temptations, among them "You Make Your Own Heaven and Hell Right Here on Earth" and "Papa Was a Rollin' Stone". Their single Top 40 hit in the United States was the ominous "Smiling Faces Sometimes", also originally recorded by The Temptations, which hit #3 on the US pop charts in 1971.
The Undisputed Truth, along with Rose Royce and Willie Hutch, followed Whitfield during his exodus from Motown to set up Whitfield Records in 1975. At this time, Calvin and Joyce left the group, and Harris was joined by new members Virginia "V" McDonald, Tyrone"Big Ty" Douglas, Tyrone "Lil Ty" Barkley, and Calvin "Dhaak" Stephenson. The group's costuming and style changed as well, becoming even more unusual and Funkadelic-influenced. However, the group had little success at the new label, and faded into obscurity after two more albums, although they charted in the UK in 1977 (#43) with the disco single "You + Me = Love" from the album Method to the Madness
"This album can stand alongside the debut recordings of the Downliners Sect and the Pretty Things (not to mention the compiled work of the Liverbirds, so we're talking really, really extreme) as some of the finest primitive rock ever to emerge from England. From the bluesy British Invasion-styled "My Dear Watson," Thee Headcoats engage in a crude but compelling assault on their instruments that's as clever as it is unpretentious -- "Hog's Jaw" takes the central riff from Ian Samwell's Brit-rock standard "Move It" and turns it sideways on the opening, while "By Hook or by Crook" could have been the early Who (of "Anytime You Want Me") rehearsing on a good day with a fill-in for Keith Moon, and "It's Gonna Hurt You (More Than It Hurts Me)" is a delightful rewrite/reconception of "All Day and All of the Night," except that it makes the latter song seem overly sophisticated. And "Neither Fish nor Fowl" may be the finest Bo Diddley track that the rock & roll legend himself didn't write or record, and also manages to conjure up echoes of the Rolling Stones' "Please Go Home." ~ Bruce Eder, All Music Guide
"During his remarkably prolific 20-year career, Thee Headcoats frontman Billy Childish has been an avatar of DIY punk rock independence, releasing dozens of no-fi records on a variety of little labels around the world -- to say nothing of the dozens of novels and books of poetry and the hundreds of paintings he has produced. He is the ultimate punk rock renaissance man, and his relative lack of notoriety only heightens his mystique.
Childish hit the ground running in late '70s punk rock London with his first band The Pop Rivets. After a couple of messy garage-punk releases that band dissolved and Childish teamed with a couple of Rivets roadies to form the Milkshakes. Childish's subsequent projects have included Thee Mighty Caesars, the Delmonas, the Natural Born Lovers, and of course the great Headcoats.
Thee Headcoats -- consisting of singer/guitarist Childish, drummer Bruce Brand, and bassist Jonny Johnson -- were the garage-punk kings of the world during their decade-plus career, which ended in 1999. Their music featured all the elements that made Childish a cult figure: raucous, irrepressible energy, astonishing emotional directness, and sly subtle humor in spades -- oh, and an undying love for American blues and British punk, the two influences that have always informed Childish's musical output.
Thee Headcoats' sound was incredibly lo-fi; as you listen to Childish's dirty guitar and accented vocals, you really feel like you're right there in the garage with him, drinking whiskey and hanging out. Sophisticated production has never been the point for Childish, and neither has technical prowess. He has always focused on the visceral, the immediate, the honest -- and that's what you hear when listening to Thee Headcoats. You also hear the sound of a serious band that took nothing seriously, a bunch of mischievous pranksters who never cracked smiles. Despite the fact that they never do anything especially innovative -- every Childish song is in essence a tribute to the music he loves -- Thee Headcoats' music quickly begins to sound like the most original and personable music you've ever heard." - Jesse Ashlock
01 My Dear Watson
02 Everybody Lies
03 Troubled Times
04 Hog's Jaw
05 By Hook Or By Crook
06 It's Gonna Hurt You (More Than It Hurts Me)
07 Neither Fish Nor Fowl
08 I Wonder Why People Don't Like Me
09 Snitch Baby
10 Gotta Get Inside That Girl's Mind
12 I Don't Like You
Sunday, January 07, 2007
01 Hunters and Collectors
04 And More
05 Silent Night
06 Cascade Waltz
07 Don’t Say No
09 Can Can
10 Can Can Disco
11 I’m so green
12 Chain Reaction (Edit only on vinyl Cannibalism)
13 Hoolah Remix 1
14 Hoolah Remix 2
15 Hoolah Remix 3
16 Future Days
17 Dizzy Dizzy
01 Kama Sutra
02 Vernal Equinox
03 I Want More
04 Kamera Song
05 Soul Desert
06 She Brings the Rain
07 Turtles Have Sort Legs
10 Shikaku Maru Ten
11 The Thief (long version from Electric Long Sampler)
13 Vitamin C
14 I’m so Green
Can was a musical group formed in West Germany in 1968, working within the scene that music critics dubbed "krautrock", with a style grounded in the garage rock of bands such as The Velvet Underground and world music as studied by professionals in ethnomusicology. Described by keyboard player Irmin Schmidt as an "anarchist community" and constructing their music largely through free improvisation and editing, which bassist Holger Czukay has referred to as "instant compositions", they had only occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts, but through albums such as Tago Mago (1971) and Ege Bamyasi (1972), Can exerted a considerable influence on avant-garde, experimental, underground, ambient, New Wave and electronic music.
Holger Czukay - bass guitar, sound engineer, electronics (1968-1977, 1986-1991)
Michael Karoli - guitar, vocals, violin (1968-1979, 1986-1991)
Jaki Liebezeit - drums, percussion (1968-1979, 1986-1991)
Irmin Schmidt - keyboards, vocals (1968-1979, 1986-1991)
Their retrospective album is a live recording from 1968. It features fine guitar work on Passenger and Banana And The Cat but is patchy overall so primarily for archivists. Ed Guinn and Bob Brown also cut a long demo tape about early 1967 of entirely fresh material, but this hasn't resurfaced to date. They also helped back comic artist, and Austin resident Gilbert Shelton on his sole 45.
Bob Brown later married and subsequently divorced Julie Christenson of Divine Horseman fame.
Compilation appearances have included: 1 To 3 and I've Got Time on Texas Psychedelia From The Sixties (LP) and Sixties Archive Vol. 6 (CD).
The Decayes - 1980 - Not Yet ! (imgrat)
These historic recordings taken fron 7 "inch reel to reel tapes,were originally intended to be used as demos to obtain gigs in the Ann Arbor area.Now for the first time ever,witness Iggy Pop's leap into stardom.Recorded in 1963 and 1964,this is the Iguanas Testimony.
guitar - joe baiza
All three discs are very different, though for starters, one can't go past their self-titled debut. A simple instrumental quartet, it's your standard gtr/gtr/bs/dm set-up, though each player is used to his maximum potential, creating a mind-bending array of organic, twisted, psyched-out, and I'd be tempted to go out on a limb here and say that this is one of the greatest, most hideously ignored independent-rock masterpieces of the '80's. Unfortunately, it was just released at the wrong time in history. Believe you me, if this was released today, in a world obsessed with weird-assed psych obscurities, '70s Miles Davis, free jazz and the odd Krautrock disc here and there, you'd have to avoid the stampede of hipster-geeks leaping over the counter at the local record store trying to get their hands on this. Recorded in a day and basically consisting of one, long track split into three sections, this is the type of "psych monster" all those vinyl-loving obsessives in the hinterlands wish they could create.
There's "Certain Way (Part One)", which starts with a creepy, echoing drone that builds to a dense wail within a few minutes until the rhythm section comes in and Baiza hits the wah-wah pedal and bends his strings whilst the others churn out a steady, yet "free" base of Can/Ash Ra Tempel proportions. When Baiza dives his guitar through the middle, you'd swear you were stuck listening to Miles' Agharta or Big Fun, it's that good. Things turn and sway for 20-odd minutes 'til it quietens down again for some reverb-soaked noodling, and then it's time to flip it over for Part Two. The proceedings are more chaotic here; drums are thrashed, bass strings broken, and the guitars really create an almost Hendrix/Sharrock-like racket. 15 minutes then it's up. Following that is "Chasing", part three in the "concept", if you will; a perfect comedown from the previous ear-bending noise, and somewhat resembling Fripp/Eno's great No Pussyfooting LP of '74, it's a laidback acid-guitar masterpiece that totally reeks of bong-hit jamming gone mad, yet stays totally focused as an ending coda to the previous two numbers. Like I've said, Universal Congress Of's debut is the pleasant surprise of the SST catalogue, and if it was released today I have no doubt they'd be the current fuss of the underground rock cognescenti. I'll stand by that claim.
Fucking Amazing Album - One of my favorites EVER.
The Princess was written in 1973, immediately after the Odgipig album and became the band's finale piece at live performances. It represents a struggle between good and evil and includes a chase section and a royal procession at the end. Drummer Roger Thorne was forced to leave the band at the end of 1973 and was replaced by Matthew Letley, brother of bassist Mark; it is Matthew playing on this 1974 recording, which represents the closest Sidelfingen ever came to capturing their live sound.
Horribly rare, British progressive from 1973. This album managed to mix classical, folk, progressive and mainstream rock influences to create an avant garde classic. Only 99 copies were pressed in 1973.
Sindelfingen - 1973 - Odgipig
01. Song For Dawn
02. Three Ladies
03. Today And Tomorrow
04. Mark's Bach
05. Perpetual Mortion
07. The Princess And The Predator
You can find the above album Here!
The original vinyl is rare, but there was a double vinyl reissue called Ogdipig_Triangle that came with a live record.
Sindelfingen - Odgipig_Triangle
This is the long deleted Reissue of a mega rare complex prog album from an UK band, original released 1973 on the Midway label. Released together with a 2nd live LP, called Triangle.
1. Song For Dawn (0:52)
2. Three Ladies (10:09)
3. Today & Tomorrow (7:35)
4. Mark's Bach (1:04)
5. Perpetual Motion (12:31)
6. Odgipig (3:11)
7. Birth (11:48)
8. The Undertaker-Death (part 1) (13:31)
9. The Undertaker-Death (part 2) (4:40)
10. Resurrection-Epiloge (18:10)
This is what you were looking after:
Thanks again for the uploads I solicited in the past (Spiral Sky and RAIJ), I really enjoy your blog!
3 X-Plodo Sun Hat
4 Black Dawn
6 Inch of Mercury
7 Half Doll Violet Star
8 Atomic Hand
9 Dream House
10 Assigned Frequency
11 Helium Head
The hypnotic world of Medusa Cyclone began in 1992, following the breakup of
legendary Detroit psych/punk outfit ViV Akauldren. ViV keyboardist and Medusa Cyclone
frontman, Keir McDonald, wanted to continue the space-rock approach that made ViV
famous on both sides of the Atlantic. Medusa Cyclones first release was in 1992 on Manta
Ray Fleet, a Detroit-based 7 label started by McDonald and Chris Girard. Although Manta
Ray Fleet worked in small runs of about 200, the label enjoyed a strong following in the lofi
underground of the early 1990s. Early fans included Stephen Malkmus and Mark Ibold of
Eventually, a split single was released with the lo-fi legends in 1996--
Pavement Dancing with the Elders b/w Medusa Cyclone--Chemical. A self-titled CD---
Medusa Cyclone--soon followed to considerable critical acclaim. Standout tracks included:
Chemical-a lethal sonic mix of Can, Faust and Wire, Dream House-a seductive narcotic
from the same planet as Syd Barrett, and Helium Head, a sonic vortex leading to another
dimension. Medusa Cyclones shows during this time could best be described as an echocharged
sonic assault taking the audience to the world beyond beyond. Gigs included
support dates for Pavement, Bardo Pond and Cul de Sac.
A second CD, Mr. Devil, was
released in 1998. The album was a full dose of sonic madness and included The Smith
Can the Devils spawn of trance rock, End Cloud an underwater dream on a 90 degree
summer day and Invisible World a Japanese gamelan-influenced gem blurring the line
between time and space. During this period, things were looking good. Mr. Devil was
doing well in Finland and the UK, and had generated chart activity on CMJ. It was
especially popular in Belgrade, Yugoslavia. But when NATO began its security action
against the Milosovic regime, airplay stopped after a government takeover of the national
public radio station.
Three years have passed since Mr. Devil and much has changed for
Medusa Cyclone. Still, one thing that hasnt has been McDonalds need to dream another
record. So he enlisted the help of legendary Detroit drummer, Mike Alonso-- Five Horse
Johnson, Speedball, Bantam Rooster plus other Detroit luminaries: John Nash, The
Alphabet, Volebeats, Matt Smiths Outrageous Cherry, Robert Wonnacotts RF Energy and
McDonalds brother, Gavin. The result is nothing less than Medusa Cyclone's best record
Download Link 1:
Download Link 2:
Glimpses vol. 1
01 The Balloon Farm - A Question Of Temperature (New York, NY, U.S.A.)
02 The Illusions - City Of People (St. Clair Shores, MI, U.S.A.)
03 The Ninth Street Bridge - Wild Illusions (Houston, TX, U.S.A.)
04 Mouse & The Traps - Maid Of Sugar, Maid Of Spice (Tyler, TX, U.S.A.)
05 Nite People - Hot Smoke & Sasafrass (Southampton, U.K.)
06 The Marauders - Out Of Sight, Out Of Mind (U.S.A.)
07 The Buckinghams - Don't Want To Cry (Chicago, IL, U.S.A.)
08 The Wellington Arrangement - Love (Philadelphia, PA, U.S.A.)
09 The Yorkshires - And You're Mine (Detroit, MI, U.S.A.)
10 The Troyes - Rainbow Chaser (Battle Creek, MI, U.S.A.)
11 The Roy Sorenson Group - If You Could Read Me (MI, U.S.A.)
12 West Minist'r - My Life (Omaha, NE, U.S.A.)
13 The Ruins - The End (Lincoln Park, MI, U.S.A.)
Glimpses vol. 2
01 The Galaxies IV - Don't Lose Your Mind (Trenton, NJ, U.S.A.)
02 The Pastels - 'Cause I Love You (MI, U.S.A.)
03 The Baroques - I Will Not Touch You (Milwaukee, WI, U.S.A.)
04 Better Sweet - Like The Flowers (U.S.A.)
05 Count & The Colony - Can't You See? (Bay City, MI, U.S.A.)
06 The Marauders - Nightmare (Saginaw, MI, U.S.A.)
07 The Barracuda - The Dance Of St. Francis (New York, NY, U.S.A.)
08 West Minist'r - Bright Lights, Windy City (Omaha, NE, U.S.A.)
09 Hoppi & The Beau Heems - I Missed My Cloud (Tampa, FL, U.S.A.)
10 The Mystic Tide - Mystery Ship (Woodbury, NY, U.S.A.)
11 The Troyes - Help Me Find Myself (Battle Creek, MI, U.S.A.)
12 The Continental Co-ets - I Don't Love You No More (Fulda, MN, U.S.A.)
13 The Baroques - Remember (Milwaukee, WI, U.S.A.)
14 The Troyes - Love Comes, Love Dies (Battle Creek, MI, U.S.A.)
Glimpses vol. 3
01 Los Shakers - Dejame Ir (Montevideo, Uruguay) *
02 Donnie Matchett - Come On Baby (Butler, PA, U.S.A.) *
03 The Primates - She (Astoria, NY, U.S.A.)
04 The So...But So What - I Will Cry (AL, U.S.A.) *
05 The Book Of Changes - I Stole The Goodyear Blimp (San Mateo, CA, U.S.A.)
06 The Pattens - Jump (Wheaten, IL, U.S.A.)
07 Canned Heat - Smokey The Bear Song (Los Angeles, CA, U.S.A.) *
08 The Fugitives - On Trial (Birmingham, MI, U.S.A.) *
09 The Accent - Red Sky At Night (Yorkshire, U.K.)
10 The Restless Feelin's - A Million Things (U.S.A.) *
11 The British Road Runners - Flower Document (U.S.A.) *
12 Larry & The Paper Prophets - Can't Sit Around (U.S.A.) *
13 The Accent - Winds Of Change (Yorkshire, U.K.)
14 Hunger - Workshop (Portland, OR, U.S.A.)
15 Mad River - Orange Fire (San Francisco, CA, U.S.A.)
Glimpses vol. 4
01 The Traits - Nobody Loves The Hulk (New Rochelle, NY, U.S.A.)
02 The Electras - (Just A Little) Soul-Searchin' (Ely, MN, U.S.A.)
03 Bobby Dee & The Crestliners - Graveyard Twist (MI, U.S.A.) *
04 The Gee Tee's - Dog (Smyrna, GA, U.S.A.)
05 Kack Klick - Lord My Cell Is Cold (Rochester, NY, U.S.A.) *
06 The Four O'clock Balloon - Two Heads (Columbus, OH, U.S.A.)
07 The Quantrill Raiders - I'm Going (OH, U.S.A.)
08 The Cave Dwellers - Run Around (Chicago, IL, U.S.A.)
09 The Third Bardo - Rainbow Life (New York, NY, U.S.A.)
10 Magic Swirling Ship - He's Coming Pt. 2 (New York, NY, U.S.A.)
11 Kack Klick - One More Day And One More Night (Rochester, NY, U.S.A.) *
12 The Gee Tee's - Put You Down (Smyrna, GA, U.S.A.)
13 Purple Canteen - Brains In My Feet (Jonesboro, AR, U.S.A.)
14 The Electras - This Week's Children (Ely, MN, U.S.A.)
15 Phorenbach Delegation - Tall Grass (Chicago, IL, U.S.A.) *
16 The Fabulous Apostles - Dark Horse Blues (Wichita, KS, U.S.A.)
Baby Flies - 1989 - A Colorful View
Slightly folk-tinged rock dominated by sweet vocals If nothing else, bands with an established producer in their lineup can be assured of good-sounding records. That s certainly the case with New York-scene studio star -cum -bassist Jim Waters, whose Hoboken-sound pop trio makes a handsomely presented but nearly generic debut on Rain... Although stronger, Pat Water's folky delivery is still inadequate on A Colorful View, an occasionally lively record of simply attractive tunes arranged--with impressive new maturity and sophistication--for chiming guitars and subtle keyboards (Ira Robbins-Trouser Press).
That was about everything written on the net about the Baby Flies. Even 'Knights of Fuzz' had never heard of them, although in its entry, quoting from another reviewer, refers to them as "A very underrated U.S. folk-psychedelic-pop band".
Active for some six years in N.Y., Baby Flies released 2 LPs on Resonance Records label from the Netherlands, and 2 singles (the second of which was given as bonus with the first pressing of their "Rain" LP), remaining mostly unknown in their home.
Their sound is similar to the great New Yorkers Mad Violets, although Pat Waters is no Wendy Wild for sure. They also remind me of another band from the same area, with a female lead singer, the Tiny Lights from Hoboken, NJ (a future post).
Jim Waters-bs, gtr, kbds, pcsn
Chris Katris-gtr, kbds, pcsn
Let It Fall
Washing Over Me
A Colorful View
Where the Creatures Call
Coming Back To Haunt You
Just the Beginning
The Only One
Give Me The Light
Saturday, January 06, 2007
01 The Cedars
For Your Information (2.38) Single (Decca) 1968
Israeli five-piece create balalaika-driven psych-pop classic with rather fetching pidgin English chorus: "It's time I settled down/Stopped roaming like a nomad/It's time I looked around/For a girl who would keep me glad" Group perform said platter on TOTP's new releases spot. Record sinks without a trace.
02 Paul and Barry Ryan
Pictures of Today (2.25) Single (MGM) 1968
The story so far: after a couple of breezy beat ballad outings, Mrs Ryan's lovely boys are transformed into shining-brained psychsters. Cue play-in-a-day sitar intro and conspicuously clever wordplay ("Ever blowing, ever glowing/never showing signs of latent fear at all"). At one point they appear to sing "someone's reading from a book and turning into Lucozade". All delivered in butter-wouldn't-melt-but-blotting-paper would harmonies.
Mr Armageddon (4.35) Single (Parlophone) 1969 Album: The Great British Psychedelic Trip Vol 3 (See For Miles)
"I am everything you see and what is more/I am father of a thousand children/Mother of a thousand million more". Blimey. Tony Blackburn's Radio One Record Of The Week, but best enjoyed in full LP version with extended intro, this heavy-on-the-swell-pedal piece of profundity was the work of Norman Haines, whose solo albums are now so rare you aren't even allowed to point at them.
04 Topo D. Bill
Jam (3.05) Single B-side (Charisma) 1969
The B-side of the legendary Withi Tai To, a cod Indian war chant originally done by American group Everything Everything. Topo D. Bill featured 'Legs' Larry Smith and probably other contract-busting chums of Bonzo too. On the evidence of this oddball B-side penned by Tom E Cross ("We're covered in jam/Tommy and me"), a certain Who drummer wasn’t far away either. Complete with sound effects and bib-dribbling chorus of "they washed it away boo-hoo…"
05 The Nerve
Magic Spectacles (2.46) Single (Page One) 1968
Larry Page's record label was a rich source of second division paisley pop and this gem was produced by Reg "sprinkle some fucking fairy dust on it" Presley. With the aforementioned spectacles you could apparently see "magic everywhere", although you half expect Ronnie Bond to put them on during the outro and go "ere Reg, oi can zee your 'ouse in these".
06 Wallace Collection
Daydream (4.10) Single (Parolphone) 1969
"I fell asleep amidst the flowers/For a couple of hours/On a boo-tee-fool day". The majestic string intro has been sampled by everyone from Pharcyde to Portishead. Unfortunately daylight gradually encroaches upon magic during the Hey Jude ending as the singer- a Belgian - shouts out what he presumably thinks are convincing rock 'n' roll exhortations to "get amidst the flowers. Yeah"
07 Cliff And Hank
Throw Down A Line (2.45) Single (Columbia) 1969
Strung out on cake and still smarting from losing the Eurovision Song Contest to a Spanish entry which bore a distinct resemblance to Death Of A Clown, Cliff teams up with his old Shads spar for a venture into the unknown. Accompanied by a trade secret guitar sound that’s nearer to Bolan's Beard Of Stars than Foot Tapper, Cliff sings of "hanging in a nowhere tree". A hit, so they try to repeat the formula with the eco-conscious Joy Of Living. A miss, so Hank goes back to selling Watchtower, and Cliff follows Lennon down the revolutionary trail with Power To All Our Friends.
08 Studio Six
Strawberry Window (2.58) Single (Polydor) 1967
Scottish beat merchants who sounded like they would rather be playing soul covers: "Ok boys, we're going to try and entice the flower children with this one, so Ronnie, if you could quote from Molly Malone and The Association's Windy in your 'freaky' intro, then we'll bring in the Strawberry Fields Forever coda before hitting Tremeloes tra-la-la territory at full tilt. Oh, and don't forget the Ivy League harmonies. We don’t want to alienate Radio One…" Warning: a strawberry window can only be looked through while wearing "magic spectacles"
09 Roger Earl Okin
I Can't Face The Animals (2.40) Single B-side (Parlophone) 1967
A true obscurity. Even the freak-beat faithful don’t know about it. That’s because it owes its cult status to the Northern Soul crowd, whose role in retrieving psych oddities has frequently been overlooked. Earl Okin now makes his living as a Radio Two-friendly song-and-joke man, but back then he was hiding genius like this on Bsides. Animals is what reviewers at the time would have referred to as "a brass-led stomper". Baton-wielding by Zack 'Mr Bloe' Lawrence.
10 Cilla Black
Abyssinian Secret (2.11) EP: Time For Cilla (Parlophone) 1968 Album: Liverpool 1963-68 (See For Miles)
Cilla wants to show you something that’s "quite unique" which she picked up on a "trip" to Abyssinia. (You can be sure she didn’t inhale. Better hide it in the pantry with your cupcakes). Our Cilla's one and only entry into kaftan-and-bells territory was penned by - well knock me down with an eight-foot chillum - Roger Earl Okin. He also wrote Helen Shaprio's psych-soul classic Stop And You'll Become Aware. Step forward, sir, your 15 minutes await.
11 Stavely Makepiece
I Wanna Love You Like A Mad Dog (3.40) Single (Pyramid) 1969
A phasing-drenched bit of English oompah whose flip, Greasy Haired Woman, was 30 seconds long. Alan Freeman regularly featured both sides in Unit 2 of Pick Of The Pops. But what's this? The tack piano, the bouncing beat, the Woodward-Fletcher writing credit. Can it be the future Lieutenant Pigeon? 'Fraid so.
12 The Fortunes
The Idol (2.50) Single (United Artists) 1967
Lieber & Stroller rated their Greenaway & Cook-penned You've Got Your Troubles as one of the best English pop records ever, but by the Summer of Love The Fortunes were floundering. This self-penned, Glyn Johns-produced, raw-edged item was all about a pop icon with designs on saving the world but meanwhile he had all these groupies to service. Lots of pirate station foreplay. Zero chart penetration.
13 Harpers Bizarre
I Love You Alice B. Toklas (2.20) Single (Warner Bros) 1969
"I love you Alice B. Toklas and so does Gertrude Stein/I love you Alice B. Toklas/I wanna change your name to mine." Well we've all been there, haven't we? Peter Sellers starred in the film of the same name, loosely based o the woman who indeed gave us the recipe that we'll never have again.
14 The Hollies
Pegasus (2.35) Album: Butterfly (Beat Goes On) 1968
"I'm Pegasus the flying horse" tweets the lead singer. In fact, you're Alan from Salford and you'd be happier supping a pint than dressed in a kaftan and embracing all this mythological malarkey. Within a year you will be so annoyed with your mate Graham for making you sing this twee nonsense that you will banish him to the West Coast of America where he will be forced to make records with David Crosby. He'll be back with his tail between his legs before you can say Jennifer Eccles. You'll see.
15 The Garden Club
Little Girl Lost And Found (3.00) Single (A&M) 1967
Covered in the UK by the less convincing Peter And The Wolves, this swirling fairground organ opus in 3/4 is, in its own sweet way, as beautiful a song about the loss of innocence as Brian Wilson's Caroline No. "They are all searching for clues for the whereabouts of the girl with the polka-dot eyes" chirps the singer. Weren't we all?
16 Dave Dee, Dozy, Beaky, Mick And Tich
The Sun Goes Down (2.55) Single B-side (Fontana) 1967
Cue Gregorian-lite chant and an ultra-brittle wah-wah guitar solo for a lost epic tucked away on the B-side of Zabadak. Not so surprising-Dave Dee could always enunciate his Os in the fluting Syd style. The final verse commences with Dee screeching, apropos of nothing. "The mentals!" Probably a Wiltshire thing.
Mr President (3.05) Single (Fontanta) 1970
"When I grow up to be a man/I wont lie for you/I wont die for you…" DBM&T from their post-Dave Dee 'going heavy' period. (A doctor writes: "Going heavy was a condition which afflicted many otherwise sane beat groups in the late 1960s. In extreme cases it resulted in a shortening of the group's name - eg Love Affair became LA and an immediate withering away of the 'hit' gland. The Tremeloes are thought to have been the source of the virus") Naturally Mr President failed to dent the charts but it does contain the best wooh-weeeeow synth solo this side of ELP's Lucky-Man.
18 Manfred Mann
Ski 'Full Of Fitness' Theme (3.05) Single (Ski) 1971
Like many others of a purist persuasion (The Yardbirds, Simon Dupree, Jethro Toe, etc) the Manfreds were not content with just making great pop singles; they couldn’t wait to inflict their technical proficiency upon us. Ask yourself this: would you rather listen to For your Love or Renaissance? Kites or Gentle Giant? Life's A Long Song or Passion Play? Manfred Mann's Earth Band or a chirpy yoghurt commercial. Lets ask the girls first, shall we?
19 Dave Diamond And Higher Elevation
Diamond Mine (2.10) Single (Chicory) 1967
Dave Diamond was a DJ on KFRC Los Angeles who specialised in alliterative gobbledegook - a cosmic Slim Gaillard, if you will. On this number he uses up a lifetime's quota of psychedelic wordplay in just over two minutes. But here's the twist: at a time when the authorities were looking for drug references in every innocuous sentiment, Dave sneaks through a song of explicit carnality dressed in druggy imagery. "The fur lined volcano"? "The peach fuzz forest"? "The gentle radiation of the one-eyed cufflink"? I mean, c'mon.
20 Napoleon XIV (actually The Emperor)
I'm Normal (2.16) Album: They're Coming To Take Me Away Ha Ha (Warner Bros) 1966
"I painted everything in my house purple/My fingernails/My potato peeler/STAY AWAY FROM MY FROGS!" Using the same backing track as They're Coming To Take Me Away Ha Ha (a zeitgeist record if ever there was one), Napoleon once again exploits the misfortunes of the unstable. Apparently they did come and take him away as well.
21 Matt Munro
We're Gonna Change The World (3.35) Single (Capital) 1970
A rousing affair in which the former Luton bus conductor with the Sinatra tonsils adopts a social conscience, urges us all to "throw away our ostrich notions" and join those nice flower children on the long march towards peace and free duffle coats on the National Health. Possibly the only protest song to contain the line "stopped and had a Thermos brew".
22 Vince Hill
When The World Is Ready (3.11) Single (Columbia) 1967
An Exodus-style opening. The clouds part to reveal the likeness of Vince in convincing Afro wig and love beads. "When the world is ready/All wars will cease", he decrees. A session sitarist wails plaintively. Come to think of it, has anyone tried smoking Edelweiss?
23 Grimble Weed And The Vegetations Aka Peter Cook
Bedazzled (2.23) Album: Bedazzled soundtrack (Decca) 1968; and Circus Days: Pop-Sike Obscurities Vol 1 1966-70 (Strange Things) 1988
From Stanley Donen's irreverent take on the Seven Deadly Sins in which Cook ("Does the name Price of Darkness mean anything to you?") plays the devil and ruins Dud's dreams (many involving Eleanor Bron). Although conceived as a pastiche, some of the go-go dancing is the best ever seen in a '60s film. "You drive me wild" coo the girls. "You fill me with inertia" drawls Cook, with drop-dead ennui. We'll not see his like again
Mythological Sunday (5.16) Single (Deram) 1968 Album: The Flowerpot Men Lets Go To San Francisco (Beat Goes ON) 1988
Aka Carter-Lewis and heavy friends. Aka The Ivy League. Aka The Flowerpot Men. Never let it be forgotten that these guys wrote the Nuggets classic My World Fell Down. Mythological Sunday is the full kitchen sink job. Every psych cliché in the book is dusted down and given a fresh coat of day-glo. Bassist Neil Landon subsequently joined Fat Mattress. Singer Tony Burrows joined Edison Lighthouse. It’s a thin line, all right.
25 Dick Shawn
Love Power (2.45) Album: The Producers soundtrack (RCA) 1967
The best moment in Mel Brooks The Producers occurs when they audition the Fuhrers. Onto the stage steps the Bobbitly-monikered Dick Shorn aka Lorenzo Say Dubois (geddit?) as the befuddled off-Broadway hippy. Backed by a swinging chick trio he commences a gentle ode to the joys of flowers before rising to a Mansoneque crescendo of thwarted ambition and crushed petals. "THAT'S OUR HITLER!"
26 The Four Seasons
Genuine Imitation Life (6.15) Album: The Genuine Imitation Life Gazette (Philips) 1969
Reviled at the time as an ingratiating attempt to get a little underground action, the Seasons Four indicate that you can still pull it off if you had a lead singer as good as Frankie Valli and producers as sharp as Gaudio and Crewe. Genuine Imitation Life is a bittersweet an observation on hippy foibles as Joe South's Games People Play. Obligatory Hey Jude ending.
27 The Beatles
What's The New Mary Jane (6.07) Album: Anthology 2 (Apple) 1996
"She like to be married with yeti/He groovin' such cookie spaghetti/She jumping as Mexican bean/To make her body more thin" Imagine a parallel past in which this had been seriously offered up as the new Beatles single. Even now we would all have evolved into other dimensional cube beings with suction pads instead of senses. Lennon's lysergic visions could be as there as anything Syd Barrett conjured up. No one, I think, was in his tree.
28 Richard Harris
Paper Chase (2.13) Single B-side (RCA Dunhill) 1968
Pressed neat underneath the epic MacArthur Park as this baroque little gem from the inky quill of Jim Webb. "Accompany me on your trusty harpsichord, James" spoke Richard. "For I am going to apply my finest thespian brogue to your delightful ditty of unrequited lust. And this time I will endeavour to hit some of the right notes"
I don't know who made this,i got it in soulseek and is fantastic!!!
sorry ,no covers this time
Spherical Objects - 1978 - Past and Parcel
01.Born To Pay
03.You Can Become
04.The Crystal Tree
05.If I Can Choose (Oh Babe)
08.The Face I Want To See
09.What Goes On
10.Past And Parcel
Spherical Objects - 1979 - Eliptical Optimism
02. Show Me
04. Eliptical Optimism
05. Ten To Nine
06. Another Technique
07. I Should Have Left Him
08. It's So Good To Be Alive (Tonight)
09. Lying Again
10. I Don't Remember
11. Walk Away
13. I Remember You
Spherical Objects - 1980 - Further Ellipses
01 Regular Condition
02 Take A Chance
03 The Root
04 Don't Worry About Me
05 The Final Part
06 Buy It
07 Moving On The Run
08 Mama Tried
09 Places And Spaces
10 The Conductor-Set Free
Spherical Objects - 1981 - No Man's Land
01 One Way Out
02 Terminal Romance
03 Cruelest Twist
05 Memories In Blue
07 Don't Ask
09 Resting Place
10 No Man's Land
Manchester's Spherical Objects were led by Steve Solamar, a singer with an intensely personal viewpoint. His songs concern typical subject matter, but utter lack of selfconsciousness invests his writing with more openness and introspection than you're probably hoping to hear. . .
Elliptical Optimism has the same lineup and a more textured sound, featuring organ (prominently) and trumpet (occasionally). The songs are instrumentally inventive. Further Ellipses takes a danceable turn, playing it smooth and rhythmic with more horns and synthesizer and less guitar. Solamar's singing continues to resemble David Thomas. The musical development is impressive, the songs are good. No Man's Land, which announces itself to be the final Spherical Objects album, has a different lineup from the previous three and sounds it. Gone are the keyboards and horns, replaced by rudimentary guitar/bass/drums plus patches of Solamar's wailing harmonica. There are some very pretty songs that are slowed down to add emotion, but overall the initial impression isn't as strong as Further Ellipses. A strange way to go out, No Man's Land is a record that slowly reveals itself to be quite lovely in spots. With the help of Manchester indie scene fixture Steve Miro, Solamar managed to dam his stream-of-consciousness long enough to allow for the collection of the Noyes Brothers' atypically unrevealing double-LP set. More experimental than the Objects' concurrent work, Sheep from Goats owes more than a little to German groups like Can. While a few of the redundant, largely free-from instrumentals could easily be dispensed with, there are moments worth remembering, from the amusing (an apparent Fall parody dubbed "Bo Scat Um I.D.") to the lovely (the side-long "It Seemed Like a Good Idea at the Time") to the freakishly prescient (an excursion into what sounds like modern-day computer-enhanced hip-hop christened "Byte to Beat").
3. She Said
4. Girl in My Dreams
5. Casualty of Love
6. In His Shoes
7. Our Time at Last
8. Dream Away
9. Talk Another Language
10. Living Vampyre
11. Colour Me Gone
12. Don't Turn Away
Bones + Flowers is the most appealing effort by Australian combo Screaming Tribesmen -- a melodic pop album that resembles a muscular Let's Active. "I've Got a Feeling" was distributed internationally and featured on MTV's 120 Minutes at the time, and the Tribesmen's appearance in the midst of the Church's breakthrough with Starfish seemed to presage an Australian Invasion that never came to pass. Screaming Tribesmen might have better reached the "alternative" audience if they hadn't looked like a heavy metal band; likewise, the band's name and album art didn't come close to matching the mood of their music. The Tribesmen didn't last long after the commercial disappointment of Bones + Flowers, but the album remains a sturdy collection of recordings, with the catchy, jangly "Girl in My Dreams" and "Dream Away" as highlights.
The Screaming Tribesmen was a band formed in Brisbane by Mick Medew, John Hartley & Murray Shepherd. They took the Australian independent scene by storm with a series of singles on Citadel Records. Their earliest hit "Igloo" was penned by Medew and Died Pretty frontman Ron Peno.
After relocation to Sydney, and a number of line-up changes the band settled on its most successful lineup of Medew, ex-Radio Birdman & The Hitmen guitarist Chris Masuak, bass player Bob Wackley & drummer Warwick Fraser (ex-Feather & Hoi Polloi) who replaced Michael Charles after the recording of the "Date With A Vampyre" EP.
The "Vampyre" EP reigned at the top of the Australian independent charts for over 40 weeks, while the band toured constantly in support. The follow up "Top of the Town" EP released on the boutique Rattlesnake Records label saw a change in direction for the band as it morphed into the sound of their first full length release "Bones and Flowers".
"Ive Got A Feeling" - Rage - 1988
The band toured the US on the strength of the album and at home they enjoyed a run of Australian Alternative #1 hits as well as gaining Stateside attention with regular airplay on the US College Radio circuit. Their 1988 single "I've Got a Feeling" featured heavily on US MTV's 120 Minutes, hitting #1 on the KROQ charts in LA and #7 on Billboard's modern rock chart.
There's nothing tribal about the sound of these Aussies, and they don't scream either. Their music is full of pop-song harmonies, including "oohh" and "ahh" background singing, jangle chords and repeated refrains. From beginnings as a post-Ramones punky ensemble (on the first four-track EP), they've gone through an assortment of members and sonic textures but all of their releases have been exercises in good old pop-rock. Move a Little Closer, a compilation of the band's first two Australian singles ("Igloo" and "A Stand Alone") could easily mix and match with a stack of mod-revival albums, while the squealier and grungier guitar chords of Date with a Vampyre (also four songs) nudge their sound closer to garage territory.
Top of the Town contains six songs by a new lineup that reveals an ongoing transition towards more mainstream pop-rock. "You Better Run" is the most impressive track, and a fair precursor to the excellent Bones + Flowers. The album launches the Tribesmen into a new international league, offering richly played rock-melody songwriting (by ex-Radio Birdman guitarist/pianist/producer Chris "Klondike" Masuak and singer/guitarist Mick Medew) that's got all the needed attributes for major stardom. Standouts: a new version of "Igloo," the wittily '60sish "Our Time at Last," the peppy Anglo-popping "Dream Away" and the Rockpiling "Living Vampire." The CD has two bonus tracks.
Despite the album's appeal and high commercial prospects, nothing much came of Bones + Flowers. By the time of the disappointing 1989 12-inch (five songs, including covers of Lou Reed and the Dictators), Medew was the only member remaining from the LP's lineup.
[Andrea 'Enthal/Ira Robbins]
2. She's Looking At You
3. A Drunker Version Of You
5. What Cissy Said
6. With Dr. A.W.O.L.
7. 27 Days
8. So Fucked Up
9. Temporal Slut
10. Sue Wants To Sleep
11. The Worst
12. Any Old Time
13. Dude The Cat
14. I Love You
15. Dream Until You're Sore
17. Relapse, Recover
18. Fuck You, God!
19. Gas, Grass Or Ass
20. Bob Hope
21. Rock 'N' Roll Murder
22. Kids Wanna Know
23. Ice Cream Truck
Kristyl - 1975 - Kristyl
01 - Together
02 - Deceptions
03 - Like A Bird
04 - The Valley Of The Light
05 - Woman
06 - Blue Bird Blues
07 - Morning Glory
DAVID ATHERTON bs A
SONNY DEVORE ld gtr A
BOB TERRELL gtr A
BRUCE WHITESIDE drms A
1(A) KRISTYL (Private Pressing) 1975
NB: (1) reissued in 1986 (Hype 01) and has also been issued on CD (Titanic 001).
This album is homemade guitar psychedelia from Kentucky. A nice mixture of gentle dreamy passages, heavier
acid guitar and wah-wah fuzz along with charmingly teenage vocals. It had a limited repress in
1986 and if you can buy a copy cheaply do so.
Highly regarded local Christian guitarpsych with an open late-60s vibe, dual guitars and great organic playing/vocals all around. They have a very distinct sound which makes the tracks seem similar at first, opens up after some plays and remains that way. Personal fave, one of the big ones in the style.
Timeless pinnacle of teenage, rural, Christian psychedelia. The consensus seems to be that this is a 1975 recording, but dealers always (accurately) describe it as sounding much earlier. The psychedelic playing on ‘Deceptions of the Mind’ often contrasts with the anti-drugs/sex lyrics: “Alcohol and sex unclean, copping drugs all over the scene/What is it that we need, Lord it’s love and it’s for free”. Kentucky can’t have been an easy place to strike a deal to have this recorded, so maybe they felt they needed to put an anti-drugs message in here and there. The music is consistently wonderful, side 1 in particular, with side 2 ending with the beautiful ‘Morning Glory’. The dual guitars are laden with effects and full of interesting twists and turns. The singing is honest and clear. Not as crazed as Fraction, but in the same league of expressive, sincere musicianship. A beautiful, naive feeling pervades the whole LP, like they believed anything could happen, the world could change as a result of their sounds. For me, they were right. Why is the drummer wearing a shirt with a hash leaf on it, perhaps it says “hash free zone” underneath? The sleeve art is also top-ten, being a monochrome crudely drawn snake encircling the earth.
Creepy Thing EP, Screaming Apple Records, SCAP 013, 1992
Creepy Thing/She’s Wrong/You’ve Been Laughin’/I’ve Got A Curse
Greg Johnson, vocals
Werewolf/She Gives Me The Creeps/I Don’t Dig you (But I’ll Dig Your Grave)/Dracula’s Daughter
Greg Johnson, vocals
Joel Valentine, guitar
Jenny Willson, organ
Mark Manhattan, bass
Colin Raesler, drums
Get the above 2 EP's
You can also find a full length album
...and here is a interview with Greg Johnson!!!
The Seeing Eye Gods - 1985 EP
This is probably the rarest Bad Religion collectible there ever was, even MORE RARE than the infamous "Into the Unknown" LP! Only 1000 copies were ever pressed of this self-titled picture disc EP from the band "Seeing Eye Gods", which was Brett Gurewitz's first side project, released in 1985 on Epitaph Records at a time when he was heavily into drugs, and not on good terms with his Bad Religion band-mates. Brett goes by the nickname "Billy Pilgrim" on this album and he co-wrote all the songs with his friend and pusher John Bertini (who nicknamed himself "Ripped Van Winkle"), except for "Happy", which Bertini wrote alone, and "Pictures of Matchstick Men", which is a cover of a Status Quo song. Brett sings on all tracks, and him and Bertini played all the instruments. The album has a pop-psychedelic feel to it, as you can see by the paisley covered picture disc and very psychedelic cardboard insert, with artwork drawn by Johns Strauss and Mr. Brett himself!
The album was produced by Brett Gurewitz and Jon Bertini, engineered by Bret Gurewitz and Recorded and Mixed at Westbeach Recorders, Los Angeles, CA. Vinyl says " 33 1/3 RPM Unauthorized duplication would be appreciated " and in the dead wax, you can read "WE ARE BEATRICE", "EPI - SEG -1" and "22801" ! and the cardboard insert has the "story" of the Seeing Eye Gods printed on it, very psychedelic too! A lot of Bad Religion fans never knew this EP existed until Suzy Shaw, Brett's girlfriend at the time and the inspiration for the songs "Psychedelic Suzy" and "Strawberry Girl", told people about it a few years ago. There are only a few copies still out there-- Suzy Shaw has one, Jay Bentley has one, Greg Hetson has one and there are a few copies here and there. (SubGenius - RateYourMusic)
All the above were from the only page which knows what he's talking about. Musicaly, this 5-song EP is standing beside the Things' or the Eyes of Mind records, and has all the necessary studio effects (Timothy Gassen in 'Knights of Fuzz' writes that they used a drum machine!). It may not be the unknown psychedelic masterpiece, but is sure enjoyable and, coming from Brett Gurewitz, a big surprise.
1. Only One
2. Psychedelic Suzy
3. Pictures of Matchstick Men
4. Strawberry Girl
Mike Shapiro, lead guitarist for William Penn and His Pals, said that "We used to battle-of-the-bands with [the Warlocks] at the Cinnamon Tree on Industrial Road in San Carlos, We actually lost to them and I thought they were the shits."(Quote from Blair Jackson's book Garcia, pp70)Shapiro was actually pretty good friends with Garcia and used to talk and jam with him frequently down at Dana Morgans in Palo Alto. "Jerry was destined for great things because he understood the social change that was taking place at that time". I was there the day he figured out the solo to Heart Of Stone by the Rolling Stones and based his entire early triplet based solos on that track". Shapiro later said.Check out the other group from Palo Alto, California in 1965 who used to be in Battle of the Bands with the Warlocks. Who Mickey Hart actually played drums with before he joined The Dead. Who Gregg Rolie got his first break with! Who Creedence Clearwater and many other famous San Francisco acts opened up for and looked up to.Who penned one of the most famous Psych Pop classics, Swami, that sells for $300.00 per copy. Plus Plus Plus. Read the liner notes and get the inside scope.
Friday, January 05, 2007
Stone Breath - A Silver Thread To Weave The Season
(psychedelic folk )
Rainbow-Gilded Leaves of Autumn
Peppermint and Clover Honey
Clouds of Red Twilight
My Heart Is an Acorn Buried in the Black Earth
Rain of Days
Listen, Listen, Listen
Leaves About Our Feet, We Reached for the Moon
Stone Breath was not a part of any collective, or any commune. Stone Breath was not a part of any scene. Stone Breath was part of the earth. Metal, hair, wood, skin, flesh, leaf, breath, and bone made our songs. We sang hymns to God and the green wood.
Stone Breath was not new. It was cracked. Broken. Imperfect. Hidden. Weathered by the seasons.
Stone Breath began in 1995 and ended in 2006.
Finally, an American inclusion into the apocalyptic folk genre that does not pale in comparison to its European counterparts, and a recording that Stone Breath should be proud of. Timothy Renner writes songs like a true-born troubadour and lyrics like some sort of a modern day William Blake, crafting them into gentle, yet jarring compositions that equal no other. Acoustic guitar that sounds folk, but not like beatnik or hippy folk, but like the music that one must have heard at the formation of the American nation. Bluegrass sounding Banjos, whistles, flutes, dumbeks, dulcimer, catfish guitar, and harmonium all lend a uniqueness to this recording that stands out amongst the crowd, evoking a time when studios, filters, and electricity were not needed to make finely crafted music.
Warfrat Tales (1983)
Once upon a time, Los Angeles was the breeding ground for what we now call "alternative rock." That was when "alternative" actually meant something (alternative to what was on top-40 and AOR radio), instead of being simply a marketing term. Now every city in the world has an underground music scene, with interesting bands emerging ad nauseam. But back in the early 80s, you had L.A. and New York and that was pretty much it. Originally issued in 1983, WarfRat Tales: Tracks From the Murky Bowels of L.A. captured the throbbing pulse of the City of Angels, starting with its garages. You can hear new wave morphing into the Paisley Underground or devolving back into garage punk. You can hear early, lo-fi tunes from future underground stars the Rain Parade and the Leaving Trains. You can hear the first recordings from talented, luckless hopefuls like Wednesday Week, the Point, the Urinals (and their alter-ego 100 Flowers), and the Last, whose manager Gary Stewart paid for the rehearsal space in which most of these tracks were recorded. And you can hear the first and last shots from the Question?, Earwigs and the Clockwatchers, bands that never made it past the borders of this compilation. Regardless, there's enough good stuff on it to make it more than just a history lesson for Trouser Press devotees. Michael Toland-High Bias
Chronicling the underground garage rock scene of early 80s Los Angeles, Warfrat Tales is a series of tracks recorded in The Last's makeshift Lyceum Sound "studio," actually a refurbished garage filled with barely functioning equipment stolen from venues and the like. Lo-fi? Yes, but ain't that the point? This compilation was actually originally released in '83, giving listeners at the time a chance to check out The Last, The Leaving Trains, The 100 Flowers, and others at their grittiest. If none of these names mean anything to you, then obviously you haven't been schooled well enough in the 80s LA indie rock scene.
The two biggest names here are doubtlessly The Last and The Leaving Trains; The Last contribute two gems coming off their (much-desired) escape from their record label at the time - and it's good stuff. If you dig danceable, keyboard-heavy garage, then irresistible "Try To Rise" and "Brand New Drug" are for you. The Leaving Trains are caught before any of their studio albums, and add two goodies to this cause. "Leaving Train" and "Creeping Coastline Of Lights" are juicy little rock numbers, essential for fans of the band. On the other hand, we get a number of lesser-known acts that also turn in great stuff. Among the highlights are long-lost post-punkers 100 Flowers, psychy popsters Rain Parade, and youthful invigorators Question. Garage fans need to pick this one up immediately. (Indieville)
Warfrat Tales re-released on CD on Averbury Records in 2005, with bonus tracks (featuring 13 bands and 28 songs, including Gun Club, To Damascus, The Up & Out and Urinals).
The Last - Try To Rise
The Leaving Trains - Leaving Train
100 Flowers - 100 Flowers
Earwigs - Stop The Clock
Wednesday Week - Boy You Got Me Good
The Rain Parade - I Look Around
The Question? - Brand New World
The Point - Pothead
100 Flowers - From The Fire
The Question? - Shall Be Love
The Rain Parade - This Can't Be Today
Wednesday Week - Anyone Like Me
The Clockwatchers - Misshap At Greebsley's
The Leaving Trains - Creeping Coastline of Lights
The Last - Brand New Drug
Human Beinz - Live in Japan 1968
01 - Hold On Baby
02 - Foxey Lady
03 - This Lonely Town
04 - My Animal
05 - Turn On Your Lovelight
06 - Two Of A kind
07 - The pied piper
08 - My Generation
09 - Gloria
10 - Mr Soul
11 - Boogie
12 - I've Gotta Keep On Pushin'
13 - Dance On Through
14 - I'm All Right
15 - Nobody But Me
16 - The Times They Are A-Changing
17 - Nobody But Me (different version)
18 - Evil-Hearted You
19 - Little Girl Of Mine (studio outtake)
20 - I've Gotta Keep On Pushin' (studio outtake)
A frenetic concert performance from the US psych punks, originally only released in Japan (and now incredibly rare). This contains songs from their first album as well as some storming cover versions including "Mister Soul" and "Foxy Lady"... Bonus tracks include non LP 45 cuts too!
Thursday, January 04, 2007
BILL DODD - guitar
JACK JORDAN (aka JACK METZ) - bass
LARRY MEYERS – percussion
02 Malmo - Lund,
03 Man Machine
06 I Am Sailing
07 Return Of The Party Animal
Oddjob is one of Sweden’s most tightly-knit bands, and a life-affirming reassurance for our times that jazz is still alive and well. The band was formed in the new millennium by five veteran studio hounds.
Trumpeter Goran Kajfeš, saxophonist Per “Ruskträsk” Johansson, pianist Daniel Karlsson, bassist Peter Forss and drummer Janne Robertson have all played with “everyone” – meaning the likes of Eagle-Eye Cherry, Eric Gadd, Rebecka Törnkvist, Roy Hargrove, Randy Brecker, Lester Bowie and Don Alias.
01. Sally Go 'Round The Roses
02. Didn't Think So
03. Grimly Forming
04. Somebody To Love
05. Father Bruce
06. Outlaw Blues
07. Often As I May
09. White Rabbit
10. That's How It is
11. Darkly Smiling
12. Nature Boy
13. You Can't Cry
14. Daydream Nightmare
15. Everybody Knows
16. Born To Be Burned
Before joining Jefferson Airplane, Grace Slick sang lead and played various instruments for the Great Society, who were nearly as popular as Jefferson Airplane in the early days of the San Francisco psychedelic scene. Instrumentally, the Great Society were not as disciplined as Airplane. But they were at least their equals in imagination, infusing their probing songwriting with Indian influences, minor key melodic shifts, and groundbreaking, reverb-soaked psychedelic guitar by Slick's brother-in-law, Darby Slick. Darby was also responsible for penning "Somebody to Love," which Grace brought with her to Airplane, who took it into the Top Five in 1967. The Great Society broke up in late 1966 after recording only one locally released single; after Jefferson Airplane became stars, Columbia issued a couple of live albums of the Great Society performing at San Francisco's Matrix Club in 1966.
~ Richie Unterberger, All Music Guide
This album it's also known as "Collector's Item".
Get it here @320
Part I ~ Part II
Very rare debut album recorded in 1974, originally issued on the local Phoenix label, Canyon Records. To most 60´s psychedelic rock/folk fans this is almost an unknown album, with only a few copies known to exist. Hamana was a native American, who went in 1969 to college in the white man's world, and the album expresses perfectly the sunny California peace, love & freedom feeling, The music itself is emotive with strong vocals, lots of West coast psychedelic guitar flashes, a bit garage feeling but also loner folk style with native American elements. The appeal of this album reminds one of Quicksilver Messenger Service, The Byrds, X.I.T, Neil Young, Buffalo Springfield, Garrett Lund - Near unbelievable that on these recordings all instruments, bass, guitars, vocals and drums have been played by Hamana himself, later to be overdubbed into a tasty and atmospheric stereo acoustic/electric mix. This CD-reissue is a mastertape release licensed by Canyon Records, and contains an 8 page booklet + 2 unreleased bonus tracks. Highly recommended!
Cheepskates - 1984 - Run Better Run
The mercurial Cheepskates began life as an anomaly on New York's garage-rock scene: when most of their peers were scouring exurbia for vintage paisleys and vinyl (the more primitive the better, on both counts), this low-key quartet was creating some of the most carefully crafted pure pop to escape from those Seed-y halls. Run Better Run, dominated by Shane Faubert's bouncy (but not overly retro) Farfisa organ and clear, expressive voice, attests to the group's originality. Usually smart, occasionally precious songs like "Gone for Good" and "That's When I Say Goodbye" are reminiscent of the Zombies' art-school pop. Refreshingly cover-free (all four members write; three swap lead vocals), the disc is a timeless pleasure.(Trouser Press)
Led by singer/guitarist Shane Faubert, the Cheepskates were a big part of the '80s revival of the garage rock scene on the East Coast. They released two albums with their first lineup, a four-piece that concentrated more on the retro side of the sound. ~ Bradley Torreano, All Music Guide
Considered "too pop" by garage fans and "too garage" by pop fans, the Cheepskates broke up in 1985, after their masterpiece, RUN BETTER RUN, failed to find its audience. (Goldmine)
After their second album "Second and Last", Cheepskates disbanded and guitarist David John Herrera released the "A Handout From a Cheepskate" in 1989, with members of the Optic Nerve. The Cheepskates reformed as a trio with Shane Faubert, Tony Low and new drummer Jeremy Lee and continued until 1993, with pop-oriented records, nothing to do with the garage scene.
Shane Faubert released two solo albums, and in 1992, Tony Low and Jeremy Lee formed Static 13, which became a tuneful hard-rock quartet.
"Run Better Run" released originally in 1984 on Midnight Records, re-issued on CD in 1997 by Music Maniac, and recently (2005) on CD with three extra tracks.
You can find it in Shane Faubert’s website.
Line-up: Shane Faubert vcls, gtr, organ/ David John Herrera vcls, gtr, hmnca/ Tony Low bs, vcls /Van Keith drms
Run Better Run
Read Your Mind
That's When I Say Goodbye
Gone For Good
Shadows of Loneliness
Big Bad World
You Can't Change
Drive In Movie
Take It Easy
I'd Give All I Got
Far Far Away
Why Is Love
Edit: David John Herrera has a great web site, with much more info about the band, as well as an amazing page about the early 80s NYC garage scene
Blandbladen - I Grevens Tid
Date of Release: 2003
2003 CD: Private Release
Encoded with Lame 3.92 at 192/44/Stereo
01 - I Grevens Tid
02 - Pε Grφn Kvist
03 - I Afton Trans
04 - Dimland
Sebastian Wellander - Guitar, Sounds
Ola Eriksson - Synthesizer, Fender Rhodes
Dave Janney - Bass
Kaufmann Cosmo - Drums, Percussion
- Blandbladen means "among the leaves" in Swedish.
- I Grevens Tid was recorded live Dec. 30-31, 2002
in the rehearsal studio.
- Only congas and percussion have been overdubbed.
Blandbladen are a quartet from Malmφ, Sweden who play a killer
instrumental brand of Space Rock that blends Ozric Tentacles,
jamming lysergic Psychedelia, Trance, and Progressive Rock. The
band consists of Solen (Ola Eriksson) on Fender Rhodes &
keyboards, Sabana (Sebastian Wellander) on guitar & sounds,
Kaufmann Cosmo on drums & percussion, and Dave Janney on bass &
fishmouth. I Grevens Tid is their first album and includes three
tracks in the 12-13 minute range and one at 6 minutes.
The set opens with "I Grevens Tid", laying down a cool
psychedelic groove and the Rhodes gives the music a 70's
prog-jazz flavor, while blending in more modern Space Rock
stylings α la Ozric Tentacles. But the band stretch out nicely,
transitioning through several themes, including a trippy Blues
psych segment peppered with liquid FX and hypnotic floating
atmospherics. "Pε Grφn Kvist" is a heavily Ozric influenced tune
that builds the pace and intensity to smokin psych-rock levels.
"I Afton Trans" and "Dimland" include some of the most high
energy trip rocking moments of the set. The music consists of
searing space rock with hints of Zappa amidst the Ozric styled
space vibe and old time kosmiche prog and heavy rock feel. The
rhythm section on "Dimland" is particularly heavy, pounding away
furiously while shooting alien synths and wah'd guitars wrap
themselves around your brain. Absolutely mind-bending and the
way the music evolves and builds positive energy and intensity
they could have easily gone on for 20 minutes or more and never
lost the listener's attention. So chock another one up for the
Swedes. This is 100% totally spaced out rock and prog played by
a band with pure psychedelic hearts. You are commanded to check
these guys out now!
-- Jerry Kranitz (Aural Innovations #24, July 2003)
Blandbladen is a new band from Malmφ, Sweden, playing
instrumental progressive space rock. This four-piece band
reminds at times of Ozric Tentacles and through that also the
Finnish Hidria Spacefolk, but they've got a more organic style
than these two bands. They don't use sequencers, backing tapes
or machine beats, so they might have been around in the 70's, as
This stuff is also more progressive, in the mellow 70's style.
At times the bubbling analogue synths do bring to mind the
Ozrics, and this band certainly has listened a lot to Gong and
This, about 45 minutes long album has four long tracks. "I
Grevens Tid" is a long prog giant with many parts, also
including some jazz and folk influences. The reggae styled "Pε
Grφn Kvist" sounds a lot like early Ozric Tentacles, and one
bass riff is a rather direct loan. In the end the track grows
nicely into a more groovy direction. Very good guitar solos and
"I Afton Trans" starts very peacefully and slowly, the comp
comes along after about two and a half minutes. There are some
wacky, spacey analogue synth effects to create a pretty
psychedelic atmosphere. At seven minutes point, the track cools
down, a nice Fender Rhodes part begins, and it's being stretched
out until 13 minutes.
The last track, "Dimland", grooves very well with its bluesy
rhythm. This faster track also has some oriental Gong feel to
it. After 5 minutes and a very quiet part, an interesting and
very fine delay guitar thing starts, which reminds a bit of
Ashra. After this, reggae rhythms give way to an Ozrics-like end
Blandbladen is a very talented and welcome newcomer to the space
rock circles, and will for sure also get the interest of a lot
of the fans of more traditional prog.
-- Santtu Laakso (Space Rock)
Wednesday, January 03, 2007
01 Give Your Woman What She Wants
02 A Hot Summer Day
03 Angels and Animals
04 Bombay Calling
05 Going to Another Party
06 Good Lovin'
07 The Grand Camel Suite
08 White Bird
As the title implies, this disc captures the Bay Area-based It's a Beautiful Day in concert at the venerable New York City performance Mecca Carnegie Hall. Although the band was on the road supporting their third long-player, Choice Quality Stuff/Anytime , the track list contains only "The Grand Camel Suite" from that disc. So, rather than re-treading material, Live at Carnegie Hall includes several new tunes from the band, as well as a couple of classics and well-chosen covers. As with many of the San Francisco groups to gain prominence during the late '60s and early '70s, It's a Beautiful Day is best experienced in the interactive and reciprocal atmosphere of a live performance. The band uses their ability to stretch and reshape familiar works such as "A Hot Summer Day" or their incendiary reading of "Bombay Calling" -- the latter featuring some jaw-dropping contributions from future Frank Zappa bassist Tom Fowler . His counter melodies and fluid timekeeping add a fullness and an additional dimension to the rocking version of "White Bird" and the cover of Taj Mahal 's "Give Your Woman What She Wants." Fowler's own composition, "Going to Another Party," highlights the amazing ensemble work of this incarnation of It's a Beautiful Day. Particularly inspired is the frenetic violin of David LaFlamme , who gives a workout to the new track "Good Lovin'" and the extended "Hot Summer Day." It is a shame that this platter has been out of print on CD since the early '90s, as it reveals an edgier side to the band, primarily known for their one hit, "White Bird." Live at Carnegie Hall is not only more representative of the group's true nature, but also the way they deserve to be heard and remembered. ~AMG
Two gals and one guy from Cincinnati. A great album from the 1990s- lots of nice guitar-y jangle pop and female vocals (like an underproduced Let's Active), and then the guy shows up with his crappy distortion pedal and makes it sound like Beat Happening's snotty little brother.
And then the third track, "Let's Smoke," and the eighth track, "Pussy Strut" could be the a- and b-side of some lost garage 45.
Download it here.
I'm Fooled Again
Please Leave A Message
You For President
Remember Our Love
Taste Of Tears
I Won't Die
Nice Guys Finish Last
Jens Lindberg-Vocals Guitar
Mathias Lilja-LeadVocals Guitar
Ulf Guttormsson-BackingVocals Bass
The Maharajas were formed in the late 90's by Jens Lindberg with the intention of playing Greek-inspired moody 60's music. After being in fuzzdriven, hard stompin´garagerock bands since the mid 80's (Crimson Shadows, Stomachmouths, Highspeed V, Blind Shag...) he was looking for a new take on the genre. In the beginning the band saw some members come and go until finally drummer Anders Öberg brought his long time friend Ulf Guttormsson in on bassguitar. The trio cut one 7" on Loser Records and in 2001 ex Strollers singer Mathias Lilja joined the band forming the current line-up. They were now ready for their first full-length album. 13 songs were recorded during 5 hectic days in the autumn of 2001 and "H-minor" saw the light in spring of 2003 on the Italian label -Teen Sound Records. 2004 ment a new record, also a new label. Low Impact Records(responsible for all Strollers releases) decided they wanted to sign the band and with "Unrelated Statements" the Maharajas presented a tighter and more genuine sound. Still true to the trademark of moody songs with a lot of sad harmonies, it had a lot more fuzzguitars, farfisa organs and howlin´vocals than earlier recordings with the group. It was produced by Måns P. Månsson, the singer of The Maggots, a band that he along with Jens & Anders had started together previous to Maharajas. The record was well received especially among 60's enthusiasts but it seemed to strike a nerve with all kinds of people. It was heavily rotated on the "Little Steven's Underground Garage" radio show. A few smaller tours in Europe followed apart from playing in Sweden and the rest of Scandinavia every now and then. In 2005 they released "A Third Opinion" in the same tradition as always manifesting what they love in 60's Garage/Pop/R&B and Rock'n'Roll music in general "A Third Opinion" is a must have for all you kiddies! This year a new member, Ricard Harryson, is taking over the drum stool and the band will continue as always with new recordings and an even more solid sound.
The Sons of Champlin are very much a part of the rich tapestry that was the San Francisco music scene of the Fillmore and Avalon Ballrooms.
Their funky Hammond B-3 and horns sound was utterly distinctive and quite unlike the rest of the Bay Area’s psychedelic guitar bands.
Celebrating the human spirit, philosophical themes driven by funk infused R&B and jazz based tempos continued to set the Sons apart. Often hard to define because of their eclectic mix of material, the Sons were playing acid jazz before it had a name.
Always known for their outstanding musicianship, they have become the benchmark against which other players have measured their chops.
The Sons released seven albums between 1968 and 1977. After a twenty year hiatus, the Sons reunited for a series of successful reunion gigs in 1997. In cooperation with Grateful Dead Records, the Sons recorded and released their first ever "live" CD in 1998. The earlier studio releases never quite captured the magic of their live shows. Quoted in the San Francisco Chronicle, the Grateful Dead's Mickey Hart said of those earlier shows, "they were breathing fire... they were the most talented of all the bands."
03. Every Time Woman
04. Close Your Eyes
05. If You Don't Mind, Mrs Applebee
06. I've Got To Keep On Pushing
08. Two Of A Kind
09. April 15th
10. Pied Piper
11. This Little Girl Of Mine
In 1967, the Human Beinz scored a hit single with their feeback-laced cover of The Isley Brothers' "Nobody But Me", and for a brief and fleeting moment the boys from Youngstown, Ohio were bone fide rock stars. While their first album wasn't anything out of the ordinary, when they went into the studio to record their second LP, they were determined to create something unusual, and you can't argue that they succeeded with Evolutions. An amusing pastiche of neo-psychedelic excess, Evolutions is a far cry from the slightly trippy frat rock of their hit; "The Face" is a tale of lost love drenched with horns and strings, "Close Your Eyes" is a delicate mostly-acoustic plea for hippie-era togetherness, "My Animal" is an oblique pseudo-protest number leavened with sound effects, and "I've Got To Keep On Pushing" is a showcase for Richard Belley's snarling guitar leads. But the real descent into the maelstrom comes with the album's last two tracks; the country rock workout "Two Of A Kind" concludes with the sound of someone tearing apart a piano for several minutes, and the seven-minute "April 15th" gives Belley room for all the guitar freak-out-age he ever dreamed of, which may be a bit more than most fans actually wanted to hear. The Human Beinz are a better and more imaginative band than one might expect on Evolutions; Mel Pachuta, Ting Markulin and Mike Tatman are a solid rhythm section, the songs (mostly written by Lex De Azevedo, who also produced and arranged the album) are pretty good, and even when the album's pretensions seem silly, they don't quite sink into embarrassment. But a cloud of Nehru folly hangs over this album, and while the Human Beinz pull it off (just barely), Evolutions is still the work of a band struggling desperately to chew what they've bitten off.
~ Mark Deming, All Music Guide
Best-known for its version of "Nobody but Me," Youngstown, OH's frat rock quartet the Human Beinz featured rhythm guitarist Ting Markulin, lead guitarist Richard Belley, bassist Mel Pachuta, and drummer Mike Tatman. Originally known as the Human Beings, the group was a local favorite and was discovered playing at a Youngstown bar. Their early releases include covers of Bob Dylan's "Times They Are A-Changin'" and Them's "Gloria," as well as renditions of the Who and Yardbirds songs; they released their first singles on the local Gateway imprint. In 1967, the group signed to Capitol Records and scored a Top Ten hit with their cover of the Isley Brothers' "Nobody but Me." On their debut album, which was also named Nobody but Me, the band found their name changed to the Human Beinz, a play on the hippie phrase "be-in." The following year, the group issued Evolutions, which showcased a more original side to the Human Beinz' music, but the album did little and the band ultimately broke up.
~ Heather Phares, All Music Guide
Viv Akauldren - 1985 - Old Bags & Party Rags
Jeff Tarleton: "As a teenager the inevitable happened and I formed my first and only band. We were a three-piece named Trancegland. When the drummer quit to join the army, Deb Agolli joined and we changed our name to Viv Akauldren. With me on vocals, guitar and bass and Keir McDonald on synths, farfisa and bass we toured five hard years on the US underground scene. I don't want to go into details here about the band but the hard facts are we made 3 LPs, an EP and a couple of singles. (All are out of print but you can still find them if you're lucky). There were amazing performances too, that I will never forget as long as I live and I know there's a lot of people out there that feel the same way.
We played with a lot of great bands. Quite a few got famous in the 90s but then was really an innocent time, before the reality of making it occurred to anyone. It was the void known as the 80s but I think we made our mark, and absolutely no one was out there doing what we were. We would have seen them."
Viv Akauldren were Jeff Tarleton (Phry) vcls, gtr, bs/ Keir McDonald kbds, synth, bs/ Deb Agnolli drms, vcls
After their demise, Deb Agolli went on to Outrageous Cherry, Keir McDonald recorded solo, under the name Medusa Cyclone, with much critical acclaim, and Jeff Tarleton, quit music for a few years, released a solo psych-folk album in the late 90s, (which I would like very much to listen), and now lives in Berlin as a street musician.
1 - Life Expectancy
2 - Tanzil
3 - As You Wish
4 - Flooding Crawl Space
5 - Lost
6 - Censored
7 - Null
8 - Catabolic Blues
V.A. - The V-Lips_Greatest Hits
01 Cuby & The Blizzards - Your Body Not Your Soul (Grollo, Holland)
02 The Rob Hoeke Rhythm & Blues Group - When People Talk (Haarlem, Holland)
03 The Jay-Jays - Got Love If You Want It (The Hague, Holland) *
04 The Scarlets - Please Go Home (The Hague, Holland)
05 The Skope - Be Mine Again (Heerlen, Holland)
06 The Heralds - I Wish I Was Strong (Breda, Holland)
07 The Falcons - Louie Louie (Hilversum, Holland)
08 Groep 1850 - I Know (The Hague, Holland) *
09 The Sound Of Imker - Train Of Doomsday (Assen, Holland)
10 Q65 - And Your Kind (The Hague, Holland)
11 The Tykes - Let's Dance (Groningen, Holland)
12 The Sound Magics - Don't You Remember (Doesburg, Holland)
13 The Rob Hoeke Rhythm & Blues Group - Rain, Snow, Misery (Haarlem, Holland)
14 The Beat Buddies - Pins In My Heart (Amsterdam, Holland)
15 The Shane - Gotta Hold On (The Hague, Holland)
16 Cuby & The Blizzards - Back Home (A Man) (Grollo, Holland)
Tuesday, January 02, 2007
Richard Lane - Keyboards, Guitar & Vocals
Dom Mariani - Guitar & Lead Vocals
Julian Matthews - Bass
Gary Chambers - Drums
The Heart Throbs - 1990 - Cleopatra Grip
01 Tossed Away (3:56)
02 Dreamtime (3:54)
03 Big Commotion (Remix) (5:04)
04 In Vain (4:30)
05 Slip & Slide (3:19)
06 Here I Hide (Remix) (4:32)
07 Calavera (6:01)
08 I Wonder Why (3:31)
09 She's In A Trance (3:44)
10 Blood From A Stone (Remix) (3:25)
11 Kiss Me When I'm Starving (4:34)
12 White Laughter (5:15)
* Rose Carlotti - Lead Vocals/Guitar
* Rachel Carlotti - Bass/Backing Vocals
* Mark Slide - Drums
* Stephen Ward - Keyboards
* Alan Barclay - Guitar
The debut album by Liverpool's Heart Throbs (led by the twin sisters of late Echo & the Bunnymen drummer Pete DeFrietas) slots neatly into the overriding musical styles of U.K. indie pop circa 1990, mixing the post-punk directness of the Primitives, the swirling, dreamlike textures of the shoegazers, and the flirtations with dance rhythms introduced by the previous summer's Madchester explosion. However, the Heart Throbs definitely had their own unique style; for one thing, singer Rose Carlotti's lyrics, from the suggestive album title on down, are forthrightly female-centric in the manner of the Au Pairs' Lesley Woods or early PJ Harvey. It can be difficult to hear Carlotti behind Martin Hannett's echoey, hollow production, which shifts the guitars to the forefront, but the intent of songs like "She's in a Trance" and the searing, My Bloody Valentine-like "Kiss Me When I'm Starving" remains clear regardless. The slightly poppier singles "Tossed Away" and "Dreamtime" are the album's highlights but, while a couple of the songs coast by simply on atmosphere, Cleopatra Grip is a luxurious and compelling listen. ~ Stewart Mason, All Music Guide
Third part of the U.S. 80s singles series...
Black Angel's Death Song - Nothing Equals Nothing/What Do You Mean (Dionysus ID074522)
Black Angel's Death Song were form Los Angeles, formed by J Francis Connors (Pirate Radio, Trash Can School), and Jack Gould (Flower Quartet, Trash Can School). They managed to release 3 CDs, and 5 7"s. Their sound in this single is raw 60s garagepunk, with loud guitars and primitive drums, although in later releases you can hear some VU influences.
Boys From Nowhere - No Reason To Live/1966 (Rubber RUB 003)
Boys From Nowhere, from Youngstown, Ohio, was in fact Mick Divvens (the rest of the band was anybody he could find). From 1984 they released at least 2 LPs, a 12 EP and 4 singles, in four different countries, yet they never were "succesful" even in their hometown. Imagine something between the Stems and the Stooges and you almost get the sound of this australian 7", which came out in 1989 in red vinyl.
Fall-outs - Don't Want The Sun/Another Fad/She's Out There (Estrus ES723)
This single by the Seattle Fall-Outs recorded in 1998, but released in 1991. Since then the Fall-outs released several albums and singles and they're more or less active until today. Their sound is typical for the early Estrus releases: raw, fats, primitive garagepunk, in fine 1965 beat.
Thee Fourgiven - She Shines (dedicated to Candy DelMar)/Be My Lover (Mystery Scene MS-002)
Thee Fourgiven was formed by Rich Coffee, out of the ashes of the Unclaimed, with Ray Flores (bass/vocals) & Matt Roberts (drums,garbage can,screams), both also from the Unclaimed, and lasted 'till 1989. Although Rich Coffee insists that his influences for this band were more MC5 than Count V, in this german 7's, and particularly in "She Shines" (b-side is a cover)we listen to a perfect nugget, which has little to do with the hard side of garage - more like raw Plasticland!
Plasticland - Let's Play Polyanna/Enchanted Forestry (Repulsion RE-001)
Speaking of Plasticland, here's a 7" from 1990, in UK label. Plasticland from Milwakee, WI, is well known, so all I'll say is that this single continues their Syd-Barrett-in-the-80s tradition, gathers all their experience and proves that they had much to offer.
Tommyknockers - Snake Lightining/Old Enough To Know Better/You'll Find Out (Sympathy for the Record Industry SFTRI 21)
The second single from Rich Coffee for this post, this time with the Tommyknockers, a band he formed in 1989 with Lee Joseph (of Yard Trauma and head of Dionysus label). In Coffee's own words "The Tommyknockers were never as easy band to describe - once called "voodoo-acid-blues-rant-and-roll" fronted by the bastard son of Alice Cooper & Joey Ramone (a frightening thought!), they eventually evolved into almost a power-pop band! But the emphasis was always on the power!" Gladly, here is their first 3-song 7", which has nothing to to with power-pop. "Snake Lightning" is a dynamite, flirting with the Estrus sound of the same era, while in b-side we return to the known Unclaimed/Fourgiven garage.
True West - Lucifer Sam/Mas Reficul (True West TWW 666, 1982 -reissued on Skyclad hell(CUT)100, 1990)
Last, a true historic single from Davis, CA True West, their version on Floyd's "Lucifer Sam". Although TW were known from their next releases (Holywood Holiday and Drifters), in this 7", their Steve-Wynn-produced first single, which came out in 500 copies, they gave us their most wild psychedelic side, something that would never again repeat. Also worthy is the b-side: it's just "Lucifer Sam" played backwards, but it's totally listenable and a real psychedelic experience!
If you're further interested, you can watch True West performing "Lucifer Sam" live at The I-Beam, SF, 1984 here
Here's the seven singles
Monday, January 01, 2007
On 28/2/1969 The Savages strike again earning the Sound Trophy for their "Curiosity Satisfied". More singles continued...but they never managed to make a major success.
Fortunately some of their material was published on cd many many years later.
Amazing lost diamond highly recommended for fans of beat music.
The two opening songs should be in any serious prog – art rock anthology and I dedicate them to all of you,
Side Four Bonus Tracks:
Between King Crimson and Genesis there is only one band. Spring. Their one and only album is a mixtue of mellotron, rock felling and that special kind of thouch that only symphonic groups have. When i first heard that lp I cried. It's so beautiful... Ok, now the facts. There are three mellotrons, a very good guitarist and a vocalist who can sing. Great compositions, especially Eight To Then, Grail, Boats, Golden Fleece and Hendre Mews (it's a bonus track).
MASTERPICE. This album is the true definition of art rock! (PROG ARCHIVES)
At first, I was not sure what the picture of the dead soldier meant but after listening to the albums lyrics, it makes more sense. The album certainly has a theme. "The Prisoner," "Fool's Gold," "Shipwrecked Soldier," "Golden Fleece," and "Grail" certainly have an explorer war like premise.
The tone created by this talented group on this outstanding effort needs a much harder look than ever before. Perhaps the reasons why you have not heard too much of this band is that giving credit were credit was due has been part of the problem…not an all together unusual circumstance in a business full of unfairness and corruption. Part of this entire process of recollection for us all interested in learning more about some of the pioneers of prog-rock is discovering important contributors such as Spring. Lead vocalist Pat Moran's style is reminiscent of the dreamy and smooth vocal engagements of the legendary Jon Anderson of Yes. I use Anderson as a benchmark for vocalist in this genre for obvious reasons. His influence can be heard everywhere in rock music from past to present. Spring's music is tasteful with compositions featuring elegant keyboards and guitars and equally powerfully intoxicating measures of the same when needed to emphasize the lyrics and give listeners chunks of instrumental passages that have become typical for this type of music.