Thursday, March 15, 2007
Some garagy blues-rock from Britain...most of the album is pretty solid, with some really good fuzz licks here and there.
Thomas spent about a year in San Francisco following the original release of these solo albums, but by the early '70s had returned to London and a position as guitarist in the Edgar Broughton Band. Two albums with this outfit feature Thomas, the particularly practically entitled Bandages — seeing as the album has cuts on it, that is — combining him with studio mastermind Mike Oldfield. The guitarist also collaborated with Dave Stewart and Annie Lennox prior to the beginning of their Eurythmics success.
01 Waiting For The Rain
02 Come Home With Me
03 Working At The Business Of Living
04 Backroads Of My Mind
06 Grab Hold
07 Take A Look
08 So Close
09 Cool Breeze
Interest in this is on the rise and rightly too, cause this is one cool ultra-1970s artefact by a couple decked out in full period regalia including a handlebar moustache (Jade Stone), hot pants (Luv), and a psychedelic VW bus. The music is notoriously hard to describe, but projects scenes of all-night cruising through Edge City in a stolen Cadillac, downing reds with cheap sparkling wine that you refer to as "champagne", with the 8-track blasting "Mosaics" at full volume. Neon sign singles bars, pool halls and re-opened nightclubs flash by while Jade Stone sings like the rock star he hopes soon to be. Not metropolitan hip, but dreams of stardom and glamour from the American underbelly, two renegade souls zooming down the highway between Austin and Nashville. Well-produced, with some fantastic tracks like "Man", featuring great keyboard and fuzz interplay, and soulful-loungey vocals. "Trailer-park music" someone called it. Major personal fave, but hardly for everyone, and the cover shot alone will scare a lot of potential buyers off. The poster (which is great) has only been found in a handful of copies and is worth almost as much as the album itself. Most copies have a promo sticker on the front cover. They also had some non-LP 45 tracks. [PL]
Like Darius (to whom his voice has been compared), Jade Stone wanted to be a big star! It was obviously not to be, and the world is left with this unique album, which is a mixture of 60s hippie, 70s country and timeless lounge rock, jacked up by inspired songwriting, Jade's overwhelming personality and tremendous arrangements. The closing "Reality" is packed with killer wah-wah guitar, and that should hook most of you, but the rest of the album, while mellower, is terrific too. Jade really has a flair for the dramatic, and comes off sounding quite important indeed. Songs like "Waiting For The Rain" have an elegant power. Luv doesn't sing lead, but she adds to the album cover's goofball appeal. [AM]
Wednesday, March 14, 2007
LOVE OWED (3:21)
LEFT OVER TIME (4:35)
LYING TO MYSELF (2:46)
THE SAILOR AND MADONNA (5:36)
MIDNIGHT COMES (3:06)
GHOST TOWN (5:50)
DAU RHOSYN COCH (2:43)
BALLAD OF OLD JOE BLIND (2:24)
I'M NOT THE ONE TO ASK WHY (1:55)
STEALING THE RAILROAD (3:31)
Meic Stevens may not be a familiar name in much of the world, but in his native Wales the singer-songwriter's stature is often compared to that of Bob Dylan. A local legend whose psych-folk influence can be heard in such contemporary Welsh groups as Super Furry Animals and Gorky's Zygotic Mynci, Stevens also founded his country's first independent record company, the estimable Sain label.
Stevens sang mostly in his native language, a political act not unlike speaking Basque in Spain or Cherokee in the U.S. His one English-language album is 1970's Outlander, an outstanding marriage of musicianship and eclecticism. Arising from the same fertile soil as the work of the late-'60s icons, Stevens's album nonetheless manages to avoid easy comparisons. Its jazz-Indo-psych ragas merge seamlessly with its acid folksongs and Dylan-esque meditations on relationships and politics. Performed by a remarkable cast of musicians hand-picked by English rock tastemaker Ian Samwell, Outlander was created with a minimum of rehearsal and consists largely of first takes.
Greeted with critical acclaim upon Outlander's U.K. release, Stevens traveled Stateside for a two-week tour in the summer of 1970. But the album never crossed the Atlantic; its very first U.S. release is this expanded, remastered Rhino Handmade issue. Copies of the LP have fetched upwards of $500 on the collectors' market, a testimony to the enduring quality of its songs.
Download It Here :
Tuesday, March 13, 2007
Tracklists & Links
Upon completion of the cross-country jaunt, they went straight into the studio and laid down the tracks for their first EP, "Paper Boy Blues" (1993). Their first full-length, Mr. Downchild, followed in 1994. That same year, Sympathy compiled the 45s and the EP (plus a number of alternate takes and unreleased tracks) into the Golden Rogues Collection and continued to release all their full-length recordings. Over the next few years, '68 Comeback issued several more 7"s — including the double-single Someday My Prince Will Come (1996) — and contributed to the soundtrack compilations, The Sore Losers (1997) and Shine On, Sweet Starlet (1998). Their most ambitious release to date, Bridge Too Fuckin' Far, hit the streets in 1998. The 21-track double-LP was dedicated to guitarist Jack Taylor (born 1965), who had died of a drug overdose the previous year (that's his picture on the cover). It was followed by 1999's Love Always Wins, which consisted primarily of covers and is widely considered their most accessible release.
In the 2000s, Evans released a solo recording (I've Lived a Rich Life) and produced a number of artists, including Tav Falco's Panther Burns, Mr. Airplane Man, and the American Death Ray, at Tillman Audio Research (which also doubles as his living room). He's a charismatic live performer, known as much for his spirited singing and playing as for his entertaining, self-deprecating anecdotes, and eccentric sartorial statements (bowler hats, three-piece suits, etc.). Just as '68 Comeback's lineup has continued to mutate over the past decade — with Evans as its only mainstay — he's also played with other groups, such as Jeffrey Evans' C.C. Riders, the Porch Ghouls, and South Filthy. One way or the other, whether solo, with '68 Comeback, or some other like-minded outfit, it's hard not to imagine Monsieur Evans rocking and rolling on into his golden years just like his hero, Charlie Feathers.
Monday, March 12, 2007
01 - Frank!
02 - Hailer Of Taxis
03 - Spaced And Displaced
04 - Pipecall
05 - Umbrellamental
06 - Psymonic
07 - Leaders
The Band :
Steve Broughton - drums
Simon House - violin
Adrian Shaw - bass
Rod Goodway - vocals & gguitar
Bevis Frond - lead guitar
Gulp is Magic Muscle twenty years down the line, reconvening with an “enhanced” line-up for what is essentially a set of studio jams. Simon House and Adrian Shaw are both present, as is Nick Saloman (Bevis Frond) and some of this works quite well.
The ultimate jamming album! Rod Goodway on vocals & guitar, ex Hawklord Adrian Shaw on bass, The Bevis Frond himself Nick Saloman on lead, legendary violinist Simon House of High Tide, Hawkwind & David Bowie's band & Steve Broughton on drums - Get them in the mood and place them in the now sadly defunct 'Weemeenit' studios in Barnet & let nature take it's course! The result?An album of uncompromising & innovative music. Melodic, haunting, exciting, rocking - Just plain brilliant !
Heavy Psychedelic Rock, Highly Recommended !!!
Sunday, March 11, 2007
Band from Berlin, Germany
Rare german spacey/kraut/psych with eastern tunes,sitars,mouthharp,
garagey feel,strong vocals,spacey flute parts,dreamy organ sound,fuzz explosions…
Bert Schlexer - Lead Vocal, Bass
Paul Hadley Langley - Harmonika, Flute, Percussion
Thomas Hopf - drums, Percussion, Tabla
Georg Schulte - electric and acoustic Guitars, Vocals
Gert Neumann - Sitar and Flute on "Take It Acid Is"
Huggy Borkhardt - Organ on "Feminine Animation"
Ballad Of Dan
It's not my fault
Yellow Sunshine Explosion
Take it Acid is
Sing Ba Ba Ba
Sun my love
All Songs Written By Bert Schlexer
Berlin, April 1987
LSD (Love's Simple Dreams) Records
Produced by Vic Count
Engineered: Thomas Guhl
Saturday, March 10, 2007
4. Like So Many Did Before - 5. Between The Words - 6. Forgotten Years - 7. I Can't Believe -
8. Hidden Passions - 9. Love On The Bayou - 10. No Reason To Cry - 11. One Way Track -
12. Northern Eden
For those who like Vietnam Veterans here are the personal album of Mark Enbatta and a side project of Lucas Trouble.
THE TEMPLE GATES / TEMPLE GATES
5. Too Many Lies - 6. Like In My Dreams - 7. Escape From Real -
8. Sweet Baby - 9. Velvet Illusions - 10. The Shiny Room - 11. Silver And Gold
Unfortunately no info for these.
Download Links :
One of the most popular smooth soul groups of the early '70s didn't hail from Philadelphia or Memphis, the two cities known for sweet, string-laden soul. Instead, the Chi-Lites were from Chicago, a town better known for its gritty urban blues and driving RB. Led by vocalist Eugene Record, the Chi-Lites had a lush, creamy sound distinguished by their four-part harmonies and layered productions. During the early '70s, they racked up 11 Top Ten RB singles, ranging from the romantic ballads "Have You Seen Her" and "Oh Girl" to protest songs like "(For God's Sake) Give More Power to the People" and "There Will Never Be Any Peace (Until God Is Seated at the Conference Table)." All the songs featured Record's warm, pleading tenor and falsetto, and the majority of the group's hits were written by Record, often in collaboration with other songwriters like Barbara Acklin.
1. Yes I'm Ready (If I Don't Get To Go)
2. We Are Neighbors
3. I Want To Pay You Back (For Loving Me)
4. Have You Seen Her
5. Give More Power To The People, (For God's Sake)
6. Love Uprising
7. Trouble's A Comin'
8. You Got Me Walkin'
9. What Do I Wish For
This is the album that made them huge stars, with the huge hit "Have You Seen Her", which has to rank very high in my favorite songs of all time. The b-side to that single is also here, "Yes I'm Ready", and I couldn't think of a better song to put as the b-side to that soul classic. Overall, i'm not into it quite as much as the next few albums, but there is plenty to enjoy here. It is a unique album in that much of it revolves around social commentary of the day, like the Sly & the Family Stone-esque title track. Also, "I Want To Pay You Back" should've been a way bigger hit for the group.
They have been sampled by artists such as Beyonce, Groove Armada and Jay Z. UB40 and The Jam rank among the groups that have covered the Chi-Lites. This is an absolute must for anyone interested in the origins of modern day sampling and the history of Funk/Disco.
|Reviewer:||"paulkristi" (Mount Prospect, Illinois United States)|
I am giving this C.D 5 stars because I really like the group. They had a ton of talent however the odds were stacked against them. Just like The Peanut Butter Conspiracy of the same time, they were warriors in the San Francisco Vs. L.A. sound (both aforemetioned groups from L.A). Unfortunatly at that particular time there was a flood of girl/guy folk rock harmony groups, just think, The Mojo Men,The vejatables,The Great Society,WE 5, The Neighborhood Childr'en,The Stone Poneys,Eternitys Children, Smith,Spanky And Our Gang, not to mention The Mamas and The Papas and The Jefferson Airplane. Where was there room for any more? Well, all of these groups really did have their own sounds but the genre was a bit crowded. Like The Peanut Butter Conspiracy, The Sunshine Company suffered from lack of promotion from their record companies, it wasn't that these groups lacked talent, what they lacked was exposer. Double that with the countless number others groups doing the same thing, theres only one thing left to say: "One or two hit wonders.
"Remember: The Peanut Butter Conspiracy is spreading and The Sunshine Company is Rising!!!!!!!
more info here
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Radio Caroline North.
Within one year of broadcasting Radio Caroline boasted upwards of 20 million listeners.During The Period 1964 -1968 Radio Caroline had offices in London, New York, and Toronto. Several other 'Pirate' Radio Stations Followed in Caroline's footsteps, around the coast of Britain.Radio Caroline Sponsored many Charities; and through Advertising Brought Prosperity to British companies, and by playing non stop pop music helped bring recognition to many of the bands we know and love today.
Radio Caroline. The Brainchild of an eccentric Irishman, Rhonan O'Rahly came out of the Kennedy Era; and exemplified the 'Hippie' and 'Free Love' movement by supporting 'The Spirit of Free Enterprise'.When Radio Caroline Came on the air, The Circus had come to town and everything turned from Black and white; to all the colors of a rainbow.
Radio Caroline Gave Birth to much of what has become known as Psychedelic and Progressive music from the late 60s and early 70s by opening up the music industry and making way for new ideas.
Radio Caroline had attitude, Life, and real Spirit. Something which the monopoly of the British Boredom Corporation have never managed to accomplish.Below are Ten Mock Shows Which Chronologically Represent The Charts on Radio Caroline in The Mid To Late 1960s. The Shows Are in A typical Caroline Setting with Jingles, Adverts and News Broadcasts. All the songs are from the Top Twenty and were recorded from my personal Vinyl Collection.
Jingle and Advert Clusters were cut and spliced for the Job in order to bring you This Concise Set of Ten 80 minute Caroline Shows.
First set 1966 Vols 1-3.
Second set. 1967 Vols 4-7.
Third set. 1968 Vols. 8-10
Bonus Program. This is a three Hour Show Tentatively Titled.
The Continuing Sound of Caroline North.
Friday, March 09, 2007
2. Cowboy Movie
Al Green was the first great soul singer in the 70's.
This album definitely sets the standard of what we call today Smooth Soul. Al Green is a timeless testamony of love and happiness. Yes Al we're still in love with your music.
1 I'm Still in Love with You (3:16)
2 I'm Glad You're Mine (2:59)
3 Love and Happiness (5:03)
4 What a Wonderful Thing Love Is (3:38)
5 Simply Beautiful (4:15)
6 Oh, Pretty Woman (3:25)
7 For the Good Times (6:32)
8 Look What You Done for Me (3:06)
9 One of These Good Old Days (3:17)
Still in Love with You is a complete album. The type of album that you can play straight through, in order, time after time. Each songs flows into the next creating the sense of a man giving a melodic testimony concerning his innermost feelings about love, life, longing, pain, sadness melancholy and redemption. Not a wasted note, sound or breath is to be found on the entire album.
Of all of the instruments used in the making of this album, Al's voice is the greatest of them. It can be heard best on "Simply Beautiful". It is simple, controlled and seductive. He purposely teases with a falsetto that's as light as a feather yet as powerful as a tiger. All within his control at the same time. He sings as if he's whispering in his lady's ear - the moans at the end are potent enough to produce babies themselves.
You cannot be a music fan or collector of any kind without owning this album. Masterpiece is an understatement..this is what the soul afterlife must be like.
There are few perfect records in the world, but Al Green's I'M STILL IN LOVE WITH YOU may be one of them. Backed by producer Willie Mitchell's phenomenal stable of musicians, including drummer Al Jackson and the three Hodges brothers, Green reached deep into his soul to pull out one of the finest recordings of his (and, arguably, anyone else's) career. The opening title track is classic Green, with staccato punctuation from the Memphis Horns and Jackson's relaxed, syncopated drum pattern setting the stage for the singer's luxurious, silk-voiced expressions of devotion. The drums and slinky organ riff that kick off "So Glad You're Mine" are irresistible, while the inventive chord progression and infectious call and response section help make "Love And Happiness" one of the singer's finest moments. Continuing his tradition of turning unlikely outside material into gorgeous R&B, Green works his soulful magic on Kris Kristofferson's ballad "For The Good Times" and Roy Orbison's "Pretty Woman." The high point comes with "Simply Beautiful," an aptly titled tune that finds Green weaving his ethereal falsetto in and around a hypnotic groove with a grace that justifies his reputation as the king of R&B crooners. In truth, I'M STILL IN LOVE WITH YOU is almost too good to believe. Not incidentally, it set the standard for the next 20-plus years of R&B music.
Al Green's I'm Still In Love With You, undoubtedly one of all-time favorite albums and more importantly, my so-called "desert island disc". In other words, if I were forced to spend eternity listening to one album, I would, without hesitation, select Green's 1972 classic to be my musical companion until the end of days. but what makes I'm Still In Love With You truly great -- and the reason why it'd be my desert island disc if I was ever forced to choose one -- is that there's something here for every mood. Green's cover of "Pretty Woman" draws on the innate funk sunken into Orbison's original, turning the classic rocker into a slinky, soulful groover. If you're feeling melancholy, you can sink into the quiet, morose atmosphere of "For the Good Times". Tap into either "Love and Happiness" or "What a Wonderful Thing Love Is" for the musical equivalent of an opiate dose -- an embracing sensation of well being that can't be shaken. There's something incredibly affirming about "One of These Good Old Days" -- a hopeful quality embedded not just in Green's vocals, but also in the blend of strings and horns that fuels this mid-tempo burner. And there is nothing more sublime that I've experienced than just closing my eyes to "Simply Beautiful" -- a title perfectly embodied in the song's unhurried guitar melody and Green's relaxed vocals. Most of all, Green never leaves you alone -- that intimacy I spoke about before just eases under your skin and is a companion throughout. You can listen to the album alone but you never feel alone with it.
Thursday, March 08, 2007
One of the best British underground neo psychedelic progressive rock groups of the late 90's to come out of Leeds, perhaps too underground for their own good as they never signed a major record deal but had a large following of spore’s around the country. Extensive touring gave them energy and a freak-out in their live sound quite unlike their peers always unfashionable and always unapologetic for it. Influenced by a real mix of bands; Hawkwind, Amon Duule 2, Can, Tangerine Dream, Jimi Hendrix, Big Black, Stooges, Velvet Underground, Pere Ubu, Soft Machine, Captain Beefheart and of course early Pink Floyd they where born in the wrong era but still die hard hippies, die hard sadly being too close to the truth as the drummer Richard Freek sadly died of alcohol abuse in 2002, following which Fast Elbert became a recluse and Mathew became a town planner which brought an untimely end to the band. Though lost Johnny and CJD still perform under the name Ejection.
Anyway here’s the entire back catalogue, bear with it and you’ll be rewarded with a thousand virgins serving up chip butties on a bed of cannabis leaves in Avalon.
The Mushroom Gods are:
Lost Johnny – keyboard, vocals
Dick Freek – drums
Mathew Corbett – sitar, flute, effects
Fast Elbert Kram – guitar
CJD – Bass, vocals
01 - Cerebal Vibrater
02 - Alien
03 - Dweeb
04 - Life is a Knife
05 - Lord Have Mercy
06 - Metal In Your Foot
07 - Warp Speed
08 - Mars on Mars
09 - Night Rider (Live)
01 - Degauss
02 - Battlestar
03 - Blinky
04 - Davross
05 - Yip Yip Indians
06 - Vine Weavil
07 - Suzzi'S Got Some
08 - Sunburst
09 - Marching Powder
10 - Nostrobe Nostromo
11 - Cull of the Munchkins
12 - Cossack
13 - Black Hornet's
14 - Meanwood
Eagle Has Landed
01 - Anyone a Hippy
02 - Sultan
03 - Mongolian Outburst
04 - Cull of the Munchkins
01 - Mongolian Outburst
02 - Sunburst
03 - Suma
04 - Marajuana
05 - River
06 - Wormholes
07 - Johnny is a Druglord
08 - Rasputin
09 - Wormholes (Single edit)
01 - Hal Start
02 - GHBees - Lou Reed
03 - Top Cat
04 - Wormholes - Jonny is a Druglord
05 - Marajuana
06 - Surfin the Alien
07 - Speed
08 - Nile Song - Whats the Buzz
09 - Hal Stop 99
Lurking behind the mausoleum in the moss-strewn cemetery, a hypnotic rhythm can be heard at the strike of midnight. Pulsating sexual tones, throbbing and tempting you to a trance like state while begging you to join the dance of the dead.
Who are these cryptic crypt dwellers? Alas, the story unfolds!
Formed in 1986 in Switzerland and comprised of guitar, bass and what is affectionately known as a clone drum (which means that there are two drummers with one and a half drums hitting the same bass drum from each side). The Monsters create a sound like a cross between The Seeds coming off a bad drunk or The Cramps on speedballs congealed with a meaner Reverend Horton Heat. Fuzz drenched overdose and dirty bookstore trashy rock and roll/garage/psychobilly. Rumour has it that The Monsters are in high rotation in Hell.
The Beat-man (Vocals, Guitar) is the just short of genius brainchild behind the rich trash, sleaze, grind, mayhem he dishes out with ease. Highly addictive like being spoon-fed heaps of brown sugar.
This cd is comprised of tracks taken from Youth Against Nature (1995), Birds Eat Martians (1998) and I See Dead People (2002) and bonus unreleased tracks. A great introduction to The Monsters hypnotizing, hip gyrating, grind and sleaze infested mind fuck rock and roll.
By Christopher Duda (SugarBuzz Toronto)
Download Link :
Midsommar - Midsommar (1970)
1. Illusionen Av En Färdigskolad Akademiker
2. Sedan Urminnes Tider
3. Killen Och Bostadsbristen
4. Balladen Om Belfast
5. Naturen Kämpar
2. Morfars Visa
4. James Lindberg Hughes
5. Den Okände Soldaten
Midsommar - Belsebub Är Lös… (1972)
1. Belsebub Är Lös
2. På En Strand
3. Drömmens Värld
4. Jag Vill...
4. Till Morsan
I prefer their first than their second lp,
Can't find any info in english, anyone????
Graham Day's throaty vocals and slashing guitar play perfectly off of James Taylor's organ work, especially on instro songs like "Creepy Crawlies" and "Come To The Mushroom." Hints of psych emerge in the title track and "Coming Home" is a garage rock classic. Also really cool is the hip-shakin' "Say Your Prayers," dominated by a simple yet effective '60s-style beat and riff.
2003 - Alan Wright
Download Here :
Wednesday, March 07, 2007
And a Classic Rock essential.
Arguably the best Epitaph album, !!! Every track here is a standout, featuring the powerful and brilliant dual harmony lead guitar attack of guitarists Cliff Jackson and Klaus Walz.
Recorded in Chicago during their 1974 tour of the USA, this Anglo-German act were a dual guitar led progressive/hard rockin' outfit, with English vocals. Their third album on which the guitars take centre stage, twist and turning, licks interwoven into one fret-filled frenzy!
3. Big City
4. In Your Eyes
1. Outside The Law
2. Tequila Shuffle
3. Fresh Air
Record at Omega Studio Chicago November 1974
Produced by EPITAPH
Fred Kaz (Piano)
Billy Shaw (Organ)
All written by Cliff Jackson
Except B-2 by Bernd Kolbe
I bought this album when I was kid for a buck from the cutout bin because I thought the cover looked cool. Needless to say even back then I was blown away by the music on Outside The Law. Now into my forties this is a welcome reissue on cd. Great guitar work, solid songwriting(a mixture of classic rock, progressive rock with a lot of melody thrown in) and the total efforts of a band creating their own masterpiece make for a great buy. There probably aren't alot of people who have heard this cd but if you want to add a classic seventies rock cd to your collection then pick this baby up. I already own Epitaph/Stop, Look and Listen. They are good efforts but Outside The Law was the release where Epitaph shined the most. Pick it up!
Epitaph's "Outside the Law" is one of the most profound rock albums of its time. I first ran across this album in 1977 under the Billigsgate label. The guitar work is phenominal. The title track is truly unmatched by the groups later works and its masterful guitar rifts can transport the listener literally Outside the Law! The some tracks on this album reveal an almost German Beatles aura. It is surprising that tunes like "Woman" and "Big City" never made US airplay. I highly recommend this album to anyone who is still stuck in the late 60's and early 70's or desires to be.
The seventies was a very healthy time for rock bands and in my opinion there would be hardy any undiscovered gems out there that might be discovered that could be equal to the many classic acts that are now well aware to the fans of that genre. The competition was strong and most of the bands played with a conviction and clarity that much of todays bands lack in an abundance. Epitaph were a German band with a British vocalist, to help break the English and American markets I can only assume, and they produced some very good hard rock music but failed to make any impact on the rock world, at least at mainstream level. Though Outside The Law is a decent album Epitaph had their obvious short comings. While the guitar work on the album is essential and similar of Thin Lizzy, like the Nightlife album (released during the same year as this recording) but with more bite and a more sonic pace, and a little boogie like The Allman Brothers. These guys could write good tunes, there is no denying that but I can only guess that record label interference and poor management never helped matters. Soon after they finished this album their record label Billingsgate went bust and left the band high and dry and without any money for their efforts. With a little hint of psyche and a splash of prog Outside The Law is an excellent hard rock album.
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July '75 and a band called CHROME were sculling around the third rate pub circuit long before Mr Rotten and Co. had pissed in their first ash tray. Ted Carroll looked at the Melody Maker gig guide(erama), pushed his glasses back up his nose and decided that with a name like that they had to be the first band on CHISWICK RECORDS. A week later, accompanied by diminutive partner, Roger Armstrong, he slunk into a seedy pub in Highbury and was confronted by four mean looking characters playing Chuck Berry riffs as if their lives depended on it. To the right, chewing gum and looking like he would eat your cat was ZENON HIEROWSKY; (later de Fleur) by any other name THE COUNT BISHOPS had arrived. Maniac American Mike Spencer inveigled his way into the operation several weeks later, sacked most of the band, brought JOHNNY GUTTAR over from the States on the promise of a vast record deal (CHISWICK RECORDS I ask you?) and gave birth to THE (original) COUNT BISHOPS. After one disastrous recording session, where the bass player couldn't even play "Walkin' The Dog", they went into Pathway Studios (8 tracks and no air) in August '75 and in about 7 hours laid down 13 blistering rock and roll tracks from which, in November of that year emerged the first release on CHISWICK, THE COUNT BISHOPS SPEEDBALL E.P.
It didn't exactly set the world on fire, but through the vast Rock On Empire of two market stalls and few sympathetic dealers it managed to shift its initial pressing of 1,000 copies in a surprising short space of time.
Not long after the band drifted away from CHISWICK, for a while to a small Dutch label called Dynamite for which they recorded Taking It Easy/Train Train. CHISWICK picked up the rights for this, flipped it to make Train Train the A side and released it as their fifth single. In the meantime Mike Spencer had left the band in an incident involving an unfriendly plate glass window. The four piece band that had recorded Train Train allowed an album of what were essentially demos to escape in Holland and went on to lay down backing tracks for what was to become the first 'official' COUNT BISHOPS album.
At this point singer DAVE TICE was drafted by drummer and fellow Australian PAUL BALBI to complete the five piece line up that recorded "THE COUNT BISHOPS" album. Dave overdubbed his vocals on the already recorded backing tracks and the album came out in July '77. The single Baby Your Wrong/stay Free had already been pulled in April of that year.
During the rest of '77 and the early part of '78 the band gigged extensively building up a strong personal following despite being fairly unfashionable in the face of the punk publicity onslaught. In the Spring of '78 they recorded some live material at the Roundhouse for a projected live CHISWICK album featuring 6 different CHISWICK acts. Although the projected album never got off the ground THE BISHOPS set was so good that it warranted an album of its own. 'LIVE BISHOPS' was released later that summer in 10"and 12"form with a name abbreviation to simply THE BISHOPS and a further personal change, PAT MCMULLAN replacing original bass player Steve Lewins. On the back of the album they toured with Motorhead equalling themselves more than adequately in front of the braying heavy metal fanatics with their red hot rock and roll.
In April '78 the Sam & Dave classic "I Take What I Want" was unleashed to excellent radio play but slightly disappointing sales. The blistering "I Want Candy" came out in September as the first release through the EMI deal with CHISWICK, and though the sales were encouraging this time and the band made their first Top of The Pops appearance, the lack of radio action could not sustain the record to give it the chart placing it deserved.
And so into '79 with a lot of road work behind them, two critically acclaimed albums (and rightly so) one single that got the play but not the sales and one that got the initial sales but not the play (not to mention one bona fide classic in Train Train).
Three weeks ago the BISHOPS completed the album that they had been working on since early '78. Two days later ZENON DE FLEUR crashed his DB6 into a tree and died in hospital one week later. Despite the tragic loss, the band decided to continue as doubtless ZEN would have wished. Ironically, this looks like the one to break them.
CROSSCUTS will be out at the beginning of May with MR JONES lifted as the single, and if hard work and commitment still mean anything then this album deserves to make it, for these boys have paid their dues several times over.
The original Speedball EP featured just four tracks, including the similarly superlative "Teenage Letter," a performance which sounds like the Flamin' Groovies if they really were on fire. The eleven extras round up a mass of material which never saw release during the band's own lifetime, but packs a similarly psychotic visceral kick.
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Progressive outfit. countryish rock, flute, jazzy and funky moments... quite interesting
Rick White (Rhythm Guitar / Vocals)
Tom Swainson (Drums)
Milton Parker (Lead Guitar)
Andy Stevens (Saxophone)
Paul Curtis (Bass Guitar)
Farmyard were a Wellington group who were around only for a short time from 1970 to 1971. Rick White, previously of the Relics and Tom Thumb, started with the group but was later replaced by Bernard Lee.
Their first single for Polydor in 1970 was "Learnin' 'bout Living"/"Da Woirks". It was successful enough to gain entry in to the 1971 Loxene Gold Disk Awards. A self-titled album was also released and came in a plastic bag with a poster. A second single "Nothing's Happening Here"/"Me, The Dog, Ma And Dear Ol' Dad" also came out in 1970 and was included on their second album called "Back To Fronting" released in 1971. Their third and last single was "Which Way Confusion Part 1"/"Which Way Confusion Part 2", taken from their first album and appeared during 1971.
Both of their albums were repackaged in 1991 into a double album called "Looking For A Place" on the Little Wing label. That album appears below. After Farmyard disbanded, Tom Swainson joined Wellington underground band Arkastra in February 1972, and Redeye in 1976.
any more info?
Essra Mohawk - Primordial Lovers MM
Certain great lost works of art, no matter how buried or obscured they may become, exude such inert brilliance and creative intensity that we’re eventually compelled to seek them out, dust them off, and again make them a part of our lives.
In just such a spirit, Rhino Handmade has created Essra Mohawk’s Primordial Lovers MM, an expanded, year-2000 (hence the "MM" in the title), 22-track collection containing both of Mohawk's long out-of-print second and third albums.
Released in 1970, Primordial Lovers, Essra Mohawk's second album, was written and recorded when she was 21 years old. It was released in the very same year as Joni Mitchell released Ladies Of The Canyon, Laura Nyro released Christmas And The Beads Of Sweat and Neil Young released After The Goldrush, and is the creative, equal to each of those. However, it was, it must be fairly said, probably a far more demanding first-time listen for folks in 1970 than each of those classics. It should also be noted that Primordial Lovers was cited in a 1977 Rolling Stone review as one of "the 25 all-time best albums."
If Alanis Morissette, Liz Phair or Fiona Apple had been able to record an album thirty years ago, it would almost certainly have contained the themes, attitudes and insights first explored by Essra Mohawk. Primordial Lovers was, though freeform and jazz-tinged in its presentation, perhaps the first album to ever openly embody what is now referred to as "grrrrl power."
Four years later, in 1974, Mohawk recorded and released her third album, the eponymous Essra Mohawk. Both Primordial Lovers and Essra Mohawk are collected together for the first time ever on CD on our tastefully appointed Primordial Lovers MM compilation. Each has been remastered from the original 2-track vault masters. We’ve filled out the collection with both of Mohawk's non-LP Reprise 45-RPM single B-sides. All of the tracks, except one, are, of course, in STEREO. The one MONO track (for which no STEREO master existed) is "Jabberwock Song" which was MONO on its original Reprise single. The 24-page booklet includes Mohawk's recollections on the making of these recordings as well as all of the lyrics for all of the tracks.
Primordial Lovers MM is available as an individually numbered limited edition of 2,500 copies.
Tuesday, March 06, 2007
Ain't Goin' Down
The Awe Song
Why the Hell Did I Die?
Mono Town [*]
Psyclone Rangers are a wild bunch from Pennsylvania led by vocalist Jonathan Valania and guitarist Scott Dantzer. Their postures, halfway between freaks a` la Butthole Surfers and cowpunks a` la Gun Club, are wed to twisted, psychotic punk-rock. The band offers lyrics centered more upon feeling than culture. Again, the music is post-punk garage band raucousness as played from the garage at Graceland, but a few more songs branch out into more experimental angles. And while the music isn't as fueled as the pure pop and pop culture on Feel Nice, the effort is still rock & roll at its best and most well-crafted.
Download Link :
You'd half expect this supergroup's self-titled debut album — recorded at Wally Heider's recording studios in L.A. with producer Bill Halverson (Crosby, Stills & Nash, Freddie King) — to have made a bigger splash. Unfortunately, after landing in record store bins in the spring of 1970, Blue Mountain Eagle failed to generate much interest among the audience it was intended for. The album really doesn't have a bad track (though many are largely unremarkable) and fans of bands like Buffalo Springfield, the Byrds, and the Flying Burrito Brothers — not to mention to occasional heavy-handed vibe of bands like Steppenwolf — are encouraged to seek out a copy of this long out-of-print LP (it's remained unavailable on CD). Each member of the group gets his own turn on lead vocals. The leadoff track, Joey Newman's "Love Is Here," kicks off with a nice fuzz guitar and soaring vocals, with Newman and Bob Jones trading blistering country-rock licks. "Yellow's Dream" sounds like something you'd expect to hear from Three Dog Night. Shortly after the release of this album, in May 1970, bassist Randy Fuller left the group to join Dewey Martin. Atlantic CEO (then Atco president) Ahmet Ertegun (who was reportedly a fan of Fuller's lone songwriting contribution, "Sweet Mama") tried to persuade Fuller to sign a solo deal and write songs for other Atlantic-related projects, but Fuller declined Ertegun's invitation. The rest of the band continued recording — there are rumors of enough material for a second album — but broke up soon thereafter, and their surviving statement as a band quickly vanished without further notice. As of 2002, Blue Mountain Eagle remains unavailable on CD.
1 The Chums - She'll Marry Me
4 The Spiders - I'm In Love Again!
Vol.2 - Amsterdam
1 The Mokum Beat Five - Apologize
2 The Insect - Be Good And Go
3 The Triffits - Monkey Business
4 Trix & The Paramounts - Doe Maar Net Zoals Ik
5 Johnny & His Cellar Rockers - Why
1 Linda Van Dyck With Boo & The Booboos - Stengun
2 The Sparklings - Now It's Your Turn To Cry
3 Hunters With Peggy March - Too Long Away
4 Double Dutch - Double Cross
5 Roek Williams & The Fighting Cats - You Walked Away
6 The Outsiders - Thinking About Today
Vol.3 - Kennemerland
1 The Selfkick - Gosh! I'm Your Woman, Not Your Wife!
2 The Bintangs - Please Do Listen
3 The Hangmen - Hey, Hey, We're The Hangmen
4 The Clarks - Spanish Fly
5 The Lazy Bones - I'm Driftin'
1 Flux - Come On Kakatoe
2 The United Five - Go Go Mo Jo
3 Hamlets - It's Autumn
4 The Black Knights - Little Girl
5 Rob Hoeke - Jolita
6 The Lazy Bones - Big Boss Man
Vol.4 - Utrecht
1 The Mods - Baby Please Don't Go
2 The Rhythms - Everytime
3 Don Mercedes & The Improvers - (Willie And The) Hand Jive
4 St. John & The Crew - I'm A Man
5 The Mods - Don't Bring Me Down
6 The Driftin' Five - Hard-Headed Baby
1 The Jets - Worker In The Night
2 The Rhythms - Go With Him
3 St. John & The Crew - You Belong To Me
4 The Mods - Brown Paper Sack
5 Wo?w - Love Is Gone
6 The Goldfingers - Poupee De Cire, Poupee De Son
Vol.5 - Westland
1 The Inn-Sect - Let Me Tell You About The Things I Need
2 The Kwyet - No Time For Tears
3 The Groovy's - That's My Trouble Now
4 The Ripchords - Cry
5 The Competitors - Long Tall Shorty
1 Groep Reza - From Home
2 The Buddies - I Miss You
3 The Inn-Sect - Walking In The Rain
4 Groep Reza - It's A Shame
5 The Groovy's - Stop Get A Ticket
Vol.6 - Limburg
1 The Entertainers - Little Girl
2 The Entertainers - Down Home Girl
3 The Entertainers - It's You
4 The Entertainers - Crazy Miss Daisy
5 The Entertainers - Searching
6 The Entertainers - I'm Sorry Girl
1 The Skope - Be Mine Again
2 The Skope - From
3 The Skope - Stop Quarreling Now
4 The Sharons - All Of The Time
5 The Interpreters - Any Time
Vol.7 - Zaandam
1 John Hatton & The Devotions - I'm Coming Home
2 John Hatton & The Devotions - It's A Lie
3 The Coopers - Didn't I
4 The Coopers - Not A Bit
5 Names & Faces - You're An Old Leaf
6 Names & Faces - Keep Smiling
1 The Teckels - Iko Iko
2 The Teckels - Save Our Souls
3 The Coopers - Leave This Man Alone
4 John Hatton & The Devotions - To You My Love
5 John Hatton & The Devotions - I Should Be Ashamed
6 John Hatton & The Devotions - I'm Gonna Stay
Vol.8 - Groningen
1 Nicky & The Shouts - Don't Be A Fool
2 Nicky & The Shouts - It's Time
3 Nicky & The Shouts - Tears Inside
4 Nicky & The Shouts - Guilty Man
5 Nicky & The Shouts - Think
6 Nicky & The Shouts - Every Time A New Surprise
1 The Tykes - Double Crossin' Time
2 The Tykes - Hey Girl
3 The Tykes - Rosalee
4 The Tykes - Rock-A-Beatin' Boogie
5 The Tykes - Let's Dance
6 The Tykes - Green Suzy
Vol.9 - Overijssel
1 The Gamblers - Dead. . .
2 The Gamblers - Fighting And Crying
3 The Gamblers - Sinner's Confession
4 The Gamblers - Don't Worry 'Bout Me
5 The Humbugs - A Little Bit Time
6 The Humbugs - Go On Home, Little Girl
1 The White Comets - I Say Yeah!
2 The Meklight Sisters - Tired Of Waiting
3 The White Comets - Tell Me Baby Why
4 The White Comets - Pretty Little Girl
5 Honest Men - Every Night And Day
6 Honest Men - But Tomorrow
Vol.10 - Noordkop
Vol.11 - Limburg #2
Vol.12 - Den Haag
5 Chapter II - Seven Dimes
5 The Time Breakers - Don't Throw It All Away
MGM SE 4622 Hippie pop @192
1. Dead Thoughts of Alfred
2. Rainy Day
4. Walk upon the Water
5. Who Do You Think You Are
6. Of Not Being Able to Go to Sleep
7. When I Wake up in the Morning
9. It's My Way
10. I Sure Need You
11. Go With You
David Ryan Bass, Vocals
Puff Main Performer
Robert H. Henderson Drums, Vocals
Jim Mandell Flute, Vocals, Organ, Piano
Vin Campisi Guitar
Alan Lorber Producer
CAN'T STOP IT! AUSTRALIAN POST-PUNK 1978-82 collects crucial and underheard tracks from a variety of innovative Australian groups.A long overdue compilation of Australia's incredible post-punk history. This is a fantastically inventive and dynamic time in Australian music history, a time when Australia stepped out of the shadow of overseas influence and asserted its ownmusical identity. All of the bands on 'Can't Stop It' released their music independently, either themselves or through the handful of visionary labels of the time such as Au-go-go, Missing Link or Innocent Records.
Monday, March 05, 2007
01. Gonna Ride (3:00)
02. High Way Child (3:02)
03. When A Man Loves A Woman (3:27)
04. Kansas City (4:57)
05. If You Need Me (2:31)
06. Toad (4:05)
07. Stone Free (3:34)
08. Crossroads (4:28)
09. Whiter Shade (3:54)
10. 51st Anniversary (3:14)
11. I'm Sorry (3:18)
12. Sweet Soul Music (1:56)
And the unearthing of various psychedelic-era obscurities continues. In this case, the chosen representatives -- reflecting turn of the century interest in a comparatively little-known Latin American '60s scene -- were from Venezuela; a teenage trio signed for a three-album contract that only recorded the one in 1968. The sparse liner notes indicate that it was pretty much the band's standard set, and as such, reveals that they were essentially a cover group with a fondness for soul -- the sole original, "Gonna Ride," kicks things off. It's actually a surprisingly blasting number once it hits the chorus, guitarist Alvaro Falcon going certifiably crazy via overdubs (in interesting contrast, the band's also good at simply cutting out fully for dramatic pauses). Bassist/singer Jesus Toro's slight accent tinges an otherwise standard-enough rock/blues delivery of the time, while the whole song ends on a wonderfully bemusing let-the-tape-slow-down note. After that, it's a reasonably standard selection in terms of musicians to reinterpret, though with admittedly sometimes intriguing song choices as representatives. For instance, though Jimi Hendrix was clearly an obvious influence on the group, tackling "Highway Child," "51st Anniversary," and "Stone Free" instead of "Purple Haze" and "Foxy Lady" showed more originality then than Lenny Kravitz now. Similarly, trying out Cream's notorious example of proto-arena-wank, "Toad" is clearly either inspired or flat-out nuts, right down to drummer Richard Rumaitre's over-the-top Ginger Baker impression. Not everything is a surprise -- there's the Leiber & Stoller standard "Kansas City," Procol Harum's "Whiter Shade of Pale," Robert Johnson-via-Cream's "Crossroads," and so forth. But sometimes, the juxtapositions are surprisingly inspired -- if "When a Man Loves a Woman" won't supplant Percy Sledge's take, credit to Toro for trying his best, and to the band as a whole for balancing implied heft with just enough restraint.
~ by Ned Raggett [AMG]
Sunday, March 04, 2007
This is something else. After the lighter touch of the debut album, Rare Bird sounds like a real prog rock band the 2nd time around. The riff on "Hammerhead" is a monster. The production is monumental. The sound is full of drama and dynamics, and lead singer Steve Gould sounds like he really means it this time. Maybe not so much grandeur as their contemporaries ELP, but looking back, Rare Bird is absolutely the most interesting of the two.
A most essential prog rock album regardless of time and age.
And still no guitars, if Steve Gould's bass guitar does not count...
1. What you want to know (5:59)
2. Down on the floor (2:41)
3. Hammerhead (3:31)
4. I'm thinking (5:40)
5. Flight (19:39)
- part 1. As your mind flies by
- part 2. Vacuum
- part 3. New York
- part 4. Central Park
Rare Bird's second album "As Your Mind Flies By" turned out to be their classic release. It's stuffed with a great 70's atmosphere and flawless songwriting. All the 5 tracks on the album are impressivly strong. "What You Want to Know" and "I'm Thinking" are melodic, organ-driven, early 70's progressive rock at its best. The arrangements have lots of cool, twisted and varied organ-sounds and the vocals are great. The rest of side one is made up of the short, baroque-influenced "Down on the Floor" and the great, heavy-progressive "Hammerhead". The second side consists of the 20-minute "Flight". This is one of those tracks that will make any fan of 70's progressive rock cry of joy. The first part of it is quite dramatic and classical-influenced, then it goes into a great jamming part with a choir and excellent duels between the organ playing of Graham Field and the twisted el-piano of Dave Kaffinetti. The two last parts of the track are energetic and heavy with the most perfect organ-sounds you can imagine. With no doubt one of the best progressive rock albums from 1970.
Second album for RARE BIRD marking a wonderful contribution to the progressive rock genre. Without a question fans of organ and keyboard driven prog rock will love the music of RARE BIRD. Their arrangements although centred around the keyboard work of David Kaffinetti offers some great drumming and bass interplay. Steve Gould’s melodramatic vocals are a tad bit raw but I think fit the music perfectly and give it a nice degree of grit. Prog heads will love the side long 20 min long track "Flight" an ambitious four-movement track which surprisingly does not overshadow side 1 which is littered as well with 4 fantastic tracks. For me the sound of RARE BIRD is a scientific cross of URIAH HEEP, T2 and ELP. "As You Mind Flies By" is pretty much a masterpiece and is an essential recording
(re-released in the late 1970's)
01 Couldn't Run Away
02 Til The Morning Comes
03 Thin Line
04 Looking Glass World
05 Stay For A While
06 It's Gonna Be Alright
07 For You
08 Where I Belong
09 Times In My Life
10 Inner City Scream
FORTUNE TELLER (Baltimore, MD)
"Inner-City Scream" 1978 (R.M.T. Studios 4956)
Raw 70s garage rock with a rough urban edge as hinted by the title; obvious influence from late 60s Stones but with the macho posturing replaced by a bleak blue collar outlook that gives it a realistic presence, not unlike the rootsier tracks on Rayne. Minimalist and concise, devoid of any hippie dreams, very appealing in its honesty. Imagine the guys in Clap after a week of hard factory shifts, or Boa's older Viet Vet brothers. Killer 60s garage-psych moves on "Looking Glass World" is a highpoint with fuzz-lead and bass runs straight out of "Psychedelic Disaster Whirl"; a couple of tracks show a more sensitive melodic side that works well too. A mysterious "1968" date on the sleeve and label had people thinking the LP was from the late 60s, an indication of its timeless nature. May appeal to fans of 70s punk/DIY. Originals all through I think. Judging from this and the George Brigman LP, Baltimore was a pretty heavy place in the late 1970s. [PL]
This album exists in a time warp. It’s from the midst of the first punk era, but sounds genuinely 60s garage the way no neo-garage band ever did. The fuzz guitars are everpresent, and the songs are pure garage pop and garage rock, rocking hard without ever sounding remotely “hard rock.” The sound is as cheap as can be, which only accentuates the coolness of the fuzz. Despite some awkward singing, there are a lot of catchy melodies here, and I can imagine that Baltimorians who discovered “Nuggets” in the late 70s went nuts over this band. A few songs flirt with rural rock, but basically it’s teen-sounding angst, just as cool as their punk peers. [AM]
Saturday, March 03, 2007
DELTA MOV - LIVE RECORDED IN STUDIO 51 OF THESSALONIKI 1981
On the other hand Delta was a brand new band which prooved there value with these four songs. They have been influenced by Balkan sounds and psyckedelic rock.
This album remains one of the most collectivable in Greece thought it was live recorded.
*When you download it put in the end ".rar" and make sure you''ll change the title to ''Delta-Mov".
A loose concept album about the consequences of a love affair with a married man, viewed from various sides. The opening suite "If Lovin' You Is Wrong I Don't Want To Be Right/The Rap," a raid on Isaac Hayes's string-heavy slow funk stew, is one of the greatest recordings I've ever heard,
A1 If Loving You Is Wrong I Don't Want To Be Right 3:56
A2 The Rap 5:53
A3 If Loving You Is Wrong I Don't Want To Be Right (Reprise) 1:14
A4 All I Want Is A Fighting Chance 2:37
A5 I'm Tired of Hiding 3:45
B1 It's All Over But The Shouting 2:53
B2 It's Easy Going 4:08
B3 I'm Through Trying To Prove My Love To You 5:53
B4 Summer (The First Time) 5:58
Download Link (256@+covers)
01 Sand Castles (2:44)
02 Porcelain Mirrors (2:55)
03 Broken Day (2:56)
04 Wrong (2:11)
05 Greener Isle (2:45)
06 Codeine (6:17)
07 Different Kind of Head (2:46)
08 Pedestals (2:25)
09 Free (2:29)
10 Nickel's Worth of Benny's Help (4:22)
11 Pick a Gripe (2:06)
12 Cries of Treason (3:09)
'60s pop-psychedelic/folk-rock. Most of the songs are from Scott Boyer or David Brown, they also cover Buffy Sainte-Marie's "Cod'ine", Jackie DeShannon "The Greener Isle", and the Dan Penn-Spooner Oldham-Chips Moman collaboration "Sandcastles."
Light, reflective folk-rock is the primary color, slightly more downbeat than upbeat (heard to its best effect on "Porcelain Mirrors" and the lugubrious "Cries of Treason"), with a faint Baroque tinge to some of the arrangements and the occasional orchestration. There's a bit of California psychedelic freakout as well on "A Nickel's Worth of Benny's Help".
The 31st of February made an album for Vanguard in the late 1960s. There was a little bit of folk-rock, a little bit of psychedelia, and a little bit of pop. All of their members, went on to projects that made a more lasting commercial impact. Butch Trucks became drummer for the Allman Brothers; Scott Boyer played in Cowboy; and bassist David Brown went to Santana.
~ Richie Unterberger, All Music Guide
Friday, March 02, 2007
"A collection of 16 superior sixties garage winners; In the U.S.A."
1 Thee Sixpence - Long Days Care
2 Delirium - Never Comin Home
3 The Wonders - Oh Yeah
4 The Hi-Notes - Without You Darling
5 4th Street Exit - Strange One
6 The Riots - You're My Baby
7 The Untouchables - Don't Go I'm Beggin'
8 Plain Brown Wrapper - You'll Pay
1 Tommy Thompson And CHP. #17 - Beggar Man
2 Billy & The Kids - When I See You
3 Mysterions - Is It A Lie?
4 Java Men - Just Being With You
5 The Moxies - Please Don't Go
6 Bushmen - I Need Your Lovin'
7 Id - Rotten Apple
8 Ron Gray - Hold Back The Sunrise
"A Collection of Demented 60's R&B/Punk & Mesmerizing 60's Pop"
1 The Falcons - Back Out On You (Malaysia) *
2 The Spirits - So Sad (Belgium) *
3 Les Mann - Mama, Keep Your Big Mouth Shut (Odense, Denmark)
4 The Dead-Heads - Stupid Little Baby (Germany) *
5 Les Candidates - I'll Go Now (Esbjerg, Denmark)
6 Vat 66 - Vat 66 Theme (Stockholm, Sweden)
7 The Torero's - Talking The Blues (Hilversum, Holland) *
8 The Noise - You Turn Me On (Gosport, U.K.)
1 The Chatles - Children Of Stone (Germany)
2 The Misfits - You Really Want Me (Belgium) *
3 Les Fraises Des Bois - You Better Run (France) *
4 The Chapters - Can't Stop Thinking About Her (Bradford, U.K.)
5 The Stoke Sect - Get The Picture (Alleroed, Denmark)
6 Les Falcons - Please Understand Me (Sarreguemines, France)
7 The Black Sharks - Too Much In Love (Ghent, Belgium)
8 The Woodpeckers - Inside Looking Out (Birkerod, Denmark)
* indicates that the track only appears on this compilation
Wish we knew more about thus outfit (see comments at the end of the review). We've found next to nothing on the web and even the LP is of little help - no liner notes and no writing or performance credits. Here's what little we know about these guys. Signed by the small Canadian Passe Temps label, the band debuted with the 1966 single "Fou De Toi" b/w "Tu Es Partis" (Passe Temps catalog number 903). The single sold well with French-Canadian audiences, leading Passe Temps to finance a supporting LP.
Sporting a subtitle that says "music for dancing", 1966's "Les Napoleons a Go Go", offers up an engaging mix of snarling garage rockers and Mersybeat-inspired pop. While isolated ballads such as "Tu es Partie" and "La Vie Sans Toi are okay, the band's at their best on up-tempo rockers such as "Fou de Toi", "Reviens" and "Je M'en Fou". The set's low-fi production feel (again there are no production credits) adds to the overall appeal. Elsewhere their covers of The Beatles' "I Feel Fine" (for some reason mis-translated as "I'm In Love") and "We Can Work It Out" (translated as "Tout S'arrangera") are great. At least to our ears this set's even more interesting for the fact that although all ten tracks are sung in French, the energetic performances more than compensate for the fact the lyrics are largely a mystery. Man, these guys were every bit as good as their Anglo competition ...
1.) Fou de Toi
2.) Tu es Partie (You are Leaving)
4.) La Vie Sans Toi (LIfe without You)
5.) Je Suis en Amour (I'm In Love) (John Lennon - Paul McCartney) -
2.) Tout S'arrangera (We Can Work It Out) (John Lennon - Paul McCartney) -
3.) Ne M'oublie Pas
4.) Je M'en Fou
5.) Un Jour (Some Day)
1 Boy Berger - Wooly Bully
2 Uwe Spier - Treat Her Right
3 Edgar & The Breathless - Schade Um Dei Zeit
4 Lionel & The Tireds - Bei Uns Zu Haus
5 Dickie Rock - Rock 'n' Roll Music
6 The Germans - Oh La La
7 The Gloomy Moon Singers - Zieht Euch Warm An
1 The Javalins - Bits And Pieces
2 Uwe Spier - Boom Boom
3 Lucky Tucky & The Screen Wipers - You're Making The Mistake Of Your Life
4 The Sharks - At The Scene
5 Antoine - Autoroute Europeenne No. 4
6 Cindy &amp;amp; Bert & The Jay Five - Paranoid
7 The King-Beats - Too Much Monkey Business
"USA TEEN PUNKERS 1965-67 "
1 The Six Deep - Girl, It's Over
2 Rising Sun - Everybody Should Love Somebody
3 Newberry 4 - That's Why I'm A Rolling Stone
4 Missing Links - You've Got Your Rosies On
5 Baker Knight & The Knightmares - Hallucinations
6 Curfews - Look At Me
7 Gyrations - Steppin' Stone
8 East Coast Journeymen - Down Down Down
9 The Sound Of Fury - I Don't Need You
1 The Young Tyrants - I Try
2 The Hazards - Hey Little Girl
3 The Barracudas - I Can't Believe
4 Brym-Stonz LTD. - You'll Be Mine
5 Mark 5 - Only Woman You Can Trust
6 The Preachers - Stay Out Of My World
7 Ray Hummell III - Gentle Rain
8 The Invaders - Have You Ever
2 The Dimensions - Like My Girl
3 The Surf Knights - In The Summer
4 The Surf Knights - Stains Of Love
5 The Countdown 5 - Uncle Kirby (From Brazil)
6 The Countdown 5 - Candy
7 Thursday's Children - Try, Girl
8 The Glass Kans - Stick With Her
1 A-440 - When I Get Out
2 A-440 - Marathelia Glows In The Dark
3 Neal Ford & The Fanatics - She Is All There Is
4 Fever Tree - Girl, Oh Girl (Don't Push Me)
5 The Moving Sidewalks - Every Night A New Surprise
6 The Coastliners - My, My Oh My
7 Thursday's Children - Air Conditioned Man
8 The Six Pents - She Lied
1. Go Metropolitan
2. Live With No Tomorrow
3. Intoxicating Criminal Die Cast Cool
4. There's a Waste
5. Strother Martin
6. Cross County Curfew
7. Princess Phone
10. Common Law Loners
11. Don't Ask Me
12. Scorpio 9
13. Mr. Thackeray's Day Off
about the band:
Girl Trouble are one of those long-running Northwest institutions like Dead Moon or the Walkabouts that are easy to take for granted — not just because they've been around (seemingly) forever, but because they've stuck to their musical guns through thick and thin...and grunge and electronica and every other musical style to hit the scene since. Formed in Tacoma in 1983 — although they didn't actually play their first gig until 1984 — they're still growing strong in the 2000s and feature the same inimitable personnel: 6'5" Kurt P. Kendall ("the tall one") on vocals and saxophone, Bon Von Wheelie ("the grouchy one") on drums, shades-sporting Kahuna ("the volatile one") on guitar, and Dale Phillips ("the other one") on bass. The latter three were all born in T-Town, whereas K.P.'s family moved there from Spokane when he was three. Fiercely independent — they've never recorded for a major label — Girl Trouble, spearheaded by Von Wheelie (born Henderson), are also behind the fanzine/label Wig Out, which was initially intended to promote the band and its activities, but broadened its scope over the years. In addition, the wool-capped drummer — who put the "girl" in Girl Trouble (and has been compared to Moe Tucker for her steady, no-frills approach) — is responsible for designing the band's record covers and selecting the prizes given away at shows, whereas Kahuna (brother Bill Henderson) handles T-shirt and logo design. There's nothing smooth or slick about Girl Trouble, but fans of the Ramones, the Cramps (whose Lux Interior K.P.'s vocals most closely resemble), and every possible permutation of the aesthetic Billy Childish (the Milkshakes, Thee Headcoats, etc.) are sure to find their fun-filled lo-fi garage stomp well nigh irresistible. There's certainly a lot of material to choose from (some now sadly out of print): over a dozen singles (including splits with the Kings of Rock, the A-Bones, Pop Defect, and the Mono Men), several long-playing recordings, and appearances on countless compilations, including 1988's landmark Sub Pop 200. Girl Trouble made their vinyl debut in 1987 with two singles for Olympia, WA's K Records: "Riverbed" and "Old Time Religion." Seattle's Sub-Pop released their fine full-length debut, Hit It or Quit It, the following year. 1989 saw the release of "When Opposites Attract" on Wig Out and "Batman" — the theme from the TV show — on K, featuring producer/musician Steve Fisk on keyboards (and on B-side, "The Truth"). Another self-released Fisk-produced single followed in 1990, "Cleopatra & the Slaves" (with Captain Beefheart's "Who Do You Think You're Fooling?" on the flip). Next came sophomore full-length, Thrillsphere (featuring "When Opposites Attract" and "Cleopatra & the Slaves"), on Seattle's Popllama, a tightened-up version of their signature sound. 1990 also witnessed the release of a covers EP, Stomp and Shout and Work It on Out!!!!, on Burbank, CA's Dionysus. On this 12" platter, Girl Trouble paid tribute to their Northwest garage rock roots with covers of songs written (or popularized) by Mr. Lucky & the Gamblers, Tiny Tony & the Statics, Don & the Goodtimes, Jimmy Hanna & the Dynamics, and twin Tacoma legends the Wailers and the Sonics. Recorded live at Olympia's Tropicana on January 19, 1985, the multi-talented Fisk cemented his status as Girl Trouble's unofficial "fifth member" by contributing keys to "Out of Our Tree" and "Little Sally Tease." Just as Girl Trouble have never hid their love for the Sonics, 1992 saw tribute to another one of their biggest influences and inspirations: the one and only Elvis Presley. The Girl Trouble Plays Elvis Movie Themes double-7" ("Viva Las Vegas" plus three others) appeared on Sympathy for the Record Industry that year and was followed by a single on Seattle's eMpTy. "Work That Crowd" was another tribute (of sorts), this time to Granny Go Go, the world's oldest go-go dancer at 82. Granny herself provided guest vocals on the A-side (B-side, "Granny's Pad," was an instrumental). eMpTy released Girl Trouble's next — and arguably best — long-player, New American Shame, and mini-CD, Girl Trouble Live, in 1993. The latter was recorded live at Chicago's Empty Bottle and timed to coincide with the band's European tour with Portland trio Crackerbash and released only on that continent. They also made it up to Canada that year, hitting Montreal and Toronto, and hooking up with fellow groove-meisters like Shadowy Men on a Shadowy Planet. Altogether, Girl Trouble has hit the East Coast three times, the first with Beat Happening, and the West Coast six or seven times, including dates with the Woggles, Phono-Comb, and Satan's Pilgrims. At this point, the Girl Trouble story slows down a bit after the flurry of activity between 1987 and 1993, hence their own description as the "slowest working band in showbiz." Their next release (not counting split singles, compilation tracks, and such) was "The Track" on Estrus, followed by a full-length, Tuesdays, Thursdays & Sundays, on Wig Out/Estrus in 1998 (featuring "The Track" plus B-side, "Scorpio 9"). They also undertook their last full tour that year, hitting the most cities yet and playing with the Makers, Swinging Neckbreakers, and others. Since then, they have continued to record and to perform and show no signs of stopping. In 2000, they recorded an album's worth of new material, but the master tapes were misplaced. Fortunately, they were recovered in late 2001, and the band intends to release the finished product in 2002. Unlike so many of their contemporaries, Girl Trouble have never been swayed by the latest fads or fashions. They just do what they do, and they do it well. They've also never underestimated the importance of quality showmanship. A good time — as well as a nifty prize of some kind — is guaranteed every time they play. That isn't likely to change anytime soon, even if they no longer maintain the same hectic pace. Kahuna is also a member of Sonics tribute band, New Original Sonic Sound, the other members of which include Mark Arm, Steve Turner, and Dan Peters from Mudhoney and Scott McCaughey from the Young Fresh Fellows.
about the album:
After the uncharacteristically long gap of five years, Girl Trouble returned with their fourth long-player, Tuesdays Thursdays & Sundays, in 1998. The recording, released on their own Wig Out label, just may be their most personal yet. First there's the title, a reference to the Tacoma quartet's practice schedule for the past 15 years. Then there's the cover photograph, which depicts their groovy practice space (and is filled with all the kitschy ephemera one would expect). Then there are the pictures included with the disc, photos of the band from 1983 to 1997, and a vintage shot of "Grandpa Henderson" from 1939 (their space was once his shed). Musically the band hasn't changed much since 1983 — they've just gotten better at what they do. Party anthem "Go Metropolitan," which opens the set, and British Invasion homage "Mr. Thackeray's Day Off," which ends it, rank with some of their best work, like 1989's stop 'n' start toe-tapper "When Opposites Attract." "Strother Martin" (the actor who portrayed the sadistic prison captain in Cool Hand Luke) and "Scorpio 9" are a couple of instrumentals that serve as welcome showcases for Kahuna's surf-meets-garage guitar rockin', Bon's solid, no-fuss drumming, and Dale's steady-as-she-goes bass playing, whereas "Common Law Loners" gives K.P. the chance to mold his deep, slightly twangy vocals into a sadder, more bluesy shape (a little like latter-period Elvis, but without the schmaltz). "The Track" was also released as a single on Bellingham's Estrus in 1996 (with "Scorpio 9" as the B-side).
Thursday, March 01, 2007
Älgarnas Trädgård's name translates as "Garden of the Elks" and this debut album has always stood as one of the pinnacles of underground psychedelic rock -- comparable to early Pink Floyd, Group 1850 and other world masters of space-out genius. The title translates as The Future is a Hovering Ship Anchored in the Past. The group employed an instrumental array made of: violins, rebec, cello, guitars, sitar, piano, zither, organ flutes, zinks, jew's harps, tablas, percussion, Moog-synthesizer & VC-3 Putney-synthesizer. Recorded at Studio Decibel in 1971, this CD reissue adds two bonus live tracks from 1972. From Dan Söderqvist's notes: "We have known each other since 1968, when we met in our home neighborhood Västra Frölunda, Gothenburg. We listened to everything; Perotinus heavenly choirs from the 13th century, Messien's heavy works for orchestra, Beefheart's Safe as Milk, with it's surreal lyrics, King Crimson's endless string of chords, the beautiful acoustic Third Ear Band, Terry Riley's minimalism and above all the psychedelic music of early Pink Floyd. Sometimes we played our 'dägga-däng-music', crazy rhythmical plays with acoustic guitars and hysterical giggles. Sometimes we just sat and listened to the sounds slowly disappearing into space ... We experimented with getting strange sounds out of our instruments, started to use amplifiers and played with echoes ... We constantly expanded our possibilities to get new sounds, with organs, mouth harps and pedals ... We got our hands on the first Moog module system that just about had reached Sweden. We mixed Middle Age instruments such as zinks and rebecs, sound effects, church bells, fragments of both Bach and The Beatles and improvised our way through the first album."
(if you had problems with the first link...Try this one)
01 Candy Floss Cowboy (Narration) (1:20)
02 Candy Floss Cowboy (Demo) (4:26)
03 Fair Dealer (5:07)
04 Narration 1 (0:34)
05 Octopus (2:27)
06 16 Year Old Doom (4:16)
07 You're A Hero (Intro) (0:12)
08 You're A Hero (3:11)
09 Song For Marlene (Intro) (0:17)
10 Song For Marlene (4:36)
11 Dodgen Dude (2:45)
12 Come To The Fair (1:20)
13 Starcruiser (1:43)
14 Narration 2 (0:24)
15 In The Name Of Rock And Roll (4:07)
16 Narration 3 (0:32)
17 Ferris Wheel (5:56)
18 Narration 4 (0:19)
19 Last Merry Go Round (2:11)
20 Narration 5 (0:14)
21 Dude's Dream (4:42)
Michael Moorcock - Vocals, guitar, mandolin, banjo
Graham Charnock - Bass
Steve Gilmore - Guitar, vocals
Terry Ollis - Drums (Ollis was the first drummer for Hawkwind, and is reported to have been the first drummer for the Deep Fix, though he isn't credited.)
Simon King - Drums (Again, Simon was a drummer from Hawkwind. He plays on the Starcruiser/Dodgem Dude single and the New Worlds Fair album.)
Alan Powell - Drums (Another drummer enlisted from Hawkwind, plays on New Worlds Fair.)
Nik Turner - Sax (Nik Turner, of Hawkwind, later Inner City Unit, currently Anubian Lights. Nik Plays on the Starcruiser/Dodgem Dude single, and plays moral support on the album.)
Shirlie Roden & Debi Doss - Backing vocals
Snowy White - Guitar
Kuma Harada - Bass
Dave Brock & Herbert North - both guest for lead guitar on a track each
Simon House - Violin, piano, mellotron
Pete Pavli - Cello
There were several other songs which did not make it onto New Worlds Fair. In the original release, Dodgem Dude was not included in the album, due to the length restrictions of vinyl. Happily, though, it was included in the Griffin CD re-release of the album. The lyrics for Kings of Speed were composed for the album, but never recorded. The lyrics were taken up by Dave Brock of Hawkwind and later used on the album Warrior on the Edge of Time.
"Steve Lake pits his wits against Hawkwind's Nik Turner and close associate, science fiction author / rock singer Michael Moorcock."
This first appeared in the 10/5/75 issue of Melody Maker.
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1 "Conquistador (5:02)"
2 "Whaling Stories (7:41)"
3 "A Salty Dog (5:34)"
4 "All This And More (4:22)"
5 "In Held Twas In I (19:02)":
a "Glimpses Of Nirvana"
b "Twas Teatime At The Circus"
c "In The Autumn Of My Madness"
d "Look To Your Soul"
e "Grand Finale"
6 "Luskus Delph (3:37)"
Alan Cartwright - bass guitar
B.J. Wilson - drums
Dave Ball - guitar
Gary Brooker - piano and vocals
Keith Reid - lyrics
The Edmonton Symphony Orchestra
The Da Camera Singers
This whole album was an afterthought -- Procol Harum had been invited to play a concert with the Edmonton Symphony Orchestra and the Da Camera Singers in Edmonton, Alberta, Canada, in August of 1971, at the tail-end of their last tour with Robin Trower in the lineup. Amid all of the preparation -- including the writing of new orchestral arrangements by Gary Brooker and with a new lead guitarist, Dave Ball, just joining the lineup -- Brooker decided that it might be a good idea to preserve a professionally made tape of the show and suggested that A&M Records, to which they were signed, might want to record the performance; the label agreed with just a week to go until the concert. Even "Conquistador," the song on which the resulting album's commercial success was built, was added at the last minute, with no time for the orchestra to rehearse the arrangement that Brooker wrote on the flight from England. They did it cold, opening the concert, and the eventual album featured a performance -- highlighted by the orchestra's brass in a Spanish mode, running scales on the strings, and B.J. Wilson's powerful drumming -- helped loft the single to number 16 in America. The group's second-biggest hit record (after "A Whiter Shade of Pale"), in turn, helped lift the album into the American Top Five. Ironically, the success of the LP also left Procol Harum's image slightly askew, with the presence of the orchestra and choir and the selection of songs, from the most ambitious part of the band's repertory, all combining to present the group as more of a progressive rock act than they actually were. "Conquistador" was the most accessible song on the album, and nothing else here matches it for sheer, bracing excitement, but the rest -- especially "Whaling Stories" and "A Salty Dog" and the multi-part "In Held 'Twas I" -- were all opened up by the vast canvas provided by the orchestra, and the group didn't wimp out in their own performance; Wilson, Ball, Brooker, and company all played hard and heavy where the songs required it. [Note: Long out of print on CD, Procol Harum Live: In Concert With the Edmonton Symphony Orchestra & the Da Camera Singers was finally reissued in August of 2002 by Repertoire Records in a newly annotated edition with one bonus track, "Luskus Delph," which was recorded at the same show and only ever issued on vinyl as a U.K. single B-side.]
~Bruce Eder [AMG]
The Lead Guitar work of Roye Albrighton is impressive and the vocal harmonies are excellent.
Allan "Taff" Freeman: keyboards / vocal
Roye Albrighton: guitars / lead vocal
Derek "Mo" Moore: bass / vocal
Ron Howden: drums / percussion / vocal
Mick Brockett: lights
Remember the Future (Part I)
a. Images of the Past
b. Wheel of time
c. Remember the Future
Remember the Future (Part II)
e. Returning Light
f. Questions and answers
g. Tomorrow Never Comes
h. Path of Light
j. Let it Grow