Tuesday, July 18, 2006
Jimmy Warwick: guitars, vocals
Barry Curtis: keyboards, recorder
Scott Kirkpatrick: bass
'Fergy' Ferguson: drums, percussion, vocals
Freddy Staff: trumpet
John Hockridge: trumpet
Jeff Evans: trumpet
Roy Sidwell: tenor, baritone, soprano saxophones
Allan Dilly: baritone saxophone
Danny Elwood: bass trombone
John Kirkland: string leader
Colin Frechter: bass and string arrangements
Hard Psych concept with floating Mellotron and aggressive Hammond.
1. Dream Love Sequence Nr 9 (7:53)
2. One Strange December Evening (4:55)
3. As I Wandered (3:24)
4. Tolerance Town (3:40)
5. Beat Pimp Muzak (5:07)
6. A War Was Declared (7:22)
7. In My Time Of Dying (6:33)
8. Traumland (5:20)
9. I Want You (2:39)
- Daniele Caputo / drums, vocal
- Michele Profeti / organ, Mellotron
- Stefano Gabbani / bass
Black Widow Records, BWRCD 007-2
Standarte is a 90's band with a 70's sound reminiscent of Atomic Rooster. They are an Italian trio featuring the strong keyboards of Michele Profeti, solid percussion and vocals from Daniele Caputo and scorching bass guitar (and additional keys) by Stefano Gabbani. They produce a 70's retro sound complete with Hammond organ, harpsichord, piano, 2 Mellotrons, 2 Moogs and vocals sounding like The Doors (or actually more like Atomic Rooster from 'In Hearing of...'). Both albums are hard driving but with a smooth structured feel and the concepts are very dark and surreal, but yet the music is surprisingly uplifting. The first self-titled album (1994) is dedicated to the late Vincent Crane, keyboardist from Atomic Rooster. Both have some spoken words (English w/British accent) interspersed with some excellent vocals that set the tone of gothic horror. The Hammond organ dominates almost every track, followed by hard-edged vocals, scorching bass and tight percussion. There is good change of pace and plenty of variety to keep you on your toes. Maybe one thing that is intriguing about this group is the stark contrast between dark and light, old and new, etc. A third album called 'Stimmung' is due out in September.
One look at the cover and it should be clear that producers Simon Napier Bell and Ray Singer (who also penned about six of the tracks here) were trying to capitalize on the look and feel of Jesus Christ Superstar with this concept album that is laid out like a Catholic mass. The only musicians credited are Tony Newman (g), Max Simms (b), and Mike Newman (d); there’s also vocalists (an entire choir on a couple tracks), piano, organ, violins, cellos and much more – which naturally leads one to believe this is more an album by the two producers, than that of the “band”, although the Newman brothers are credited with writing the remaining five songs. So what’s it all about? Imagine an eclectic mix of sixties styled rock and pop songs (early Who or pre-psychedelic Beatles might be a fair comparison) separated by short dissonant string quartet interludes, short spoken introductions, with some classical rips (the “Toccata” with the choir singing the names of the sins over and over is quite ridiculous, as is the silly doo-wop meets Elvis “Dismissal”, but the bombastic “Devil’s Hymn” for choir and band is quite cool, with its jazzy center section). The meat of the album is in the songs though, all of which sound a little dated (even by 1969 standards) but are still quite good. From the poppy “Envy: I’m Talking as a Friend” and “Pride”, to the out-and-out rockers “Sloth: Open Up Your Eyes” and “Gluttony: Something is Threatening Your Family”, the song-craftsmanship and arrangements throughout are at a very high level. Probably not for everyone, but those into sixties styled eclecticism might do well to check it out. - Peter Thelen
A rare concept psych album about the 7 deadly sins!
Get your sin right here
Excellent debut album (the first of four by this South African Group) and a real rarity from 1969. A great album with a Pretty Things meets The Beatles vibe; psych blended with R 'n' B and garage punk tunes. Excellent songs with lovely vocals strong harmonies and super distorted guitar work.
The Psychedelic-Music.com Website describes McCully Workshop's first album like this: "Of all the albums we've heard from South Africa this one is topscore. What a beautiful masterpiece. Pepper-influenced Underground music with great songs, lovely vocals, strong harmonies, great distorted guitarwork."
Since 1965, the McCullagh brothers, Tully (born Terence on 31st May 1953) and Mike (born Michael on 7th April 1947), have become an integral part of the South African pop and rock scene.
"My brother [Mike] who plays drums and myself would play around and record ourselves in the lounge, I was about nine at the time. We recorded a track called 'Swinging Time' with some other friends when I was thirteen and sent it to a record company. The track didn't get anywhere but it was quite interesting. We grew a bit more and when I was sixteen (and Mike 22) we started a band called McCully Workshop and a whole string of other bands and I started a garage studio." – Tully McCully
McCully Workshop have had many line-up changes over the years, but the brothers have always surrounded themselves with superb musicians.
In 1965 they started as a folk-rock trio with Richard Hyam and called themselves the Blue Three. Richard had been in a folk duo, Tiny Folk, with his sister Melanie.
After a few personnel- and name-changes, like The Blue Beats and Larfing Stocke, the line-up settled down (for a while) in 1969 and they called themselves the McCully Workshop because they used to rehearse in Mrs McCullagh's garage.
Glenda Wassman later married Richard, and they formed the pop band Pendulum and had a big hit with 'Take My Heart' in 1976. Glenda then went on to major success with the all-girl group, Clout, who had a huge hit with 'Substitute' which went to #2 in the UK in 1978.
'McCully Workshop Inc' was produced by the great South African singer and producer Billy Forrest. The cover photo was taken by Sigurd Olivier and the cat's name was Sirikit.
'McCully Workshop Inc' was released in June 1970 and included the epic and powerful 'Why Can't It Rain' which went to #12 on the Springbok Radio charts in July 1970.
The follow-up to 'Inc' was an album titled 'Genesis' released in 1971. It was a concept album based on the book of Genesis from the Bible and included a number of long tracks with sub-sections, typical of other prog-rock albums of the time.
Crocodile Harris (real name Robin Graham, from Cape Town), recorded the brilliant haunting pop classic 'Miss Eva Goodnight' (Springbok #5, April 1974) which was written by Mike & Tully and featured the musicianship of all the then current McCully Workshop members.
'Ages' was released in 1975 and reflected musical styles from different ages of music and various influences could be heard: Uriah Heep, The Beatles, The Kinks and The Beach Boys, for example.
Their 4th album, 'Workshop Revisited', released in 1977 shot them to prominence when it introduced South African fans to hits like 'Buccaneer' and 'Chinese Junkman'. The album also saw Mike McCully winning the 1978 'Songwriter Of The Year' award.
They used to play in the late 70s at the Canterbury Inn in the Fairmead Hotel in Cape Town and wonderful renditions of classic rock songs could be heard on a Sunday night. Chicago's 'I'm A Man' (with a lo-o-ong percussion solo), Barry Ryan's 'Eloise', Grand Funk's (or Traffic's) 'Feeling Alright' and of course their own brilliant 1977 hit single 'Buccaneer' could all be heard; of course no dancing was allowed on a Sunday in those dark days, so the audience had to just sit and listen... and listen they did.
In 1998 the line-up from the late 70s reformed and re-recorded the old McCully Workshop classics and hits as well as 6 new songs and released the album 'Buccaneer'. 'Why Can't It Rain' also received a make-over losing none of its power and gaining an even stronger production.
In 2002 Tully is still running his successful Spaced-Out Sounds Studio in Cape Town and Mike regularly packs out concert halls with his nostalgic revue shows 'Sixty Something' and 'Music Of The Millennium'.
McCully Workshop is a band that deserves to be listened to, over and over again.
Melting Ashes :
The Melting Ashes were formed in 1986 and did a limited number of gigs
enlivened by slide shows and audience participation before splitting up in the spring of 1988.
Their only vinyl appearance had been on a rather low-fi sampler called "12 Raw Greek Groups".
They had recorded a few demos in the last months of their existence,
and Wipe Out decided to do a posthumous album in order to please the band's hard-core fans.
"Green Fuzz 1987" was released in early 1991 and is well worth getting,
even if it represents the hard side of the group rather than the psychedelic notes their music was shot through with.
The group was formed in 1986 and split up in 1988. Some years later their manager (Theodore Kritharis, owner of label)
reworked the recorded demos of 1987 along with some x-members of the band and released this "diamond".
A psychedelic garage record. One of the most important bands in their kind.
It contains 2 fantastic cover versions (GREEN FUZZ & I'M ON MY WAY).
Thnx tsatsos_21 for this one
Monday, July 17, 2006
1 Love So Strong
2 Horn Song
3 Plastic is Organic
4 Swannanoa Tunnel
6 Front Man
7 Tight Rope Walker
10 Help Me
CHARLES LAMONT A
C. LOCKHART A
L. MARKS A
1(A) ALEXANDER'S TIMELESS BLOOZBAND (Smack 1001) 1967
2(A) FOR SALE (Uni 73021) 1968
1 Love So Strong / Horn Song (Matamat 101) 1967
2 Maybe Baby / Maybe Baby (Kapp K 967) 1967
NB: (1) also released on Uni (55044) 1967. They probably released other 45s.
A bluesy outfit with some psychedelic influence. Charles Lamont also released a solo LP in 1969, A Legend In His Own Time (Uni 73076), which consists of melodic psyche/pop with orchestrations. All the songs were written by Lamont and it features a version of Love So Strong which can also be found on the Alexander's Timeless Bloozband For Sale album. Both albums were produced by Tony Cary, but Lamont's solo effort cannot be recommanded.
The second 45 was a cover of the Buddy Holly/Norman Petty classic.
(Clark Faville / Stephane Rebeschini)
Sunday, July 16, 2006
Tenth Planet TP046
CAN'T EBENEZER SEE MY MIND #1
ONLY JOHN TRING
I FOUND THE SUN
EVER NEEDED SOMEONE
MIDNIGHT LOVE CYCLE
CAN'T EBENEZER SEE MY MIND #2
INDIAN DREAMS (acoustic version)
All tracks recorded 1968 except 'Livin' Today' (1967), 'The Stripper' and 'Can't Ebenezer See My Mind #2' (1969).
All tracks written by the Klubs except 'Fire' (written Hendrix).
Digitally remastered by Denis Blackham at Country Masters.
Artwork by Noz & Scotty
This release . Tenth Planet, 1999.
Limited edition of 1000 copies:
Tenth Planet, 13 Barricane, St Johns, Woking, Surrey GU21 1RB
Get It Here
Optical Sound's hymn for this specific track:
Therefore video clip that should all we remembered and have in our possession, that constitutes one from the leading psychedelic music pieces that were ever written!!
Many of you, your possibly not it's considered something important, because your continuous searching in more underground musical paths, as myself, other will not never cease constitutes one from the amazing compositions of 60's and not only, taken from gorgeous psychedelic album ' THEIR SATANIC MAJESTIES REQUEST of ' all seasons, that so much has been wronged by the friends of music !!!
Beautiful video clip in order to splendid this music piece, which recorded somewhere in the dues August, beginnings September of 1967.
It is worldwide known that this song written and composed by Jagger & Richards but it is less known that the bigger part of its melody is inspired from my ultra beloved Brian Jones. In addition,the same happened in other music marvellous pieces of Rolling Stones, deliberate remains in doomed to oblivion concerning the Jagger and Richards, that to him did not leave also a lot of margins, for obvious reasons!!
Furthermore, in this song contributed the following artists :
Bass: Bill Wyman
Electric guitars: Keith Richards
Lead vocal: Mick Jagger
Background vocals: Mick Jagger & Keith Richards
Piano: Nicky Hopkins
Synthesizer: Bill Wyman
Maracas: Mick Jagger
Claves: Eddie Kramer
Some additional info for this specific and wonderful song:
Jagger once said that the words to this song were written while he was in jail after the Redlands bust.
We're setting off with soft explosion
Bound for a star with fiery oceans
It's so very lonely, you're a hundred light years from home
Freezing red deserts turn to dark
Energy here in every part
It's so very lonely, you're six hundred light years from home
It's so very lonely, you're a thousand light years from home
It's so very lonely, you're a thousand light years from home
Bell flight fourteen you now can land
See you on Aldebaran, safe on the green desert sand
It's so very lonely, you're two thousand light years from home
It's so very lonely, you're two thousand light years from home
Brian Jones on Mellotron, with the rest of the band filling in on guitar, drums, bass, and maracas. One of the chord changes is missed on the Mellotron at 1:58 (Jones pauses for a second). There is quite a bit of improvised drumming at the end.
HARPER vcls A
ROWE vcls A
1(A) HARPER AND ROWE (World Pacific WPS-21882) 1967
A psyche pop duet, nothing is known about them and their backing group.
Their only album was produced by Ed Ver Schure and Ralph Murphy (who also wrote eight of the twelve tracks)
and they were managed by William McEuen (who also managed Nitty Gritty Dirt Band, Sunshine Company, Hourglass).
The album is quite patchy and contains folk/pop (Hello Sleepy Sidewalks), rock (Love Machine, penned by Gordon and Griffin),
and orchestrated pop (Here Comes Yesterday Again).
One of the best track is The Dweller, with flute and guitars, composed by Marcellino and Larson.
It is beginning to interest some collectors.
1. Black And White
2. Under The Ladder
3. People Going Nowhere
4. Out Of Hand
6. A Side He'll Never Show
This six-song EP, Crippled Pilgrims' debut release, was a little too out of sync with the mid-'80s indie scene to attract much notice. Though the group was downbeat enough to fit into the early post-punk era, there was more of an influence from flowing, classic rock-influenced guitar work and melodies than most such bands had, and few of the attributes of classic punk. There's enough lyrically nebulous indie guitar rock on here to appeal to, say, the early R.E.M. fan, or followers of some of the more guitar-based indie rock bands that arose in the South in the mid-'80s. It's also easy to see why Crippled Pilgrims never scaled the heights of R.E.M. -- the songs aren't as fully developed, inhabiting a fuzzy netherland between tense hard-rocking folk-rock and the edge of '80s guitar-grounded new wave.
After being kidnapped by the savage noise troubadours Death Camp 2000 (featuring the rhythmic styling of Jay Spiegel a.k.a. the Rummager and the not yet famous thrashings of sound impresario Don Fleming), Jay Moglia's path shifted from its idyllic moorings onto an uncertain carousel of melody and mayhem. The 21-year-old Moglia took a crash course in guitar to color his vivid wordscapes and began looking for bandmates. Meanwhile, Scott Wingo sat at home drinking and wallowing in self-pitying gloom. His housemate Charles Steck had recently enlisted as bassist for Fleming's phenomenal pop combo the Velvet Monkeys - a fact that made Wingo's inability to fulfill his adolescent fantasies of rock stardom all the more agonizing.
As Moglia's embryonic attempts at song emerged, he was lucky to have the Velvet Monkeys help in fleshing them out with background noise. He lived in the room directly adjacent to the Monkeys' rehearsal space and spent many days lurking in the corner hoping for an invitation to jam. In time, whether for the good of rock or just to get him out of their ascending orbit, the Monkeys suggested that Moglia get together with Wingo for a musical chemistry check.
Scott arrived at Jay's house fully expecting to meet a circa 1982 standard-issue punk/alternative type but was instead greeted by a clean-cut young man in a green golf sweater with a stutter on his tongue and a phantom in his eye. This was Jay Moglia.
It wasn't long before the two started blending ideas. Wingo had cut his teeth in the influential DC punk band Trenchmouth, but his musical leanings were as much Beatles as Ramones, and Moglia's meandering yet forceful compositions allowed plenty of space for the outcast guitarist to sharpen his knives. Prominent among these knives was a recently acquired affinity for modal psychedelic noodling. Despite a valiant Punk/British Invasion-hardened resistance to all things Dead, a recent chance encounter with a particular ergot-derived substance combined with a well-timed Aoxomoxoa turntable spin had opened Wingo's ears and fingers to a whole new palette of six-string possibilities. The wide-open nature of Jay's pieces seemed to provide an apt canvas for somehow combining the alcoholic glee of pure hard rock with the lysergically-damaged wanderings of the not-so-distant past. (Whether this was actually achieved is an entirely separate question.)
The duo's joy in their well-meshed "sound" overshadowed more earthly concerns like song structure and length. An early Pilgrims show could easily last an hour as they whipped through their six-song set. It took bassist Mitch Parker, previously with the legendary DC punk outfit Government Issue, to bring some focus and direction to the raw strands of tune. Parker's ability to slice through musical excess coupled with his local scenester par excellence credentials quickly landed the group a slot on Fountain of Youth's compilation LP Bouncing Babies, immediately leading to the recording of their EP Head Down Hand Out (also on Fountain of Youth).
Through all of this, one central question remained unanswered: Who was the Crippled Pilgrims' drummer? The Velvet Monkey's Rummager (who shortly afterward reached heartthrob status as drummer for DC boy band HE) handled some of the crucial early gigs and sessions (including the first Inner Ear demo which yielded the Bouncing Babies track). At other times it was hard-hitting Tommy Carr of the powerful quartet Black Market Baby stepping in at the last minute to rescue the Pilgrims on show night. Ultimately, Dan Joseph, who had been with the group only two weeks before recording Head Down Hand Out, would become the drummer of record. Joseph never became an "official" member of the band due to his commitment with the progressive horror rock ensemble 9353. Though generous with his time, Joseph was reluctant to be affiliated with the Pilgrims. Jay, Scott, and Mitch's "regular guy" personas were no match for the preening charisma 9353 brought to the stage. Plus, Crippled Pilgrims' reputation for flowing melody and the occasional extended guitar solo had burdened them with a comparatively uncool reputation amid the rigid conformity of the then thriving harDCore scene. At 17 years old, Dan Joseph could certainly be excused for downplaying such a potentially credibility-busting association.
The revolving-door drummer status meant gigs for the Pilgrims were infrequent. Shortly after the release of Head Down Hand Out, Moglia, stifled by inactivity and bolstered by the EP's positive reviews and healthy college chart rankings, set out for NYC hoping to expand the group's profile and ultimately relocate the band. Unfortunately, he neglected to tell Wingo and Parker about his ambitious plans and was surprised when they didn't join him in Manhattan. Instead of extending the ranks of New York's rock elite, Jay found himself dazedly wandering the city's avenues carrying a can of blue spray paint and a cardboard "Crippled Pilgrims" stencil. Scott and Mitch were left back in DC with the proverbial question marks hanging over their heads.
Moglia eventually recovered from his spray-painted daze and began laying down tracks for an atmospheric collection of electronic folk songs under the name Geezer Park. The music was actually pressed and was poised to become the first release on Bar/None Records when Jay inexplicably pulled the plug on the project. In the meantime, Head Down Hand Out gathered momentum, garnering notable amounts of airplay in obscure and far-away markets. This came as a surprise to the group as their local DC following was less than massive. In mid-1984, with a fair number of Pilgrims' tunes never given a proper recording and Fountain of Youth pressing for a follow-up to Head Down Hand Out, Jay, Scott, and Mitch tentatively decided to revive the group.
With Jay commuting from NY to DC for gigs and recording sessions, Mitch and Scott both unwilling to abandon their relatively comfortable DC existences, and the continuing "who is our drummer" plague, the future did not bode well for the band. However, the trio (along with the drummer of the moment) managed to squeeze out a few more shows--the final being a pairing with LA's Gun Club at DC's 9:30 Club on September 7, 1984.
Recording and mixing of tracks continued sporadically throughout the fall of 1984. When Under Water was released the following spring, it was met with strong reviews and college radio airplay, but Crippled Pilgrims as a performing and recording unit were history.
In the ensuing years, Jay, Scott, and Mitch continued to make music together in various combinations and permutations. Notable among these was the full-frontal, testosterone-drenched stance of CPU (Crippled Pilgrims Unlimited), who, disappointingly, never performed beyond a few private parties. More fortunate in outreach was the crystalline rock perfection of Rambling Shadows whose initial mid-90's stirrings saw Jay and Mitch mining the urban underbelly for inspirational fuel. For reasons that remain murky, Mitch, in early 1996, abruptly quit the project, never to be seen or heard from again. The aforementioned Charles Steck (Velvet Monkeys, High-Back Chairs, Lida Husik) and Scott Wingo stepped in to salvage and retool, adding their own unique marks to the sound. This time around, the drummer was official - the multitalented Davis White (Foundation, Lorelei, Alice Despard Group among many others). Though the quartet never attained the popularity of Crippled Pilgrims, it gigged regularly in the DC area and even managed to have a couple of tunes released on obscure compilation CDs (Welcome to the Big Ring and Bumper to Bumper Hits, Vol. 2), with many other excellent tracks still awaiting release. After a five year hiatus, in early 2004, the Rambling Shadows re-emerged from the depths fully primed for yet another round of amplified truth promulgation - walking hard and thinking wrong.
The music encoded on this CD is the towering pinnacle of 1980's alt-rock. That few realized it at the time of its original release matters not a whit. What matters is that you now listen and know the glorious truths awaiting within.
(produced by Lee Hazlewood)
This is a relatively obscure artist from the US who recorded two albums in the late 1960s and then one more in the mid 1970s. The first and most known two are collected here on one reissued CD and were produced by Lee Hazlewood, the famous arranger and musician of the period. These two albums are introspective loner folk-based music with a whimsical acoustic song of guitar and gently yearning vocals complemented by understated strings and woodwinds. These songs have a distant, late night quality being simple and rather delicate in style. On the first album there is perhaps a doomed romantic aspect with the instruments providing a touch of chamber music to the songs. Fans of Melanie, early Simon and Garfunkal or UK musicians like Duncan Browne would probably enjoy the songs a lot. Lyrically the album is often hippie fey such as on 'Sunshine Solider' with it's fugal horn and electric organ. However at this distance this is perhaps charming rather than irritating. Songs such as 'A Friend Of Mine' are quietly moving and realised in a quite beautiful way.
If there is a genre of 'ambient folk chamber music' then this would be its prime exponent. Like Love or Tim Buckley there is also a quest to explore different arrangements and instruments with 'Open Up The Door' having a dulcimer sound trying to be like a harpsichord. 'Dreams and Images' introduces mysterious flute melodies. 'Pandora' has a dream like quality with electric piano, cello and an air of strangeness. 'Wintertime' is gorgeous seasonal folk with a simple, direct arrangement of guitar, plucked strings and violin.
On the second album the hippie whimsy seems to have turned more to protest with 'new day, revolution, new day, everybody is arming' lyrics from the off. The music is a little more folk-rock though still fairly light in touch but with more obvious electric guitar, drums and violin. Unfortunately the second album doesn't have the variety of the first and instead carries on the light folk-rock throughout with a protest element, however this isn't exactly MC5. 'Strange Song' stands out as more like the first album but with somewhat annoying religious lyrics that the do not do justice to the melody such as 'come recreation, save the nation'.
There is little wrong with these folk-rock backings but the voice is just to fey to carry them off, it needs the soaring roaring quality of a Tim Buckley or Sandy Denny and often the arrangements do not carry a strong melody. On 'Annie Moore' there is piercing fuzz guitar that seems to liven up the track considerably and add a missing component allowing the voice not to carry the melody and work much better. On 'I/Soldier/Time Love' we see the vocalist more obviously trying to copy Tim Buckley but without the same depth of personality. 'Eleanor' harks back to the first album and it's a poised ballad of wonderful quality though perhaps by now it is out of place on the more jazzy folk-rock second album.
I imagine these will be promoted as 'psych folk' or something similar and while there is perhaps a whiff of illegal substances this isn't psychedelia but folk based pop music sometimes of exquisite quality. It reminds often of early Tir Na Nog, Heron or Waterfall (reviewed in this site) and is worth picking up if you like the late 60s folk pop sound.
Thnx "Optical Sound" for this one
Cosmic Michael is a hippie who flipped after the “Wow, I have seen Woodstock” idea. -The world is a great place now, so let’s boogie woogie blues our lives away.- The simple, happy innocence sounds like it is being inspired out of almost nothing and made up on the spot (“I’m a child of Woodstock generation” & "That's because she's my girl.."). The way some instruments like harmonica are recorded much louder than the voice makes the music even better, and a funny, and a somewhat enjoyable, trippy-hippie-on-the-background experience. With all simplicity of inspiration, the first couple tracks of the recording in this way sounds pretty “real”, but when the guy keeps on playing covers he also shows something of his banality and a lack of enough ideas to maintain its loner simple originality throughout the whole album.
This was his second album.
Another description (by Ron Moore) :
"NYC idiosyncratic piano guitar basement psych rock jamming realness. The followup is stoned acoustic folk psych and was done in Los Angeles. It's not as jawdropping as the debut but "Woodstock Nation" is hilarious."
Info : http://www.forcedexposure.com/artists/cosmic.michael.html
Saturday, July 15, 2006
Fantastic UK female vocal folk. Mainly trad tunes but with such a sweet and beautiful feeling,
the vocals on this are just superb, lovely instrumentation with Flutes / Autoharp / Harmonium etc, so fragile sounding yet her voice is just so perfect, backed by John Rose and Nick Dow,
produced by Rick Saunders. I put a personal guarantee that you will love this LP!
Thursday, July 13, 2006
The album Which Way You Goin' Billy? earned the group two 1970 Gold Leaf (Juno) Awards, one for best-produced middle-of-the-road album, and the other in the best-produced single category for the album's title track.
The Poppy Family disbanded in 1973.
Wednesday, July 12, 2006
Caution!: This album is for Cavemen only! One creepy night with full moon in the hills above Melbourne, four lads joined together and locked into a dark cellar. Suddenly, while they were experiencing several liquors, chords and lines they transformed into hideous monsters: A wolfman, a mummy, a frankenstein and a vampire…! The day after, when the woke they couldn’t remember anything but they did find this master-monster tape they recorded and they immediately delivered it to Off The Hip laboratories, where they detected what exactly happened but never detected how… Cavemen, get a copy and try to find yourself how could this happen to four naïve guys with guitars and amps.
This file has been deleted.
Reason: No download for a longer period. Inactivity-timeout exceeded.
"If you want this album post a comment and we will re-upload it"
Tuesday, July 11, 2006
01 - November Edgar
02 - November
03 - You May Be Religious
04 - Nightly Drift
05 - Without You
06 - In Your Mind
07 - Old Man
08 - Junkie's Lament
09 - 12th Street Shuffle
10 - Richer You Get
11 - Dash In The Rocks
12 - Silver Chidlren
13 - Valley Of The Eyes
"Another private pressing, this time one that first saw the light of day on the Owl label in 1975. Despite the somewhat controversial cover,
this is an album which is generally regarded as one of the finest heavy acid psych albums of its time. One reviewer described it thus: '
Side 1 opens and closes with extended, awesome moody psychers which will blow you away. Poe, heroin and Jim Morrison all help shape Stephen's outlook,
which results in one of the more distinct late autumnal moods [ever] manifested on vinyl.
Good vocals, some howling fuzz and occasional use of moog in typical '70s acidhead fashion'.
One St Stephen has been issued on CD before (on an unknown Austrian label in the '90s),
but that particular version erroneously included 2 tracks by a completely different band (St Steven, from Boston),
so this is the first time that this highly-regarded album has appeared in its original form."
Get it here :
part I ~ part II
Spaced Out was Originally Released in 1991 and Initial Copies of this Album Are Now Highly Prized Collectors Items.
It was Originally Released in a Number of Limited Formats. There were Originally 1,000 Copies in a Limited 3D Sleeve.
In Addition to this There was also a Limited Run of 1,000 Cds, which also Came in a Limited Edition 3D Fold Out Sleeve.
The First 500 Copies of Each Format also Included a Comic, which Had Been Signed by the Entire Band.
Kim Oz : Synthesizer, Vocals
Garry Moonboot : Guitar, Vocals, Didjeridu
David P. Jackson : Flute, Saxophone
Title: Spaced Out
Cat. Num: Fungus Records ltd edition private press
01 Astralasia (7:59)
02 Look Into The Future (3:21)
03 Feel So Fine (4:04)
04 Equasian (3:27)
05 Freedom (4:09)
06 My Hat (5:04)
07 Squatter In The House (6:50)
08 Aquasian (3:30)
09 Aravinda (3:34)
10 Pictures In My Mind (4:46)
11 It Just Takes Time (5:56)
Originally released in 1991, Spaced Out saw The Magic Mushroom Band taking on the mantle previously held by Hawkwind.
Astralasia kicks things off in a relatively ambient mood with lots of swirling synths and typical sax and flute mayhem from special guest
David Jackson of Van Der Graaf Generator fame.
The title of the track underlines the close association with the off-shoot band of the same name
and the influence they had on the Magic Mushroom Band sound, particularly on the next album.
This influence is particularly prominent on the other instrumental pieces on this album.
A very mellow approach is taken on Equasian, a gentle acoustic guitar and saxophone piece which is revisited on Aquasian with the sax replaced by a flute.
The remaining two instrumental numbers have a more rhythmic feel.
Squatter In The House has a more prominent beat and is laden with female moans that even Jane Birkin would have been proud of
Aravinda features a more ethnic percussion track and some haunting and atmospheric flute work courtesy of Mr Jackson.
The remainder of the album consists of some very fine songs, which are mostly sung by Garry Moonboot,
Kim Oz taking charge of the lead vocals on only one track, Freedom.
Tracks like Feel So Fine, It Takes Time and Look Into The Future (which features a great violin riff by Sam Turner) are classic space rock numbers and will be a delight to any follower of the genre.
However, top billing must go to the classic Pictures In My Mind which is not only psychedelic, spacey, rocky and foot-tappingly good,
but also contains a chorus that sticks in the brain for an eternity. Close to a perfect Magic Mushroom Band song.
The Magic Mushroom Band were originally formed back in 1982 when, allegedly, guitarist Garry Masters (aka Garry Moonboot) heard Kim Russell (aka Kim Oz) singing in the bath and crawled through the bathroom window to invite the owner of the voice to join his band!
Along with the third core member of the group, guitarist Gary Twining (aka Ed 'Eddie' Bones), and a variable collection of other musicians, the group set about gigging and released the first of several limited edition cassettes.
It wasn't until 1986 that the debut album, The Politics Of Ecstasy, was released on the group's own Pagan Music label as a limited edition of 500 copies.
The follow-up, Bomshankar, released by Aftermath Records in 1987, was more consistent in terms of recording quality and sold well enough for Aftermath to release Eyes Of The Angel in 1989.
Two more limited edition, privately pressed albums on Fungus Records followed: Process Of Illumination in 1990 and Spaced Out in 1991.
By this time Masters, Russell and Twining had been joined, in what was to be the most consistent line-up, by Wayne Manor (bass), Marc Swordfish (drums and programming) and Sam Turner (violin).
Signing with Magick Eye records, the band released a further three albums;
Re-Hash (a collection of older material re-recorded utilising more advanced studio equipment) in 1992,
RU Spaced Out 2 in 1993 and Magic in 1994 (by which time the group had abbreviated their name to The Mushroom Band).
Since 1994, The Mushroom Band have been on a seemingly permanent hiatus while various members have concentrated on the off-shoot band Astralasia, an ambient / trance / dance act originally formed in 1990. Astralasia are probably most widely known to progressive fans for their remix of Porcupine Tree's Voyage 34 (Phase III) released by Delerium Records as a limited edition EP.
01 Oscar Wilde
02 Que Importa El Tiempo
03 En Tu Mirada
04 Una Manera De Vivir
05 La Primavera De Miss Lo'b
07 Concierto En La Menor
08 Introduccion A La vida Narrada Por El Tío Juan
09 Palabras y Palabras y...
10 Las Docos Caras Del Amor
11 Se Oyen Los Pasos
12 Como Jesuchristo Uso El
“Fictions” is the ONLY album that the band from Chile EVER recorded!
Los Vidrios Quebrados (something like “The Shattered Glasses”)
formed in 1965 by making their own instruments and playing at schools while they were in the Católica School of Laws.
Odeon offered them a contract and they recorded their first single, “Friend b/w She’ll Never Know I’m Blue”.
In 1967, they record the legendary “Fictions” for RCA.
This album is played with their own instruments.
They cut, pasted and arranged the frets of their guitars on their own pure intuition.
They cut their strings out of steel wire rolls bought at hardware stores.
They picked up the songs they wanted to play –Beatles, Rolling Stones, Yardbirds and a lot of Kinks stuff- by going into a club,
listening to them on a wurlitzer jukebox, and going back home trying to remember the song.
They sung in English “to separate ourselves from the commercial music of that time”, the so-called “Nueva Ola”.
They sang about everyday things such as “the lack of liberties,
the fights caused just by the lenght of your hair”, trying to be the spokesmen of a generation.
They were indeed quite an intelectual band in their references and intentions.
Though they had begun doing covers, all the songs in “Fictions”, recorded in a total time of 9 hours, were written by themselves.
Their history ended when Héctor Sepúlveda moved to London in 1969.
Originally they tried to go all together but the rest could not make it,
and Héctor played in the streets for a while and opened once for Family at the Marquee.
After the split of "Poll", Kostas Tournas went on to record a great progressive-psychedelic concept solo album. A major progressive folk-rock opus with no distinction into separate tracks; it's a autobiographic concept album. Tournas wrote and arranged it for a large orchestra -something unbelievable, speaking for Greece, back in the early 70's- and a rock group (RUTH). He provided the vocals and the guitars by himself.
01 Lady Of Shallot
02 Wanting Love
03 Kingdom For A Meaning
04 Matty Groves
05 Slime Pits
06 Marriage Of Inconvenience
07 Bold William Taylor
08 Folk Song
09 Cat's Whiskers
10 Sensing The Blue
Spiral Sky :
Kata : vocals,dulcimer,keyboard
Andy Boot : guitars
Anthony Clough : bass guitar,percussion,flutes
Mike Webb : drums,tablas,percussion
Tryphena Cohen : keyboards
>Guest musicians :
Joe Townsend : violin
Steve Johnson : flute
Edward Kent : guitar,tambura,sitar
All songs composed by Kata
except Lady Of Shallot - Kata, Andy and Tennyson; Matty Grooves
and Bold William Taylor - Kata/traditional
Sundial's/Gary Ramon :
"I'd been into production and recording and sound from way back but it started off with Spiral Sky around 1992 (which Anthony was involved with also). Their album was recorded at my studios and was complete but I felt had more potential. They just allowed me to remix it and add or detract stuff, which I did. I figured as a whole LP I thought it made sense and that was the first non Sun Dial Acme album release - and it got some good reviews. I think I played guitar on one or two tracks."
Bitrate 320 (Vinyl Rip, by Opa-Loka)
01 - Creation, Lord I Saw You Cry
02 - There Is An Answer
03 - Who's To Blame
04 - The Prophet
05 - Time Has Passed
06 - From This Place
07 - Hope To Save
08 - Judgement Day
One of many good LPs in the Christian psychrock bag, mellow and reflective which is the way these LPs should sound.
An organ-based post-1960s sound with moody vocals and quality song writing, consistent all through. They also had a 45.
An official CD re from the band themselves exists. [PL]
Dreamy xian organ psych rock with fuzz and good vocals.
The band was originally named Help but changed in deference to the Decca group.
Their name is pronounced 'as it is'. [RM]
One of the very best Xian records.
This album reveals hidden depths with each listen.
The dreamy, laid-back vibe at first hides the abundance of melodic ideas.
Excellent vocals, a consistent sound and lyrics that are thoughtful rather than preachy.
Often quite dark, but the groove isn’t depressive.
The organ/guitar-based sound isn’t exactly original but the overall feel is unique.
A must. [AM]
On earth azitis in heaven.
Well, now at least you know how to pronounce the name of this 4-man Sacramento band.
For a while I was thinking it rhymed with phlebitis.
Azitis without question gets the official Ken Scott five-star rating.
It also happens to be one of the very few Christian-themed albums that is solidly psychedelic in sound from beginning to end.
Every song is a winner here, strong melodies, gentle vocals,
moody passages with swirly organ that sound like they were lifted out of the middle of 'In-A-Gadda-Da-Vida'.
In fact this whole album is saturated in psychy organ sounds.
Add to that fuzz, phasing, reverb, wah-wah, flutes and you've got a virtual time machine to the flower power era.
'Creation' starts things off with a dissonant organ crescendo, chanting, and wah-wah guitar.
'The Prophet' and 'From This Place' both reach frenzied intense peaks,
while 'Hope To Save' brings in piano and acoustic guitar for a melodic ballad.
Thematically covers a number of topics such as creation, the fall, judgment day, Revelation.
Exceptional cover art of a gold cross emerging from the planet earth. [KS]
1 - Inca song
2 - Joe's Tune
3 - Zapateado
4 - Zambra
5 - Handclaps
6 - Flamenco Rock
7 - Bulerias
8 - Farruca
This album shows a fantastic mixture of authentic traditional Flamenco,Progressive and Psychedelic Rock by Spanish legend Sabicas and extraordinary electric Jazzrock guitar by Joe Beck with congenial backing band among others Donald Mac Donald on drums, Warren Bernhardt organ and Tony Levin on bass. This is an album for those, who are willing to look over the edges of their progressive and psychedelic horizon.Great guitar playing (lots of electric and acoustic guitars) all over.Unique and hypnotizing!
Composer / songwriter
Name:Agustín Castellón Campos
Birth: 1912 Pamplona
Death: 1990 Nueva York
"In Sabicas, I saw a new form of playing, something new...". Paco de Lucía
He represented a breaking point for the flamenco guitar and he revealed flamenco to the whole world, via America. He was absolutely innovative, and revolutionised guitar playing with his speed and polished execution with a right hand technique that is unmistakeable and unrepeatable. His influence has been unquestionable for the new generations of guitarists, passing through the work of Paco de Lucía and Serranito.
He was born between Sanfermines (Pamplona's world-famous feast) and gypsies, in the city that Hemingway made popular with his pen, and his parents bought him his first guitar when he was four years old, when he was just strong enough to lift it. Two years later, he was already making his debut on a stage. In his beginnings, he was a fanatic follower of Ramón Montoya. Nonetheless, his work accompanying the most important cantaores of the time helped him to conceive a far more personal style of playing.
During the Civil War (1936) he went into exile to South America with Carmen Amaya and, together, they embarked on several tours. Sabicas grew fond of those lands, and settled in New York, where he played concerts as a solo artist. He became open minded, to the point where he made the first attempt at fusion with Joe Beck, Rock encounter (1966). He also struck up an important relationship with jazz masters like Charles Mingus, Ben E. King, Gill Evans, Thelonius Monk and Miles Davis. He even played for President Roosevelt in the White House and was treated as just another artist by the record labels, which distributed his records all over the world.
He did not return to Spain until 1967. Twenty years later, his country of birth gave him a national tribute for the first time, in the Teatro Real in Madrid. Earlier, in 1982, Pamplona had dedicated its feast, the Sanfermines, to him. He recorded with Enrique Morente a year before he died.
Recorded – September 25th, 1967 :
1. Flaming (2:37)
2. Scarecrow (2:02)
3. Matilda Mother (3:19)
4. The Gnome (2:09)
Recorded – December 20th, 1967 :
5. Pow R. Toc H. (2:58)
6. Vegetable Man (3:24)
7. Scream Thy Last Scream (3:39)
8. Jugband Blues (3:52)
Recorded – June 25th, 1968 :
9. Let There Be More Light (3:41)
10. Murderistic Women (2:18)
11. Julia Dream (2:23)
12. Massed Gadgets of Hercules (6:50)
Recorded – December 2nd, 1968 :
13. Point Me At The Sky (4:21)
14. The Embryo (3:27)
15. Baby Blue Shuffle In D Major (3:55)
16. Interstellar Overdrive (8:38)
Recorded – May 12th, 1969 :
17. Daybreak (3:36)
18. Nightmare (3:29)
19. The Beginning (3:11)
20. Beset By Creatures Of The Deep (3:06)
21. The Narrow Way (4:25)
September 25th, 1967 – BBC Playhouse Theater, Broadcast October 1st, 1967 (Top Gear),
December 20th, 1967 – BBC Maida Vale Studios, Broadcast December 31st, 1967 (Top Gear),
June 25th, 1968 – BBC 210 Piccadilly Studios, Broadcast August 11th, 1968 (Top Gear),
December 2nd, 1968 – BBC Maida Vale Studios, Broadcast December 15th, 1968 (Top Gear),
May 12th, 1969 – BBC Paris Cinema, Broadcast May 14th, 1969 (Night Ride) and June 1st, 1969 (Top Gear).
If you D/L this earlier and can't extract tracks 10-21
here you are !
01 I Can't Stand My Life Today
02 Spiritus Mundi
03 You've Got To Know
04 Le Roi De Quoi?
05 Si Tu Reviens
06 Ca Ne Peut Plus Durer
07 Spanish Waves
08 No Fun
09 Miserablement Votre
10 Brutal Beach
11 A Tombeau
12 Je Ne Vois Rien
13 Bad Times
15 Have Love Will Travel
The Cryptones are an excellent French band inspired by primitive garage punk and ‘60s R&B. First release in the Music Maniac Teen Trash series!
Teen Trash Series vol. 02_From Lawrence, KS. USA 'THE PSYCHOVIOLETS'
part I part II
01 Swear To God
02 So Strange
03 Can't go Back
05 Welcome Death
06 Flesh Meets The Knife
07 Endless Days
08 I Gotta Move
09 What Is This
10 As They Do
11 Addicted To The Thought
12 Too Little Too Late
16 Do What You Want
17 Now I Know
18 Life In The Real World
19 The Box
20 I'm Down
Primitive garage rock’n’roll from the American heartland, The Psychoviolets are sure to turn heads and blast eardrums!
Teen Trash Series vol. 03_From Dallas, TX. USA 'THE BURNING RAIN'
01 Look In My Mirror
02 Pictures In The Fire
03 Evil Eye
05 Love Is Like Dying
06 Purple Visions
07 Sirius (The Dog Star)
08 Put You Down
09 Twisted Flower
10 Into The Night
With honest, powerful, ass kickin’ rock’n’roll – not to mention killer guitar and great vocals – The Burning Rain will surely rock your world!
Teen Trash Series vol. 04_From Los Angeles, Cal. USA 'THE FUZZTONES'
01 Nine Months Later (R.Protrudi)
02 Girl, You Captivate Me (I.Day-A.Dischel)
03 Cheyenne Rider (M.Czekaj-J.Tarlow)
04 Greatest Lover In The World (E.McDaniel)
05 I Can't Control Myself (R.Presley)
06 You Must Be A Witch (F.Cole)
07 Jack The Ripper
08 Action Speaks Louder Than Words
09 I Never Knew (R.Protrudi)
10 Yeah Babe (R.Protrudi)
11 My Nothing
12 Romilar D (Version)
A focused spasm of energy and abandon led by the enigmatic Rudi Protrudi, the Fuzztones were one of the major successes of thes1980s garage rock revival!
Teen Trash Series vol. 05_From New Haven, Conn. USA - 'THE DOUBLE NAUGHT SPYS'
01 You Better Tell Me Now
02 Right Where I Wanna Be
03 Tears From My Eyes
04 Mad At Me
05 Can't Tame Me
06 Now She's Cryin'
07 Outer Limits '66
08 And She Said Yes (Bonus Track)
09 Tryin' My Best
10 Won't Be The One
11 2-Timin' Baby
13 I Hate Love
14 I Can't Understand
15 She Lied
16 Slow Down (Bonus Track)
The Double Naught Spys keep the teenage feel of rock’n’roll via their melodic, catchy, well-crafted songs that just don’t sound like anyone else!
Teen Trash Series vol. 06_From Delft, Holland - 'THE ACE-TONES'
01 Riot On Sunset Strip
02 99Th Floor
03 Five Years Ahead Of My Time
04 You're No Good
05 Girl, You Captivate Me
06 Gotta Get Some
07 Bad Woman
08 Green Slime
09 I Can Only Give You Everything
10 Suzy Creemchease
11 We're Pretty Quick
12 Action Woman
14 Leaving Here
15 Journey To Tyme
16 No Friend Of Mine
17 Blackout At Gretely
18 7 and 7 is
The Ace-Tones give you another dose of way-out rock’n’roll mayhem, packed in a killer sleeve and full of ‘60s punk, garage rock, surf and psychedelic influences!
Teen Trash Series vol. 07_From Rome, Italy - 'THE OTHERS'
01 It's Eerie (Massimo Del Pozzo)
02 Fallin' Off My World (Massimo Del Pozzo)
03 Feel The Time (Massimo Del Pozzo)
04 No More (M.Robinson)
05 Loose Lip Sync Ship(David Aquilar-Mark Loomis(Rob.Row)
06 I'm Not There (Lil'Boys Blue)
07 Since You've Been Gone (Uncalled For)
08 It'll Never Work Out (Galabooches)
09 You Better Know Why (Massimo Del Pozzo)
10 Girl (Massimo Del Pozzo)
11 In My Time (Massimo Del Pozzo)
12 She's Gone (Massimo Del Pozzo)
13 Never Before (Massimo Del Pozzo)
14 Taste Of The Same (Mike Taylor)
15 Stompin' (Massimo Del Pozzo)
Among the protagonists of the psychedelic revival of the 1980s, the Rome-based combo of The Others was one of the most gifted!
Teen Trash Series vol. 08_From Sacramento, Cal. USA 'THE E-TYPES !'
02 The Right Combination
03 Well Enough Alone
04 You Cured Me Of That
05 She Changes
06 What's Going On
07 Just Like Julie
08 Another Lonely Room
09 1.000 Times A Day
11 I Never Cried
12 Time Just Keeps Going By (Faster)
13 Things Will Change Tonight (missing)
The E-Types’ Beatles-fueled harmonies come from rock’n’roll heaven…specializing in a British Invasion sweet pop style, they will sweep you off your feet!
Teen Trash Series vol. 09_From Torino, Italy - 'THE 99TH FLOOR'
01 Too Many Times (Re-Scrivano)
02 Stop And Try (Re-Scrivano)
03 Better Follow My Way (Re-Scrivano)
04 Claudette Jones (Clancy-Rechter)
05 Just Another Day (Re-Scrivano)
06 Liar Liar (Jim Don)
07 Green City Hopper (Re-Scrivano)
08 Losing Your Mind (Re-Scrivano)
09 Everyday I'll Try (Re-Scrivano)
10 The One One Looking For (Re-Scrivano)
11 Never More (Re-Scrivano)
12 Things They Told Me Yesterday(Re-Scrivano)
13 Baby (Robin Thompson-Mike Carnes)
14 Jungle Stomp (Re-Scrivano)
Part of the intriguing mid-‘90s garage rock scene in Rome, The 99th Floor shared the stage with Head and The Hares, Cosmonauti, Space Cakes and many more!
Teen Trash Series vol. 10_From Eugene, Oregon USA - 'THE FALLING SPIKES'
01 7 + 7 Is (Lee)
02 Doesn't Matter Anymore (Barley)
03 Gonna Miss Me (Erickson)
04 Big Blue Wave (Barley)
05 Clam Dippin' (Barley)
06 The Door (Barley)
07 Teenage Head (Jordan-Loney)
08 History (Barley)
09 Don't Crowd Me (Kessler)
10 Glass In The Sand (Waddell)
11 Pushin' Too Hard (Saxon)
12 Headline (Barley)
13 Lost World (Stuart)
The Falling Spikes have been making great music in the Northwest corner of the U.S. since 1985. This collection contains almost their entire recorded output!
Teen Trash Series vol. 11_From Pisa, Italy - 'THE STRANGE FLOWERS'
01 Carrin' To Pie (Bruno)
02 Girls Of April (Marino)
03 Apples In Your Eyes (Marino-Montefiori)
04 Lemonade And Evergreen (Bruno-Marino)
05 Dreaming, Bleeding a Bit (Marino)
06 Of Perception (Marino-Pardini-Bruno)
07 Roger Talks To The Young Emily (Marino)
08 Miriam On The Nile (Marino)
09 December (Marino)
10 Dear Prudence (Lennon-McCartney)
11 The Chameleon (Marino)
12 Takin' Care Of Me (Bruno)
13 Me And The Eggman (Bruno-Marino) CD only
14 Janet's Faces (Marino) CD only
Everything you ever wanted to know about ‘60s mind-expanding punkadelic garage rock, but were afraid to ask…can be found on this disc from The Strange Flowers!
Teen Trash Series vol. 12_From Vancouver, Canada - 'THE FIENDS'
01 No More
02 Zombies (Have Feelings Too)
04 Get Yourself Home
05 My Ghoul Fiend
06 Come See Me
07 Burn Out
08 Don't Crowd Me
10 Waiting For You
11 Blow Your Mind
12 Find My Way Back
13 Take Off
It’s time to blow your mind with a creepy mess of ‘60s-inspired fuzz & farfisa courtesy of The Fiends – the perfect soundtrack for midnight garden raids & grave robbing!
Teen Trash Series vol. 13_From Vienna, Austria - 'THE JAYBIRDS'
01 Don't Tell Me Lies (Gold-Zoechling)
02 Give Me Your Love (Gold-Zoechling)
03 Bright Lights, Big City (Reed)
04 Oh Baby (Alternate Mix) (Gold-Zoechling)
05 Haw Many More Times (Burnett)
06 I'm A Lover Not A Fighter (Miller)
07 I Don't Know Why (Gold)
08 No Time For Crying (Gold)
09 51 Mainstreet (Alternate Take) (The Jaybirds)
10 Love Me Like I Love You (Dreja-McCarty-Samwell-Smith-Relf)
11 You Make Me This Kind Of Mad (Gold-Zoechling)
12 Go Back Home (Gold) (missing)
Before the White Stripes, The Strokes, Interpol and Jet, there were The Jaybirds, Vienna’s hottest garage rock revivalists!
Teen Trash Series vol. 14_From Athens, Greece - 'THE SOUND EXPLOSION'
01 Inspector Clouseau in outer limits
02 State Of My Mind
03 Send A Message
04 She's One Of A Kind
05 Hopeless Endless Way
06 Don't Turn Away
01 Lost In Tyme
03 It's For You
04 My Baby Went Away With The Midnight Train
05 The Last November
06 In The Past
07 We're The Sound Explosion
Vol. 14 in shows the cream of the garage punk crop from Greece, which would fit perfectly on any Pebbles ‘60s punk compilation…great stuff!
Teen Trash Series vol. 15_Live in Muenchen, Germany - Various Artists - BEAT-O-MANIA
part I part II
Recorded Live in Muenchen/Germany March 1994.
01 Green Slime:Voices Green And Purple
02 Green Slime:Dirty Money
03 Thee Cherylinas:Soulin'
04 Thee Cherylinas:Love In Creation
05 The Apemen:Gotta Get A Little Love
06 The Apemen:Understanding
07 The Clique:Reggie
08 The Clique:The Quest
09 Rudi Protrudi:It Came In The Mail
10 Rudi Protrudi:LSD Made A Wreck Of Me
11 The Heartbeats:I'm Walking
12 The Heartbeats:Good Times
13 The Jaybirds:But You Never Do It Baby
14 The Jaybirds:Smokestack Lightning
15 Strange Flowers:December
16 Strange Flowers:Across The River And Through The Trees
17 Rudi and The Strange Flowers:Little Olive
18 The Others:T-Bone Black
19 The Others:I'm Gonna Leave You
20 Rudi and The Others:Bad Little Woman
buy Teen Trash Series
at MUSIC MANIAC RECORDS
1 Hi Fi For You To Go 00:28
2 Hydrophobic 08:22
3 Lost Beat Magazine 05:25
4 Interstellar 1-2-5 08:20
5 21st Century In-Car-Entertainment Firearm Blues 03:58
6 Magellanic 09:26
7 Psychotropic Over Modulation 09:25
8 Morning Comes 15:27
coupling of '60s American electronic pioneer Simeon Coxe (of the Silver Apples) with the Alchemysts, a younger acid-jamming garage punk trio from rural Somerset in England. The Alchemysts usually forge an earthy, feedback-drenched amalgam influenced by the likes of Blue Cheer, the Stooges, and MC5. However, with Simeon and his famous oscillators on board, the band sets the controls for the heart of space rock territory, occupying an orbit similar to that of early-'70s Hawkwind. The most engaging material here seamlessly melds Jon Guard and Mat Love's bedrock rhythm section, Paul Simmons' effects-laden guitar, and Simeon's sci-fi electronics. The Loop-like "Hydrophobic," for instance, is grounded in heavily propulsive drum and bass, laced with weaving guitar patterns, and layered with bubbling and chirping synth. On "Interstellar 1-2-5," throbbing oscillators move into the foreground and Simeon adds Tourette's-style vocal outbursts; but on the standout, "Lost Beat Magazine," he plays a more prominent role, singing/speaking in a vaguely manic fashion over a mesmerizing, motorik groove that evokes Tago Mago-era Can. Although it lasts for five minutes, you can't help feeling it's far too short. The reverse is true of a couple of the album's trippier, epic tracks. At nine and 15 minutes, respectively, the drifting "Magellanic" and the mellow, meandering "Morning Comes" occasionally float off into outer space and lose their way a little. Still, such indulgences are excusable as part and parcel of the genre. Unusual collaborations such as this one often sound attractive in theory and then don't live up to expectations; The Alchemysts & Simeon doesn't disappoint.
Part I ~ Part II
Greek psychedelic group ,formed in '64 but managed to issue an album in '72. Not so progressive sound like AKRITAS etc . More into flower power and folk rock.
Band Members :
George Petridis : vocals (-1967)
Lia Laoutari : vocals
Giannis Psimopoulos : guitar,vocals
Leonidas Louloudis : bass(-1967)
Manolis Laoutaris : bass
Socrates Ardavanis : organ
Gavrilis Pantzis : drums
2.Orange Room (2:37)
3.The Game's Reversible (2:52)
4.Oh You Lucky Man (3:36)
5.You Made Me (3:39)
7.Can't Stop the Music (3:04)
8.I Never Met You (3:15)
9.She Lie Shoe (Who Are You?) (3:15)
11.When I'm Blind (Snippets) (2:43)
Monday, July 10, 2006
part I ~ part II
Saturday, July 08, 2006
01 - Don't Knock Me Down
02 - Surrender
03 - Too Late
04 - Alone
05 - Time
06 - Mizpah
07 - Something's Wrong
08 - When Life Comes Knocking
09 - Don't Lose Your Head
THIS RECORD IS CRAZY RARE AND CONTAINS SOME REAL MENTAL MUSIC. A CROSS BETWEEN PSYCHEDELIC AND MOOG FUNK.CRAZY SOUNDS EFFECTS AND PERCUSSION BACKED BY GUITAR FUNKY DRUMS AND FUZZ GUITAR. 4 EVIL TUNES IN ALL ON THIS MONSTER RECORD. CLUB DJ ACTION TO THE FULL EXTREME.ONE TUNE IS LIKE A FUNKY SOUL TRACK WITH PIERRE HENRY SOUND EFFECTS AND MOOG OVER THE TOP.
This record have 5 tracks
Side A :
Chewing Gum Delirium
Side B :
Free Pop Electronic Theme No.1
Pish ! Pshaw !
V.A. - Valley of the Son of the Gathering of the Tribe
01 It' All Meat - Make Some Use Of Your Friends
02 It's All Meat - You Brought Me Back To My Senses
03 It's All Meat - Crying Into The Deep Lake
04 It's All Meat - Roll My Own
05 Talula Babies - Mine Forever
06 Fraction - Sanc-Divided
07 Mary Butterworth - Phase II
08 Jeff Libermann - Woman
09 Mary Butterworth - Week In 8 Days
10 Savages - No No No
Friday, July 07, 2006
1 Dance In The Rain
2 Last Kiss Of The Persian Cat
3 Teen Sex Transfusion
4 The Cube
5 Strange Garden
6 The Bell Flight 14 Theme
7 2000 Light Years From Home
8 House Of Wax
9 Lost Riders In Heaven
10 We're So Clean
11 Sky Channel
12 Rain Reprise
15 Miss Terry Shade
Bass - Michael Doering
Drums, Percussion - Bernd Gremm
Guitar [Electric], Acoustic Guitar - Heinz-Werner Maleike
Lead Vocals - Pete Barany
Organ, Keyboards - Det Bizarre
Your Download-Link :
1 Look to find 5:14
2 A million years past 4:13
3 I once new 7:11
4 I'll lure you in 5:17
5 The meadowsong 12:27
More moves in the band saw Mick being replaced by Damon Giles (who had been in mod-style band, Stupidity)and Alan making way for Smiley's little brother,Andrew Byrnes, on drums. This line-up recorded a 7" single with another groovy Moffs-y picture sleeve. Flowers / By the Breeze Damon left and began to do stints with Suicidal Flowers and the final line-up was formed, which was the most stable and included Tom, Smiley, Andrew and keyboardist Scott Barnes. They released a 7" single (black and white sleeve) In 1987 issued their first LP called Labyrinth. The Moffs played shows for a few more years and eventually stopped playing as a band. In 1994, a compilation CD called "Psychedelicatessen" was released, which included 13 tracks from previously released vinyl and an unreleased track recorded in 1987
Wednesday, July 05, 2006
Very recommended !
Mark Enbatta (Guitar & Vocals)