Sunday, April 29, 2007
01 Greetings (2:30)
02 So Loose and So Slow (2:17)
03 Like Cats (3:37)
04 Happy Days (2:12)
05 What Difference? (6:24)
06 It's Getting Very Cold Outside (3:08)
07 I Won't Be Hangin' Round (3:00)
08 Don't Say a Word (2:32)
09 Don't You Ever Want to Think About Them? (3:24)
10 Hungry Dogs of New Mexico (3:56)
Artie Traum - Acoustic Guitar
Eric Kaz - Keyboards, Vocals on track 7, 9
Steve Soles - Vocals on track on 1, 2, 3, 4, 5, 6, 8
John Herald - Vocal on track 10
Skip Boone - Bass
Darius Davenport - Drums
Though a formidable lineup of talent came together for Bear's sole album, it had neither a consistent style nor compelling material. Another one-shot late-'60s psychedelic band, Autosalvage, might serve as a point of comparison, as two members of that group (Skip Boone and Darius Davenport) play on Greetings, Children of Paradise. Bear's record, though, is even more diffuse than Autosalvage's in its dodges between various circa-1968 underground rock styles, made even more erratic by some aspects which seem to aim for a bit of pop appeal. There's a little of the Lovin' Spoonful's good-time rock from time to time, but more often it's an uneasy mesh of free-floating American hippie rock with some Beatlesque harmonies and melodies. Sometimes there are jazzy beats and arrangements; at other times there are moderately heavy psychedelic guitar solos; at others, their basic folk-blues roots poke through (as on "Hungry Dogs of New Mexico"). The songs are kind of shapeless and the melodies on the undistinguished side, however. ~ Richie Unterberger, All Music Guide
Although the members of Bear had some roots in the 1960s folk scene, their late-1960s album was actually an average psychedelic outing, and not an especially folk-rock-inclined one. Artie Traum and Eric Kaz had played in the rock band Children of Paradise, who recorded for Columbia. On the sole Bear album, titled (probably in a nod to the name of their prior group) Greetings, Children of Paradise, they were joined by Steve Soles, with Skip Boone (brother of the Lovin' Spoonful's Steve Boone) and Darius Davenport of the band Autosalvage contributing. The record is a mish-mash of period styles, from good-time rock and Beatlesque meanderings to songs with psychedelic guitar solos and loose, jazzy feels. ~ Richie Unterberger, All Music Guide
Saturday, April 28, 2007
I am Gorehound whose real name is Jordan Kratz and I am the founder/writer/singer of the band The GoreHounds. I put this band together at the end of 1985 and it was all over with by 1989. The band had a 1960's garage and psych sound with some 1970's punk thrown in. We also had a jug player like 13TH Floor Elevators.
The main people involved in the project were :
Mark Mayhem:Bass Guitar
Bob Cellars:Rhythym Guitar and "Jug"
John Chalmers:Lead Guitar
Cindy Williams:Rythym Guitar
A while back this blog had posted my Necrosis/Voodoo Priest (7") and I wrote a comment there.
Now I was thinking it might be a good idea to give you all my music from me and ripped by me with my pro-studio gear.
So all of the music is tagged and is 320k mp3.
AND A LOT OF MY OTHER ART (more punk rock music)
Hope you enjoy the music !
Of all the British R&B bands to follow the Rolling Stones' footsteps, the Downliners Sect were arguably the rawest. The Sect didn't as much interpret the sound of Chess Records as attack it, with a finesse that made the Pretty Things seem positively suave in comparison. Long on crude energy and hoarse vocals, but short on originality and songwriting talent, the band never had a British hit, although they had some sizable singles in other European countries. Despite their lack of commercial success or appeal, the band managed to record three albums and various EPs and singles between 1963 and 1966, with detours into country-rock and an EP of death-rock tunes. Although they recorded afterwards, it is the Sect's early work that continues to attract connoisseurs of '60s garage and punk.This double-CD set is essential listening — not just for Downliners Sect fans, but for anyone who's ever worn out copies of any of the first three Rolling Stones albums or owns anything by the Yardbirds, the Pretty Things, Them, the Graham Bond Organisation, the Animals, early John Mayall, the Shadows of Knight, or any of countless blues-inspired American garage bands. In content, it's approximately equivalent to Charly's Yardbirds Ultimate Collection, encompassing the complete contents of the Downliners Sect's three original LPs, from the bluesy "Baby, What's Wrong" to the pounding, proto-psychedelic "Glendora." Thus, listeners don't get the EP and demo tracks "Cadillac," "Roll Over Beethoven," "Beautiful Delilah," or "Shame Shame Shame," and "I Can't Get Away from You" and "Roses" are also missing from the other end of their history — all of which are present, along with a lot else, on See for Miles' Definitive Downliners Sect: The Singles A's & B's, which is the perfect complement to this set. What listeners do get is two hours of some of the most delightfully raw and unaffected, downright affectionate British renditions of American rock & roll and R&B, so unstylish that they achieve a kind of beguiling, offhanded stylishness all their own — where the Rolling Stones, Eric Clapton, the original Fleetwood Mac et al. all had personalities with a certain allure and mystery that made them insinuate themselves into the music, the Sect thump away with more enthusiasm than distinctive talent or personalities, or inventiveness.
That must be why they can shift from sounding like Chuck Berry or Bo Diddley to Bill Haley & His Comets on "I'm Hooked on You," then resemble the early Spencer Davis Group on "Comin' Home Baby," then suddenly sound like the rawest American garage band this side of the Litter on "Why Don't You Smile Now," then switch back toward the Rolling Stones on "Don't Lie to Me" (which includes the most delightfully out of tune bass accompaniment you may ever hear on a finished, released record, not that the guitarist seems to have known where middle C was either...), and follow that with the jocular "May the Bird of Paradise Fly Up Your Nose," sounding like the Pretty Things having fun — and they even end in a vaguely Kinks-like mode (circa 1966-1967) with "The Cost of Living." And all of that's on their last album, which isn't usually thought of as representing their peak — geez, on "I'm Looking for a Woman" they get into this Bo Diddley groove that's so perfect, despite being so much more flaccid than Bo would ever permit his band to sound, that your fingers will start dancing to that shave-and-a-haircut beat; there's just something so real and honest about the way these guys plunked and plodded their way through their music, running on sheer bravado and a genuine affection at their core — it didn't propel them to stardom (except maybe in Scandinavia), but it makes their stuff worth hearing in full 40 years later, and how many bands beyond the Rolling Stones is that true about? This set will dazzle any enthusiast of British blues or British Invasion rock, or, for that matter, first-rate American-style garage punk. The sound is excellent and the annotation is very thorough; there are some misprints and missing words on the song listings, but where it counts, this set would be worthwhile even at twice the price. (allmusic.com)
Friday, April 27, 2007
Thursday, April 26, 2007
Marcus was the psychedelic alias of erstwhile New York folkie/jack-of-all-musical-trades Rusty Evans, born Marcus Uzilevsky in Brooklyn. After graduating from New York's School of Art and Design, in 1958 Evans made his recorded debut, releasing the rockabilly efforts “I Lived, I Loved, I Lost" and “Midnight Special" on Brunswick; a year later, he resurfaced on HIP with “Talkin' from Your Heart." By 1962 Evans was a staple of the Greenwich Village folk circuit, sharing stages with Bob Dylan, David Crosby and Fred Neil; in 1964, he recorded his first LP, Songs of Our Land, followed later that year by Railroad Songs. After one more stab at folk success with 1965's Live at Gerde's Folk City, Evans discovered the nascent psychedelic scene during a brief stop in Los Angeles, where he also recorded the 1965 Musicor single “1983"; upon returning east, he landed in Philadelphia and formed his own psych band, the Deep, with Mark Barkan, David Bromberg and others. Signing to Cameo-Parkway, over just two days in August 1966 the Deep recorded their lone official album Psychedelic Moods of the Deep, one of the more rare and fascinating byproducts of its time; virtually the same lineup later reunited as Freak Scene, releasing 1967's Psychedelic Psoul on CBS. (A series of related CDs culled from the sessions in questions later appeared on Collectables). With songwriter and producer Teddy Randazzo, Evans then co-founded Eastern Productions, signing the bands Third Bardo and the Facts of Life--for the former, Evans and Victoria Pike authored the psych cult classic “I'm Five Years Ahead of My Time." In 1967 he moved to Los Angeles, working as a staff producer for the Take Six label and helming sessions including the Nervous Breakdown's “I Dig Your Mind." After a stint working with producer Matthew Katz, in 1969 Evans reclaimed his birth name to release a self-titled LP on Kinetic as simply Marcus--a minor classic of richly orchestrated psych-folk, like much of his work it is a fascinating relic of a particular time and place, in this case San Francisco's Haight-Ashbury district in the post-Summer of Love era. Evans then dropped out of sight for about a decade, returning to his folk roots for his 1979 comeback effort Life's Railway to Heaven; in 1988 the Arlington Symphony Orchestra performed his Folk Symphony for Sara, and at the dawn of the new decade he later adopted yet another alias, Uzca, to explore world music and ambient on the LPs Slice of Light and Gypsy Dreams. In 2000 Evans truly traveled full-circle, forming the rockabilly combo Ring of Fire with son Danny and releasing a self-titled tribute to Johnny Cash. Under his birth name, he's also enjoyed a measure of fame for his landscape art. ~ Jason Ankeny, All Music Guide
Nine times out of ten it seems that heavily hyped albums turn out to be major disappointments. 1979's "From the House of Trax" is one of those one out of ten exceptions - it lives up to and even exceeds the hype !!! I can't say I know a great deal about Marcus McDonald. He was apparently from Kentucky, but relocated to Indiana, where this album was recorded at Trax Studios (hence the title). Produced by Jim Fergusson, this private press release is also an exception in that it sounds far more accomplished that most such vanity products. Literally dripping with spooky, heavily treated vocals, heavy guitar and psych moves, tracks such as 'Locked Inside a World', 'A Trip In Time' and 'The City of InBetween' are great. Exemplified by tracks such as 'Gary's Song', 'I Want To Fly' and 'Right Inside of You Baby', the 'B' side opts for a slightly more mellow attack, but is every but as impressive. Tuneful and concise (most of the nine selection clock in under four minutes), this one's a must own classic. Besides, it's a wonderful album to crank up on a good stereo system. (As far as I can tell this is one of the real things - packaged in a plain disco cover with the bluish title past on over the center hole. This one's retained it's blue color (some tended to turn green with time)). SOURCE: http://www.geocities.com/badcatrecords/MARCUS.htm
- Doug Fisher - keyboards
- Al Jones - bass
- Jeff Kruer - percussion
- David Ledger - keyboards
- Marcus McDonald - vocals, guitar, keyboards
- Will Naugle - bass
- John Pring - lead guitar
- Butch Stultz - rhythm guitar
- Terry Tyler - rhythm guitar
- You're Playing With Fire (intro)
- Locked Inside A World
- A Trip In Time
- The City Of Inbetween
- Sweet Inspiration
- Gary's Song
- Captain Zella Queen
- I Want To Fly
- Right Inside Of You Baby
- You're Playing With Fire (outro)
01 Give Me Your Love
02 Here Comes The Night
03 Put Me Down
04 It Will Last Forever
07 Don't Take Me
08 Rung By Rung
09 Both Have To Pay
10 You Won't Believe It
11 Sunshine Makes It
12 Girl Named Sue
Extremely rare garage/folkrock LP whose existence was long doubted, until a few copies were unearthed some years back. The band came out of Blackburn College in Carlinville and existed mainly to record this LP. Great originals all through reminiscent of the Bachs and UK group Complex, chock full of organ-led teen atmosphere, tremendous melancholy vocals, and tunes that grow with each play. My current faves include the Dovers-like "Put me down" and "Girl named Sue", but it's really a wide selection of great sounds, enhanced further by the basement ambience. One of the best garage-era albums you can find, to me better than All Of Thus, Summer Sounds, etc. Primitive sleeve design shows a piece of "mystery meat". According to the band, the pressing was very small, maybe 25-100 copies. Due to the lo-fi nature of the original, substantial sound processing has been applied for the German reissues, with mixed results. [PL]
If there is a Great Lost Garage Album out there, this 1968 artefact by Illinois band MYSTERY MEAT could be it. Like most garage LPs it is a primitive recording, featuring an inexperienced, enthusiastic band. Unlike most garage LPs, however, it has no cover versions but a string of originals ranging from good to unbelievable, and the decision to bring in a skilled, versatile vocalist adds a depth unusual for these teenbeat concoctions. Before moving onto the "meat", here's some background on the band and the LP courtesy of Dick Leighninger:
"...We were all students at Blackburn College, located in Carlinville, Illinois. I was a Senior and the other members were Juniors. I had been singing with a local barbershop quartet, the college choir, and a trio that did original folk songs. Wayne Joplin and Ron O'Dell had been writing songs, and were looking for a singer to help them, and they recruited me. (Blackburn is a small school... we only had about 500 students at the time, so everyone knew everyone). We recorded the album in the basement of our college's administration building... a building that the students had just finished building, but the basement had not yet been divided into offices. So, it was a big space, where we would not disturb anyone at night, when we practiced and recorded. I don't remember exactly how many albums we made; my memory is that we went around the room, and said... "well, how many do YOU want, how many do YOU want?" We then added them up, and made that many. We also may have had a minimum order to fill, but it couldn't have been more than about 25, I think. The record was made in St. Louis, Missouri with a custom label company for RCA Records. We only performed once, and that was at the college. We did not have typical posters for the event, nor do I know of any pictures that were taken. We were pretty much hermits in the basement..."
Of course it's only typical that this needle-in-the-haystack among disappointing garage LPs is also one of the rarest 1960s albums in existence, with at most 100 copies manufactured. For decades it remained a wellkept secret within a circle of rare LP collectors that govern certain events on this planet, any inquiries from the outside fielded by fatsos who declared from their Moms' basements that "Mystery Meat doesn't exist". Several years ago a partial tape dupe of it was smuggled out and fell into my hands, so I knew it obviously existed and sounded like a teen-beat killer too, a basement merger between the Dovers and early New Colony Six. An $4000 price tag was expected if a copy ever should surface in the real world, unlikely as that seemed. Yet this is precisely what happened in 2002 when a local record dealer, fearless of the forces he was about to set loose, put up a copy for auction on eBay; especially as he listed the full names of the band members. The intercontinental frenzy that followed can only be hinted at, but I would imagine the Illinois switchboards lit up like a Christmas tree as rabid collectors calling from as far away as Belgium and Japan tried to track down copies.
This they did, with maybe a dozen or so Mystery Meats being excavated to the tune of $1000 and upwards. One of these copies landed with Thomas Hartlage of Shadoks, a German record label specialized in upscale reissues of super-rarities from the 1960s-1970s. A deal was reached with the (probably stunned) band members and just a couple of months after the initial mania an exact replica of "Profiles", as the title is, hit the stalls. This happened more than two years ago, but I'm noticing that word on this tremendous album is still confined to rare LP collectors who file it away between Music Emporium and Mystic Siva, while the garage guys - who are the ones that really should care - remain at a distance.
"Profiles", then, is an album that consists of twelve 1966-sounding beat/folkrock originals and no covers, just like the Bachs LP, the payoff being that the Meat songbook may be even stronger than that of their Illinois colleagues. Although recorded in 1968 the songs had been written from 1965 and onwards, which explains the slight "lost in time" nature of the album. Tunes such as "Put Me Down" and "Girl Named Sue" are teen-drama masterpieces worthy of the Dovers, and that's saying something! There are also rawer numbers like "Rung by rung" with a three-chord progression typical for Midwest garage bands, and a hint of psychedelic influences on the great "Sunshine makes it". Dick Leighninger's lead vocals are awesome, hitting that yearning Tim Granada/Sid Herring teen innocence we all worship, and making even the lesser tracks shine. Those vocals and the evocative, heartfelt Farfisa organ may recall the All Of Thus album from upstate New York, another obscure garage behemoth, but again I would rate the Mystery guys higher. I'm inclined to credit Chicagoans New Colony Six with a certain influence on the overall style, but oddly the end result reminds me even more of English band Complex (see review #63), whose marvy first LP is one of the few true garage-sounding Brit albums. Apart from the vocal/organ similarities there's a freshfaced teen enthusiasm and brooding sophomore melancholy that connect these two little-known wonders.
So, in short, if you are a fan of great American teen-beat sounds, you have no excuse not to check out the Mystery Meat LP. I would have loved to give the Shadoks reissue a Strong Buy rating, but in light of a $50 price tag and some less than perfect sound-processing I would recommend a test drive before the first down payment.
PS thanks to Luc Wouters for the previously unpublished Dick Leighninger quote.
- review by Patrick the Lama.
One of the rarest and most pricey Saga albums, the Magic Mixture LP is quite pleasing psychedelia in the style of early Soft Machine or the trippy side of Syd era Floyd - pumping electric organ all the way with searing bursts of fuzz guitar in the right places. While none of the tracks stand out as classics, it's not a bad effort at all and you can easily see why this record is much prized in psyche circles - 'Moonbeams' having cropped up as a bonus cut on one of the early Rubble series. However, the real peach is 'Motor Bike Song', and odd-ode to the iron horse, sung with tongue firmly in cheek in a cyderdelic accent, that pops up just in time to break up the all-too-serious freak-out. (written @ vinylvulture)
- (I'm So) Sad
- Urge To Leave
- Slowly The Day
- New Man
- Living On A Hill
- It's Alright By Me
- When I Was Young
- Hey Little Girl
- Tomorrow's Sun
- Motor Bike Song
- Moon Beams
also : http://sharebee.com/77ccfc40
Wednesday, April 25, 2007
4.Buy Or Beware
5.Break Your Token
7.Lords Of The Green Grass
8.Dan The Wing
10.Poet And The Witch
11.Boulders On My Grave
I suppose you all know Mellow Candle's 1972 LP 'swaddling Songs'
for many is considered as the holy grail of Folk-Rock.
Well 'Virgin Prophet' contains early unreleashed songs and demo versions
of songs later re-recorded for the LP. To tell you the truth i prefer
'Virgin Prophet' is far away better than 'Swaddling Songs' the songs are more rough and original here.
Few words about the band now. Mellow Candle were a progressive folk rock band from Ireland.
They weren't an electric band rocking up traditional folk music,
Rather they were all extremely gifted individuals who fashioned a unique brand of music.
an Irish band who mirrored the new progressive folk elements coming across the Irish seas...
Not to mention The SUPERB female vocals -one of two female singers Clodagh Simonds wrote the 'lonely man' at age of 12 (!)-
Well Folk-Rock is not actually my style and i don't consider myself 'into' the folk rock things.
But hey folk-ies .. i believe this doesn't get any better.
Download Link :
Mellow Candle - Virgin Prophet
Monday, April 23, 2007
V.A. - Acid Drops, Spacedust & Flying Saucers
Psychedelic Confectionery from the U.K. Underground 1965-1969
Disc One : Down To Middle Earth
So Much In Love - McGough & McGear
10,000 Words in a Cardboard Box - Aquarian Age
Flower King of Flies - The Nice
Dream on my Mind - Rupert's People
Reputation - Shy Limbs
Vacuum Cleaner - Tintern Abbey
Light of your Mind - The David
I Can Take You to the Sun - The Misunderstood
Dear Delilah - Grapefruit
Shine on Brightly - Procol Harum
Fox Has Gone to Ground - Bamboo Shoot
Armenia City in the Sky - The Who
10000 Years Behind my Mind - Focus Three
Gone is the Sad Man - Timebox
Peter's Birthday (Black and White Rainbows) - World of Oz
Subway (Smoky Pokey World - The Tickle
Meditations - Felius Andromeda
Nite is a Comin' - Warm Sounds
Disc Two : Gandalf's Garden
Flight from Ashiya - Kaleidoscope
The Way - July
Witches Hat - Incredible String Band
Celeste - Donovan
Mind's Eye - Ramases & Selket
Shades of Orange - End
Love - Virgin Sleep
Pools of Blue - Barclay James Harvest
Monday Morning - Tales of Justine
Girl from New York - Billy Nicholls
Red Sky at Night - The Accent
Am I the Red One - Mick Softley
Laura's Garden - Orange Bicycle
Baby Your Phrasing is Bad - Caleb
Magician - Amazingly Friendly Apple
We Are The Moles - Moles
Michaelangelo - 23rd Turnoff
Screams in My Ears - Bill Fay
Disc Three : Mushroom Soup
Granny Takes a Trip - Purple Gang
My friend Jack - Smoke
Imposters in Life's Magazine - Idle Race
Talkin' About the Good Times - Pretty Things
Hurdy Gurdy Man - Donovan
Time Seller - Spencer Group Davis
Say You Don't Mind - Denny Laine
I Can Hear the Grass Grow - Move
See My Friends - The Kinks
LS Bumble Bee - Peter Cook & Dudley Moore
Happenings Ten Years Time Ago - Yardbirds
Green Circles - Small Faces
King Midas in Reverse - The Hollies
Days of Pearly Spencer - David McWilliams
From the Underworld - The Herd
Sky Pilot - Eric Burdon & The Animals
Paper Sun - Traffic
Kites - Simon Dupree & The Big Sound
Disc Four : Roundhouse Ghosts
Colours of My Mind - Attack
Searchin' in the Wilderness - Allen Pound's Get Rich
Father's Name is Dad - Fire
Dr Crippin's Waiting Room - Orange Machine
Model Village - Penny Peeps
Run and Hide - Fairytale
Strange Walking Man - Mandrake Paddle Steamer
When My Mind is Not Live - Status Quo
In Your Tower - Poets
Listen to the Sky - Sands
Octopus - Syd Barrett
The Other Side - Apple
I'm Not Your Steppin' Stone - Flies
Machines - Herbal Mixture
Revolution (phased version) - Tomorrow
You've Got What I Want - Sorrows
Royston Rose - Koobas
Escalator - Sam Gopal Dream
Although perhaps a little too similar to volume two of the highly regarded Nuggets series, Acid Drops, Spacedust, & Flying Saucers, compiled by the fine folks at Britain's (in fact, the world's) finest music magazine, Mojo, is the perfect introduction to the rise and fall of British psychedelia. Rather than chart the influence of British music on its surroundings and colonies (as done by Nuggets) Acid Drops takes an easier route. The Nuggets collection focused on all manner and strains of the old empire's R&B, freakbeat, mod, and psychedelic scenes, whilst Acid Drops dissects and inspects the solely British mutation from beat/pop (signified by the Kinks' quasi-raga "See My Friends") into full-blown psychedelia (from the most commercial to most underground of guises). For the hardened collector and avid fanatic, Space Dust will bring few surprises. There's a hefty weight of British hits and a delve through the type of major-label material that missed the mark at the time but has since become legendary through contributor Phil Smee's '80s psychedelic compilation series, Rubbles, that anyone bitten by the bug will be familiar with. What will make purchase of this -- it must be said, rather cheaply packaged box -- essential is the superior sound quality (all tracks have been remastered at Abbey Road) and the interesting liner booklet, which if not a little skimpy, features a superb essay in which Jon Savage chronicles the evolution and devolution of British music's most quirky, imaginative, and brief of genres.
Alongside the short running time (why the hell have EMI held back to only 18 tracks per CD, whilst Rhino made the effort to fill their Nuggets set to spilling point?) and minor quips, like the edited beginning of the Smoke's tremolo-infused classic "My Friend Jack" and the inclusion of the pretty much non-psychedelic "Granny Takes a Trip" by jug band the Purple Gang, this is still a very decent set which takes into account the different sides of U.K. psych. And as said, although rather preliminary for those seeking new thrills, this holds the very essence of the cause and effect the genre had on the changing face of the British music scene from 1965-1969. Practically none of this music has aged badly, and for some reason, however pompous and ridiculous a lot is, it still sounds as invigorating as the day it was recorded. Timeless.
~ Jon 'Mojo' Mills, All Music Guide
Sunday, April 22, 2007
A blend of folk, blues, jazz, and Eastern psychedelia, 24 Hours is at its best on the more Eastern and experimental influenced pieces like "Pale Shades of Gray" with its eerie melody, "What's the Matter Now," and "Elaborations" with its lengthy raga-ish instrumental with some very effective flute. The album also contains some covers like "Get Out of My Life" and Eric Andersen's "Violets of Dawn" which are just adequate, but their version of "Hey Joe" is exciting.
A Trippy psychedelic album with a unique sound, mixing dream improvisation with west-coast styled garage psych, it’s one of the rarest and best private pressings!
A2 Pale Shades of Gray 4:28
A3 Hey Joe 4:15
A4 Four in the Morning 4:32
A5 What's the Matter Now 2:43
A6 Elaborations 7:14
B1 Riverdawn 3:34
B2 Violets of Dawn 4:31
B3 Locomotive Lamp 3:42
B4 Little Baby 3:01
B5 Sometimes I Wonder 3:48
B6 Get Out of My Life Woman 3:04
An old forgotten gem from the best Psychedelic Rock period, "24 Hours" is the only one Ant Trip Ceremony' album. Back to reality by the Collectables catalogue, the band sounds mesmerizing, hypnotic and complex, mixing acid guitar solos (Steve Detray's courtesy). Sometimes, a vibrant folk flavour appears ("Violets of Dawn" and "Locomotive Lamp"), increasing its unusual Psyc Rock from Utah. The inlay booklet indicates David Crosby (The Byrds) as producer. And a curious cover (Michael Kanarek, a freak sleeve-designer from the old Sixties)with the whole band smoking in a kind of opium pipe)do the rest. Just excellent!!!
Download Link :
( garage/surf )
Followin the tradition of the Trashmen and the Rivieras before them, the Untamed Youth hail from the bounteous midwest region of these United States, and swing forth with the frantically delectable combination of high octane stomp, reverb, shout and soul that powered their heroes. As teenagers, guitar playing Derek "Deke" Dickerson commanded his beloved sidekick Steve "Mace" Mace to play bass, and the two lured local drum legend/school chum Joel Trueblood into the fold, along with organ playing Chris Fletcher to form a combo, which they dubbed UNTAMED YOUTH
Over two decades before the White Stripes and the Hives made 'garage-rock' the new buzz-word, numerous Australian bands were cranking out a raw, high-energy music which had all the elements that the kids are hankering for today. Inspired by two legendary punk-era bands, The Saints and Radio Birdman (who are just about to embark on an extensive European Tour), Australia exploded in the late '70s with literally scores of bands who melded the wild sounds of classic '60s garage-rock and the Detroit rock action of the Stooges and the MC5 into a raw and powerful sound which was unlike anything else in the world. Includes many out-of-print tracks from artists including The Hoodoo Gurus, The Scientists, Lime Spiders, Celibate Rifles, Died Pretty, Lipstick Killers, New Christs and The Hard-On's. The double-CD set features 50 of the greatest tracks from the period, together with a 28-page color booklet featuring extensive liner-notes, numerous rare and unpublished photos and poster / handbill reproductions, and brand new full-color artwork from Radio Birdman's Warwick Gilbert. 2002.
~Amazons product description
CD 2 Part 2
1. Saints, The - (I'm) Stranded 3:30
2. Radio Birdman - New Race (original version) 4:27
3. Psycho Surgeons,The - Wild Weekend 1:51
4. Saints, The - One Way Street 2:57
5. Victims, The - Television Addict 2:56
6. Radio Birdman - Aloha Steve & Danno 3:56
7. Kannis, Johnny - King of the Surf 2:16
8. Radio Birdman - Crying Sun 2:54
9. Hitmen, The - Didn't Tell The Man 2:56
10. Lipstick Killers, The - Hindu Gods of Love 3:19
11. Visitors, The - Living World 2:54
12. Passengers, The - Face With No Name 2:54
13. Saints, The - Simple Love (original version) 3:40
14. Scientists, The - Last Night 2:39
15. Fun Things, The - Savage 2:40
16. Alone With You - Sunnyboys 3:13
17. New Christs, The - Face a New God 4:22
18. New Race - Alone In The Endzone 2:10
19. Hitmen, The - I Don't Mind 2:42
20. Celibate Rifles, The - 24 Hours (SOS) 2:03
21. Sunnyboys, The - Happy Man 3:03
22. Lipstick Killers, The - Driving The Special Dead 3:41
23. Hoodoo Gurus, Le - Leilani (original version) 4:53
24. Hitmen, The - Bwana Devil 3:50
25. Minuteman - Voodoo Slaves 2:27
1. Scientists, The - Swampland 4:09
2. Lime Spiders, The - 25th Hour 3:09
3. Screaming Tribesmen, The - Igloo 4:00
4. Hoodoo Gurus, The - Be My Guru 2:37
5. Lime Spiders, The - Slave Girl 2:50
6. New Christs, The - Like A Curse 3:19
7. Died Pretty - Mirror Blues Pt.1 4:32
8. Screaming Tribesmen, The - Ice 3:39
9. Decline of the Reptiles - Don't Look Down 4:13
10. Eastern Dark, The - Johnny & Dee Dee 3:00
11. Exploding White Mice, The - Burning Red 2:47
12. Hard-Ons, The - Bye Bye Girl 2:00
13. Psychotic Turnbuckles, The - Groove To The Eye 3:27
14. Lime Spiders, The - Out Of Control 3:14
15. Scientists, The - Atom Bomb Baby 3:00
16. Stems, The - Can't Resist 2:33
17. Died Pretty - Stoneage Cinderella 3:15
18. Some Loves, The - Don't Talk About Us 2:35
19. Hard-Ons, The - Girl In The Sweater 2:44
20. Eastern Dark, The - Walking 3:31
21. Celibate Rifles, The - Back In The Red 2:43
22. Philisteins, The - Early Morning Memory 2:11
23. Headstones, The - When You're Down 2:23
24. Stems, The - At First Sight 4:04
25. New Christs, The - I Swear 3:08
Saturday, April 21, 2007
Grateful Dead - Ladies and Gentlemen ... The Grateful Dead
4 CD Live box set @256
1. "Truckin'" (Robert Hunter, Jerry Garcia, Phil Lesh, Bob Weir) – 10:13
2. "Bertha" (Hunter, Garcia) – 6:27
3. "Next Time You See Me" (Frank Forest, William G. Harvey) – 4:23
4. "Beat it on down the Line" (Jesse Fuller) – 3:35
5. "Bird Song" (Hunter, Garcia) – 9:18
6. "Dark Hollow" (Bill Browning) – 3:31
7. "I Second That Emotion" (Al Cleveland, William Robinson) – 5:22
8. "Me & My Uncle" (John Phillips) – 3:39
9. "Cumberland Blues" (Hunter, Garcia, Lesh) – 5:19
10. "Good Lovin' > Drums > Good Lovin'" (Rudy Clark, Arthur Resnick / Bill Kreutzmann) – 23:08
1. "Sugar Magnolia/Sunshine Daydream" (Hunter, Weir) – 5:48
2. "Loser" (Hunter, Garcia) – 6:58
3. "Ain't It Crazy (The Rub)" (Lightnin' Hopkins) – 5:36
4. "El Paso" (Marty Robbins) – 5:34
5. "I'm A King Bee" (Slim Harpo) – 8:27
6. "Ripple" (Hunter, Garcia) – 5:15
7. "Me & Bobby McGee" (Fred Foster, Kris Kristofferson) – 6:16
8. "Uncle John's Band" (Hunter, Garcia) – 6:06
9. "Turn On Your Lovelight" (Deadric Malone, Joseph Scott) – 22:18
1. "China Cat Sunflower" (Hunter, Garcia) – 4:52
2. "I Know You Rider" (trad., arr. Grateful Dead) – 6:07
3. "It Hurts Me Too" (Elmore James, Marshall Sehorn) – 6:46
4. "Sing Me Back Home" (Merle Haggard) – 10:03
5. "Hard to Handle"(Alvertis Isbell, Allen Jones, Otis Redding) – 9:24
6. "Dark Star" (Hunter, Garcia, Mickey Hart, Kreutzman, Lesh, Ron McKernan, Weir) – 13:55
7. "Saint Stephen" (Hunter, Garcia, Lesh) – 6:06
8. "Not Fade Away" (Buddy Holly, Norman Petty) – 3:31
9. "Goin' down the Road Feelin' Bad" (trad., arr. Grateful Dead) – 6:27
10. "Not Fade Away" (Holly, Petty) – 3:30
1. "Morning Dew" (Bonnie Dobson, Tim Rose) – 10:29
2. "New Minglewood Blues" (trad., arr. Weir) – 4:23
3. "Wharf Rat" (Hunter, Garcia) – 9:19
4. "Alligator" (Hunter, McKernan, Lesh) – 4:04
5. "Drums" (Kreutzman) – 4:11
6. "Jam" (Grateful Dead) – 9:32
7. "Goin' down the Road Feelin' Bad" (trad., arr. Grateful Dead) – 4:55
8. "Cold Rain & Snow" (trad., arr. Grateful Dead) – 5:47
9. "Casey Jones" (Hunter, Garcia) – 6:25
10. "In the Midnight Hour" (Steve Cropper, Wilson Pickett) – 9:49
11. "And We Bid You Goodnight" (trad., arr. Grateful Dead) – 3:55
* Jerry Garcia - lead guitar, vocals
* Bob Weir - rhythm guitar, vocals
* Phil Lesh - bass guitar, vocals
* Ron "Pigpen" McKernan - harmonica, organ, percussion, vocals
* Bill Kreutzman - drums
* Tom Constanten - organ (disc 3, tracks 6-10)
* David Lemieux - Compilation producer, tape archivist
* Bob Matthews - Engineer
* Betty Cantor-Jackson - Engineer
* Rudson Shurtliff - Assistant engineer
* Dick Latvala - Tape archivist
* April 25, 1971 - Disc 1, tracks 3-4, 7 & 10, Disc 2, track 1, Disc 3, tracks 1-2 & 4
* April 27, 1971 - Disc 2, tracks 8-9, Disc 4, track 9
* April 28, 1971 - Disc 1, tracks 5 & 8-9, disc 2, tracks 2-5 & 7, Disc 3, tracks 6-10, Disc 4, track 3
* April 29, 1971 - Disc 1, tracks 1-2 & 6, Disc 2, track 6, Disc 3, tracks 3 & 5, Disc 4, tracks 1-2, 4-8 & 10-11
(First, Unrar part 1.....separately)
Mr. Fox was a septet formed in 1970 by Bob Pegg (vocals, guitar, bass, keyboards) and Carolann Pegg (then known as Carole Pegg) (vocals, fiddle).
Contemporaries of Steeleye Span and Fairport Convention, Mr. Fox was unusual in that they avoided relying on electric guitars and their music's deep origins in the folklore of the Dales. Mr. Fox, whose other members were Alun Evans (drums), Barry Lyons (bass, dulcimer), Andrew Massey (cello), John Myatt (winds), Richie Bull (banjo), and Nick Strutt (multiple instruments), started out with a self-titled debut album on Transatlantic that generated a massive amount of enthusiasm and controversy, over their mix of traditional folk forms and experimental touches in the rhythms and other embellishments. They were serious rivals to acts like Steeleye Span for a time, especially upon the release of their second album, The Gipsy, which featured a smaller line-up and a more experimental approach to their material. Multi-instrumentalist Nick Strutt, in particular, was heavily showcased along with the Peggs on that album. This was to prove their last album, however, as the group splintered soon after. Bob Pegg and Carolann Pegg cut one album together on the Trailer label in 1971, and later emerged on separate solo albums on Transatlantic. ~ Bruce Eder, All Music Guide
Download Part 1: http://rapidshare.com/files/27053724/mrf1.rar
Download Part 2: http://rapidshare.com/files/27064327/mrf2.rar
Wednesday, April 18, 2007
(Eborp SS 21396) @320
02 Livin' In The U.S.A.
03 Two Roads In The Night
07 Rock Me
08 Sweet Dream
John Furland bs, vcls
Henry Lamarca drms, vcls
Dave Nelson gtr, vcls, hrmnca
Mike Olson gtr, organ, vcls
This is pretty amateurish stuff, and falls into a category somewhere between Bachs/Mystery Meat garage and post-Iron Butterfly hard rock. There's lots of organ and wah-wah, phased drums, an energetic Steve Miller cover, a definite soul influence, and harmonies that don't quite cut it. The best thing about the album is the interplay between the lead guitar and the eerie-sounding organ. None of it is played particularly well, but the spirit is cool in a youthful way and the songs aren't bad. Best song: "Two Roads In The Night," which has a memorable guitar hook, varying speeds and a tricky chord progression. The songs are surprisingly complex; they have ambitions beyond their chops. "Direction" has its faults, but overall it's one of the more enjoyable albums of its style. A long bluesy cover of "Rock Me" is regrettable, though. Recommended to people who like prep rock but wish it was heavier. [AM]
Bread'n'butter local basement longhairs who probably played high schools and clubs in their home-town without aspiring to a high level of artistry. The vibe is post-psychedelic, rootsy bluesy in parts, proggy hardrock in parts. Setting is typical guitar/organ interplay, with some surprisingly sophisticated jazzy guitarwork that doesn't quite gel with the bonehead feel of other parts of the LP; good old local LP idiosynchracy in other words. The vocals tend to fall in the unfortunate soulful macho style of the era which keeps this from attaining the full teenage realness of albums like Top Drawer or the Rockadelic roster. All over a difficult album to knock, but equally difficult to find reasons for people to pick up, unless they have some personal memories attached to the scene. Probe released this to get gigs and delight friends and family, and apart from the excellent "Two Roads", the "Direction" trip doesn't really extend beyond those humble ambitions. The small press size has been reported by the band. [PL]
Our hope and expectation is to create an organic self-managed festival open to new ideas and expressions. An autonomous creative space where everybody will come and contribute according to his/her ability in celebrating our right for total freedom, self-determination and dignity, and contribute in spreading the truth. This is why we ask for your hands-on support with ideas and practical help.
So volunteers are more than welcome... Send an email to iliosporoi(at)yahoo(dot)gr to get onboard and follow the preparations
All big greek Dub, Reggae Drum & Bass, ++++ bands like Attiko Minus, One drop etc will participate
and the big name will be
LEGALISE PROTESTIVAL LINE UP
19.00- 20.00: THC SOUNDSYSTEM (DJ set)
20.00- 20.50: RADICAL GEE and the Moving Target (LIVE)
21.00- 22.15: PALYRRIA (LIVE) (former avaton)
22.30- 00.00: ZION TRAIN sound system (UK) (LIVE)
00.00- 01.15: PROFESSOR SKANK (LIVE)
01.30- 03.00: DIRECT CONNECTION (LIVE)
03.00- 04.30: FUNXION (GR) + COMPLEX (CH) (DJ set+ MC)
04.30- 06.00: GALACTIC DICE (DJ set)
06.00- 08.00: SOTOKKAN + LO-FI (DJ set)
18.00- 19.00: RASTAYOUTH (DJ set)
19.00- 20.00: ANTIKSOES PARAGOGES (LIVE)
20.00- 21.00: ATIKO MINUS (LIVE)
21.00- 22.00: KAKO SYNAPANTIMA (LIVE)
22.00- 23.15: ANNA MYSTIC (DJ set) & AFRICAN SIMBA (UK)
23.15- 00.15: 63 HIGH (LIVE)
00.15- 01.30: LOCOMONDO (LIVE)
01.30- 03.00: ONE DROP (LIVE)
03.00- 05.00: PETROS FLOORFILLER (DJ set)
05.00- 07.00: IRAKLIS MINDPHASER (DJ set)
07.00- 08.00: CRYSTAL ZERO & SISSY STARDUST (DJ set)
Joggling and acrobatics cannabis show, Creation of a 30m comic from the crew of GALERA magazine and the contribution of the public
Graffiti show from aLeda Graffiti crew (free canvases, bring your own spreys)
Exhibition of cannabian comics from Giorgos Konstantinou (Cañamo magazine, Catalonia)
"Traveling with human joy" Photographic projections from the photoreporter Maro Kouri
Live Art performance from the painter Giorgos Tzannes
PropaGanja Visuals from Void Optical Art Laboratory
Chai shop and chill out area with conversations and acoustic music
Bar and slow food> biological products, honey, fruits, herbs, mystic pizza
On Saturday (5.5) morning 12.00 >
Meeting of the peoples global action (PGA) network, information on the history and future actions against the next G8 Summit, tools of the network
*pga infopoint athens contact: autonomous-infopoint(at)lists.riseup.net - autonomous_gr(at)riseup.net (greek)
*install autonomy collective berlin -pga infopoint contact berlin-info(at)lists.riseup.net (english-german)
anti-biotech workshop, on the framework of the campaign against the biotechnology of dominanceantibiotec_resistance(at)lists.riseup.net
Tuesday, April 17, 2007
01 One Tin Soldier
02 Mr. Monday
03 Country Song
04 A Picture Of Bob Dylan
05 Nothing Can Touch Me
06 Leaving it All Behind
07 Watch The Children
09 Sweet Chicago
10 Live For Tomorrow
11 Come Together*
12 Ain't That Tellin' You People*
13 When Love Is Near*
14 Come Together (Live)*
* bonus tracks
The Original Caste. The five-member band grew out of the Calgary folk trio The North Country Singers, formed in 1966 by songwriter and guitarist Bruce Innes (b Calgary 7 Jan 1943). They moved to Vancouver and added the singer Dixie Lee Stone (b Moose Jaw, Sask 14 May 1946), who married Innes. After playing western Canadian and US coffeehouses and resorts, in 1969 they signed with Bell Records, adopted a pop sound, and changed their name to The Original Caste. Their first release with Bell was the 1969 pop LP The Original Caste (Bell TA 5003), from which the moralistic tale "One Tin Soldier" (written by US producers Dennis Lambert and Brian Potter) became a No. 1 gold record in Canada and Japan, was No. 1 in several US cities, and reached No. 34 on the US Billboard charts in 1970. Also from this album, "Mr Monday" hit No. 3 on the CHUM charts in May 1970, was No. 1 in Japan, and sold over 2 million copies.
At their peak, the band was based in Los Angeles. They toured North America and Japan, performed with Glen Campbell and B.B. King, and made television appearances, including on Denny Doherty 's CBC TV show in 1978. Additional releases included several singles 1970-1, which fared less well, and two Live in Japan albums (Bell 1971). After the band's dissolution in 1972, Bruce and Dixie Lee Innes continued to perform as The Original Caste, releasing the country-influenced album Back Home (Century II/Capitol ST 17004, 1974), arranged by Tommy Banks and recorded in Alberta. Bruce Innes continued to perform under the band's name through the early 2000s.
"One Tin Soldier" was given a BMI award. A cover version performed by the US band Coven was featured in the 1971 film Billy Jack. In 2003 CHUM radio banned The Original Caste version and other anti-war songs, despite its having reached No. 1 on the CHUM chart in December 1969.
The Original Caste's trademark early sound was polished, uncomplicated pop, made remarkable by Dixie Lee Innes's rich, strong voice and heartfelt delivery. The band was among the earliest Canadian pop groups to be heard internationally.
Author Betty Nygaard King ~www.canadianencyclopedia.ca
A good friend of mine traveled for work to Botswana for six weeks, and I told him if he saw any cool African psych vinyl while he was there... grab it! A few days ago I received a package in the mail- in it, a postcard, which read: "I searched high + low for African psychedelia but everyone keeps telling me the records are almost all gone. I did speak to a knowledgeable bloke in a hipster record store in Cape Town who recommended these two reissues of South African rawk." The package also contained two CDs- "Galactic Vibes," by Freedom's Children; and "Africa She Too Can Cry," by Hawk. An awesome gift, to be sure. Dan, you're a prince among men. THANKS.
So then- Hawk (AKA JoBurg Hawk, on some pressings). It's a pretty damn cool listen, and one that had completely slipped beneath my radar. A concept album about the exploitation of Africa's natural resources and the bigotry and intolerance of the political climate, the songs are mostly well-written intelligent 70s rock with the occasional nods to African music (i.e., hand percussion, chants, unison female vocals), often creating a hybrid sound that's very distinctive. The singer's voice is also a delight- it might put a few listeners off but I love it: A throaty double-tracked Cat Stevens with a fast vibrato, and somehow he sounds genuine enough to pull off the ocassionally very preachy lyrics (often written as mournful apostrophes to the continent: "oh Africa what has been done to you?" etc. etc.). There's also a progadelic side-length suite that moves through a number of moods, getting more and more inspired as it proceedes. Overtly about an elephant hunt, the allegorical message shouldn't be that hard to decipher.
Get the album HERE.
On-line liner notes HERE.
Monday, April 16, 2007
This is a soft psych album (produced by Lelan Rogers).
There are flutes, harpsichords, falsetto backing vocals, and occasional garish orchestration. The arrangements are certainly creative and elaborate, though word has it that the original mix is more colourful than the more commonly available version. “Sitting on a Flower,” which sports unexpected chord changes and punchier guitar than the rest of the album, and the long, drony “Pictorial” are probably the best songs. The band had an excellent non-LP 45 in a different style from the LP and were related to legendary garage bands the Mind's Eye, Argyles and Stoics. The Gear Fab reissue has a ton of interesting bonus tracks from their various incarnations before and after this album.
Download Links :
The link between the classic Canterbury Scene of the '70s and the D.I.Y. psychedelic pop scene of the '90s, Todd Dillingham is a one-of-a-kind artist. Equally capable of writing concise, catchy little pop songs, twisted psychedelic explorations, and sprawling prog rock improvisations, the North London resident is like a one-man combination of XTC, Robyn Hitchcock and the Egyptians, and the Bevis Frond. Remarkably, for a one-man band who plays almost all of the instruments on his records, Dillingham came late to music, not recording his first songs until he was already into his thirties. His first album was a limited-edition self-released cassette, 1989's Stalking the Wily Chub, with a homemade cover designed by his brother, music journalist and psychedelic poster artist Mick Dillingham. (Dillingham has something of an obsession with fish, which regularly appear in his album titles and cover art.) Brother Mick took an even more active role in Dillingham's next project, the Bizarrdavarks, a trio featuring the brothers and Bevis Frond mastermind Nick Saloman that placed two tracks on 1990's Woronzoid, a double-album compilation on Saloman's Woronzow label. Saloman and Mick Dillingham also appeared on Dillingham's next recording project, the Saloman-produced Art Into Dust, which was supposed to appear on Woronzow in 1990 but was shelved, eventually appearing on the Voiceprint label in late 1992 with the addition of one later track, a nearly half-hour jam on Pink Floyd's classic "Interstellar Overdrive." Dillingham's association with Voiceprint, a label associated with the '70s Canterbury Scene spearheaded by the Soft Machine and Hatfield and the North, began in 1991, when Caravan LEGEND Richard Sinclair invited Dillingham to record an album with himself, drummer Andy Ward (Camel), and reedman Jimmy Hastings (Caravan, Soft Machine, National Health). The resulting Wilde Canterbury Dream received rapturous reviews among prog rock diehards, but Dillingham's next two releases were a pair of more immediately accessible psychedelic pop EPs in the style of XTC's Dukes of Stratosphear side project: the Norwegian release A Dash of Haddock (1993), and the German release Arthur Woodcote (Is His Name) (1994). Dillingham's next two albums, both released in 1994, re-emphasized the prog side of his musical personality, although the live Radio Session included a few '60s-style freakbeat rave-ups as well. Vast Empty Spaces (produced by Peter Giles of the legendary Giles, Giles, and Fripp) marked a reunion with Ward, with Curved Air's Mike Wedgewood and Anthony Alridge of the jazzy and eccentric Skaboosh! contributing bass and violin, respectively. With the exception of occasional extended improvisatory workouts, Dillingham then retreated from progressive epics into a marginally simpler and considerably poppier form of psychedelic pop. The self-released Astral Whelks, which included contributions not only from Ward but Ward's Chrysathemums bandmate, Yukio Yung, was the first evidence of this new focus, but it was 1995's Sgt. Kipper, with its priceless cover portraits of Dillingham, Yung, and Ward in Sgt.Pepper-style satin outfits, that delivered Dillingham's most consistently poppy and groovy set of tunes.
Todd DILLINGHAM - Art Into Dust, 1993 (Voiceprint) [CD]
Todd Dillingham (voc/g)
with Andy Ward (d) - Nick Saloman - Mick Crossley
Rec: unk - Loc: Saffron Walden / Elevator, London - Pr: Nick Salmon, Mick Crossley, Todd Dillingham
1. Little Visions
- 2. Girl Of The Scene
- 3. You Don't Mind
- 4. Art Into Dust
- 5. Celebration Bonfire
- 6. It Really Matters
- 7. Never Want To See You
- 8. Fading (Just For You)
- 9. Fine Time/No Time
- 10. African Device
- 11. Fly
- 12. Crabs Advancing
- 13. Luminous Glow
- 14. Green Pears
- 15. Am I Alone?
- 16. 24 Min. Bonus
Todd Dillingham (voc/g)
with Richard Sinclair (b/g/bv) - Andy Ward (d) - Jimmy Hastings (s/fl) - Nicky Leigh (g) - Tony Green (b) - Vani Har (d)
Rec: Oct 1991-Feb 1992 - Loc: Astra Studios, Kent - Pr: Todd Dillingham, Richard Sinclair & Andy Ward
1. Shy My Dear
- 2. Light
- 3. The Little Box
- 4. I Wonder Why
- 5. Hurt
- 6. Mentail (Beneath My Feet)
- 7. The Time Is Here
- 8. Link
- 9. Little Orphan
- 10. Glad
- 11. Catching Where They Live
- 12. Multodnes
- 13. Fading (Just For You)
- 14. I Wait For
- 15. I'm Phasing
- 16. African Device
- 17. Our World
- 18. It's Hell
- 19. Stalking The Wily Chub
- 20. Inner Grove
Dion McGregor (1922 - 1994) was an New York-born songwriter, whose main claim to fame is that he was a voluble dreamer, or somniloquist.
As a songwriter, McGregor's biggest success came when his song "Where Is The Wonder" (cowritten with room mate Michael Barr) was recorded by Barbra Streisand on her hit album My Name Is Barbra (1965). He was unable to find much success afterwards, however, and by the 1980's had given up on songwriting. Critic Joslyn Layne writes that "Despite his lack of success as a song lyricist, McGregor's narration of his vivid dreamlife provided a more unique artistic contribution than any usually recorded."
McGregor talked in his sleep. Not in quiet, barely-comprehensible mumbles; while he slept, McGregor would essentially narrate his dreams at conversational volume. As a narrator of his (often terrifying) dreams, Dion adopted various personas but frequently established a fey, argumentative, insolent approach to the subject at hand – be it a hot air balloon trip to the moon with a group of multi-ethnic children, a frantic journey around New York, or a tattooing job on a woman's tongue. As Phil Milstein notes, the Tzadik LP could just as well be called Dion McGregor Screams Again, as most of McGregor's dream narratives end with him shrieking in terror.
An LP of his dream diatribes – The Dream World Of Dion McGregor (He Talks In His Sleep) – was even released to minor acclaim by Decca Records in 1964. A book of the same name, containing the transcipts of a wider selection of McGregor's dreams, and with illustrations by Edward Gorey, was also published in 1964.
McGregor died in 1994, but researcher Phil Milstein gathered recordings of McGregor's dream-speech considered too risque to be released in the 1960s and assembled them for the 1999 album, Dion McGregor Dreams Again, released on Tzadik Records. A third album, The Further Somniloquies of Dion McGregor: More Outrageous Recordings of the World’s Most Renowned Sleeptalker was assembled by Toronto poet Steve Venright and released in August 2004 on the Torpor Vigil Industries label
2 Our town
3 The gift
4 The diet
6 The mogul
7 Swimming pool
8 Mustard battle
9 Dear uncle
10 The operation
Sunday, April 15, 2007
This is a very special post: it's from David John Herrera, the original guitarist of the legendary Cheepskates. After the Cheepskates post, David sent to this blog his only solo LP, released back in 1989, along with some really informative notes about it.
A Handout From A Cheepskate LP
I produced the album and it was recorded between Febuary of 1987 and December of 1988 at Dubway Studios in Manhattan. Al Houghton was the engineer.
Since I was the original guitarist of the Cheepskates, the album was titled: A Handout From A Cheepskate.
Orin Portnoy played bass in the Outta’ Place, and the Optic Nerve. Bob Baker was a drummer I met at Dubway studios. Elan Portnoy played guitar in the Fuzztones, the Headless Horsemen, and the Lords of the New Surf. Jon Weiss was the lead singer of the Vipers. Dino Sorbello was the guitarist of the Mad Violets, and the Blacklight Chameleons. Tony Matura played guitar and sang in the Optic Nerve. Bobby Belfiore also played guitar and sang in the Optic Nerve. Christian was a Swedish fellow I met in the summer of 1988. I never did get his last name, but he played a mean blues guitar. Mike Miraconda was the guitarist for the Raunch Hands. Michael Chandler was the singer for the Outta’ Place, and the Raunch Hands. Grec Pekorsky was the guitarist for a garage/psych band from Pittsburgh named Uncle Sydney. Shane Faubert was the singer/organist of the Cheepskates. Steve Marshall was the owner of Libra Studios where the Cheepskates first rehearsed. Sandy Vogel was a blues singer and my girlfriend at the time.
I wrote all of the tunes except the following:
“Mayfair” is an Optic Nerve tune that was written by Tony Matura. It was always my favorite tune of theirs (still is), and once in a while I would drum for their band.
“Credit Card” and “Yesterday’s Night” were written by Jackson Weir III.
“I Don’t Want You To Go” is a Horrible Flowers tune that was written by Jackson Weir III and Paul (Cliff Hanger) Wilkerson. The Horrible Flowers was a band that I was in (as a bass player) before the Cheepskates. We were a post punk psychedelic band out of Hollywood and briefly toured the Midwest in the summer of 1982 before I left the band. Jackson Weir III (the guitarist) played with 391, Seizure, and Rik L Rik. Cliff Hanger was one of the first drummers of the Germs. Both he and Jackson are now deceased and the album is dedicated to the memory of the two of them.
1- One story high
2- Another lie
3- Some folks
4- Frog booth
5- Your chance
7- Hard to find
8- Out that door
9- Credit card
10- The fall
12- I don't want you to go
13- Yesterday night
This is the only review (in english) I could find on this LP - it's on rocknrollradio.org : An anomaly on New York's garage-rock scene: when most of their peers were scouring exurbia for vintage paisleys and vinyl, this low-key quartet was creating some of the most carefully crafted pure pop to escape from those Seed-y halls!
I can't resist to add some notes myself:
This LP came out in 1989 on Midnight Records, and contains 9 originals written by D.Herrera and 4 tunes written by his friends. As you may noticed if you read the names in David's notes, the musicians in this record are the cream of the NYC garage scene: members of the Optic Nerve, the Fuzztones, the Headless Horsemen, the Mad Violets, the Blacklight Chameleons and others. More on the NYC scene you can read here. David John Herrera has a great web site, with much more info about Cheepskates.
I din't want to go in a track-to-track description, but here are a few notes, just to get you curious:
Some Folks - rock'n'roll with odd vocals.
Frog Booth begins with tribal rhythm from the bass of Orin Portnoy and the drums of Bob Baker and a slow surf riff, then Jon Weiss's sax hovers above and a psychedelic guitar takes the lead and lifts the whole track for a short flight.
Hard To Find & I Don't Want You To Go - These come as close as it can get to the first two Cheepskates' LPs, a bit wilder guitar in "Hard To Find" and Shane Faubert's organ in "I Don't Want...".
The Fall - A streight blues with some fine slide guitar from Mr.Herrera (in fact he plays all instruments in this track - and sings too).
As David Herrera wrote, this LP is long out of print and there's no chance for a re-release.
You can visit D.Herrera in myspace.
Thanks David for your offer.
Saturday, April 14, 2007
Friday, April 13, 2007
Forever Amber must have worn out the grooves on their copy of the Zombies' Odessey and Oracle. Their rare 1969 LP, The Love Cycle, emulated the late-period Zombies rather well with its classically influenced melodies and careful harmonies
Probably the best private-press $1000+ LP from the UK, a Psychedelic Pop gem.
One of the most highly sought – after artefacts of the British Psychedelic area, having started life as The Country cousins, changed their name to the more evocative Forever Amber in response to shifting musical tide of 1967.Chris Parren – art student and keyboard player – was responsible for designing the sleeve for the band’s sole album, manufactured in a total quantity of 99 copies in order to avoid tax. The love Cycle was the brainchild of undergraduate john M. Hudson, an aspiring Brian Wilson style pop auteur who wrote the entire set, co produced it and also helped out on piano and harpsichord.
Bearing in mind the limitations of the set up – the six piece Forever Amber semi professional status, their extreme youth, the fairly makeshift studio facilities- The Love Cycle was a ludicrously ambitious work. The album featured non less than five lead vocalists over its 16 cuts, which ranged from ornate, Left Banke-leaning harpsichord based pop to full-blown psychedelic freak out.
The overall effects is akin to a low-budget garage band version of Zombies masterpiece Odyssey and Oracle, and would have been a notable achievement for a major label act.
Download Link :
Pittsburgh's Cynics have matured a great deal, musically speaking, in the decade they have been around, and it's a tribute to guitarist Gregg Kostelich and singer Michael Kastelic that the group's '60s garage/punk/folk/psychedelic visions of tender love and hard breakups has endured. Utilizing a revolving lineup of bassists and drummers, Kostelich and Kastelic have released five genre-spanning albums on Kostelich's own indie-wunderkind label, Get Hip
by Matt Carlson AMG
1. You got the love
2. Close to me
4. Took her hand
5. Waste of time
6. No friend of mine
7. Now i'm alone
8. Blue train station
9. On the run
10. Business as usual
11. Brother the man (from screaming apple out-of-print single non-album track)
12. Baby, what's wrong
13. Way it's gonna be
14. Get my way
15. Girl, you're on my mind
18. Blues in d
19. I got you babe (from sonny bono tribute album)
20. What you get
21. Get away girl
22. No way
23. Love me then go away
24. Cry, cry, cry
Each and every CYNICS release is a passage into the depths of simple, heartfelt punk rock. It should be noted that their live perfomances are more effective than their vinyl. A bit harder rock sound began to creep into bands style as the 90s dawned. But with their '94 album Get Our Way they proved they haven't forgotten any of
their influences and once again you hear incursions into Garage, Punk, Folk-Rock and even Psych (with surprising farfisa and theremin parts in a couple songs).....On the LATEST Record "Living is The Best Revenge" , the Title Track speaks for itself and the Live Band is Better than Ever!!!!....
Please check out the video of The Cynics! This video was originally aired for several months on MTV in 1990 / 1991, and now available on The Knights of Fuzz DVD
As an added note, I have known Gregg and Michael for 20 years now, and am glad to have the chance to create this space for them. Gregg, Michael, Steve Magee, and Beki Smith, were the first members I met. From 1987 to today, the nucleus of Gregg Kostelich and Michael Kastelic have maintained the energy, excitement, and impetus behind what continues as The Cynics today. I am very glad to know these guys, and am proud of their history in the
music business. They remain in the forefront of Garage Rock by far.
Mark Jerson 2006
Download It Here :
Wednesday, April 11, 2007
Get it HERE.
The album "Vurulduk Ey Halkim Unutma Bizi" is a far more traditionally folky and mellow affair (file under "World")- I think there's only electric instruments on two of the tracks. This album also includes more folk cuts from earlier (1971-1973) singles as bonus tracks. This one just went over 100MB so I had to split it.
Get part 1 HERE and get part 2 HERE.
Tuesday, April 10, 2007
Monday, April 09, 2007
A1 Pavan for My Lady 2:45
A2 General Clover Ends a War 2:12
A3 And How Am I to Know 4:45
A4 Album in Your Mind 3:01
A5 Zarathustra 3:30
B1 Fields of People 2:52
B2 Automatic Love 4:06
B3 I Wrapped Her in Ribbons 2:18
B4 Song of the City 2:08
B5 March of the Mad Duke's Circus 3:17
Ars Nova's sole release was intermittently intriguing eclectic psychedelic rock with a slight classical influence, as well as some unusual instrumentation in the bass trombone of lead singer Jon Pierson and the trumpet and string bass of Bill Folwell. The songs — often linked by brief interludes — are a mixed bag, though, that seem to indicate a confusion over direction, or a bit of a psychedelic throw-in-everything-but-the-kitchen-sink approach. There are haunting tunes with a folk-rock base and a faint Renaissance ballad melodic influence, jaunty narratives with a vaudevillian air that bear the mark of then-recent albums such as Sgt. Pepper's Lonely Hearts Club Band, and harder-rocking period psychedelic tracks with a bent for unpredictable bittersweet progressions and vocal harmonies. It's unusual, and in some senses attractive. But to be less charitable, there's a sense of listening to a generic psychedelic band that sounds better than many such acts mostly by virtue of benefiting from Elektra's high-class production, here handled by Paul Rothchild of Doors fame. Put another way, the songs themselves aren't as good as their arrangements. "Fields of People," about the best of those songs, might be the most famous one here due to getting covered in an elongated treatment by the Move, who did a better job with it than Ars Nova.
With this LP, I guess it really depends on what you're into. If your looking for a heavy psych/rock masterpiece...don't go here! This is a very unique album by a very unique band formed in New York. It's made up of so many different musical styles ranging from Jefferson Airplane late 60s psych to almost medieval troubadourian dansa's or balada's. The term 'Ars Nova' pertained to a period in French medieval history, in the early 14th century. Translated it means 'new art or technique'. Listening to this LP is like a freaky acid trip back to that time! The band employs such a variety of instruments, you never know what you'll hear next. From psyched out distorted guitars, to banjos and bells, brass and classical instruments... really it's pretty amazing stuff! The music is quite varied throughout. It was originally released on the 'Elektra' records label in 1968, and I feel it's light years ahead of what anyone else was doing at the time, with the exception of maybe 'East of Eden' over in the UK. Paul A. Rothchild produced it, and you may recognize his name from the back covers of LPs by 'The Doors', 'Love' and 'The Stooges'.
Download Link :
Sunday, April 08, 2007
Solo album from one of the two masterminds behind the incredible Incredible String Band. This is a schizophrenic album to be sure, combining good-natured rockers with weird-yet-accessible avant-folk. The album opens with a killer one-two punch: the first cut is the dynamite soul-rocker "Call Me Diamond," which is followed by the wistfully loping "Flowers of the Forest," whose hook (the "deep is the river running through my life" part) is the best little melody Cat Stevens never wrote. After that we drop into "Very Cellular" territory for a couple of tracks, where we can enjoy weird modal melodies and raga excursions before returning to rock with "Warm Heart Pastry," where Heron's backing band is... The Who! It's a great song (with lyrics as questionable as the Stones' "Brown Sugar"), but Heron sounds a little overwhelmed by the musicians playing behind him, though my jury's still out on whether or not he's outclassed by his bandmates or just mixed too low. Then there's "Beautiful Stranger," which melds ISB-style verses with rousing rock choruses. And then... oh heck, just listen to it already!
*** QUALITY ALBUM ***
Get it HERE.
Saturday, April 07, 2007
I love how the members of Hawkwind are always so grimy in their photos. It's the sort of grungy look you can only get by rolling around in a field all day because you're tripping--- which is something I suspect Hawkwind did quite a bit of. Someone said "more Hawkwind" at some point recently, so I thought I'd put this little treat in everyone's Easter basket.
Get it HERE.
Friday, April 06, 2007
01- Time will show the wiser
02- I don't know where I stand
03- If [Stomp]
05- Jack O'Diamonds
07- Chelsea morning
08- Sun shade
09- The lobster
10- It's alright Ma, it's only witchcraft
11- One sure thing
12- M1 Breakdown
13- Suzanne (Bonus)
14- If I had a ribbon bow (Bonus)
15- Morning glory (Bonus)
16- Reno, Nevada (Bonus)
Get this here:
02- Daughter Daughter
03- Old John Parker
04- I Am No More
05- Ballad Of Francis Albadalejo
06- Spinning Wheels Of Time
07- Romeo Jack
08- Mid Winter
09- Shades Of Grey
10- Emily Thru The Window Payne
11- Sea & Sand
12- Seven O' Clock Hymn
13- Seven O' Clock Hymn (Live-Bonus)
Get this here:
Thursday, April 05, 2007
2 The Drones - I'm Down Today
3 The Shademen - That's Tuff
4 The Untamed - Someday Baby
5 Peter & The Wolves - Hey Mama
6 Peter & The Wolves - I Can Only Give You Everything
7 Society's Children - Mr. Genie Man
8 The Heathens - The Other Way Around
9 The Legends - Alright
1 The Undertakers - Unchain My Heart
2 The Opposite Six - I'll Be Gone
3 The Purple Underground - Count Back
4 Trees - Don't Miss The Turn
5 Ray Columbus & The Art Collection - Kick Me
6 The E-Types - Put The Clock Back On The Wall
7 The Bad Seeds - All Night Long
8 The Del-Vetts - Last Time Around
9 The Grains Of Sand - She Needs Me
1 M.G. & The Escorts - A Someday Fool
2 The Wrong Numbers - I'm Gonna Go Now
3 The Glas Menagerie - Mod Threads
4 The Cave Men - It's Trash
5 The Treez - You Lied To Me Before
6 The 3rd Evolution - Don't Play With Me
7 Kinetics - I'm Blue
8 The Fallen Angels - Bad Woman
9 Powered By Love - Powered By Love
1 The Liverpool Set - Seventeen Tears To The End
2 The Triumphs - Lovin' Cup
3 The Little Boy Blues - The Great Train Robbery
4 The Little Boy Blues - I'm Ready
5 The Sound Barrier - Hey Hey
6 The Deverons - On The Road Again
7 The Omens - Searching
8 The Deepest Blue - Pretty Little Thing
9 The Decades - I'm Gonna Dance
Download vol1 Download vo2
Self-titled, unofficial compilation disc that steals its cover shot from El Loco - Los Dug Dug's website
01 - La Gente
02 - El Loco
03 - I Got My Emotion
04 - Lost In My World
05 - Eclipse
06 - Felicidad
07 - Ya Te Deje
08 - Cambia Cambia
09 - Al Diablo
10 - Lets Make It Now
11 - Smog
12 - Timido
13 - Brillo De Sol
14 - Donda Esta A.N.
15 - Voy Hacia El Cielo
"Boy do we love this band. An old, old favorite -- in more ways that one, since these guys hail from the '70s. When we first discovered 'em a few years back (via their track on the Love Peace & Poetry: Latin America compilation) and then got their albums on cd, we were like, why aren't they famous? Well, perhaps they are (or were?), in Mexico. Los Dug Dugs are, for us, a perfect blend of rock n' roll things we love: garage rock, psych-pop, power-prog. Lotsa cowbell, fuzz guitar, and flute, yes flute... Part Tull, part Beatles, part Kinks, part Kiss...pretty darn kick ass really." - Aquarius Records
"Long story shorter, the group began making a name for itself as teenagers playing the strip in Tijuana in 1966. They picked up a few gigs across the border in the States, and smuggled the sounds of American and British rock and roll back with them. The influence of outsider music went beyond simply chords and attitude--Los Dug Dug's also adopted the English language, becoming the first of their native brethren to sing in English. After gigging in Mexico City, the band--who was managed at the time by bandleader Armando Nava's father--was spotted and signed by RCA Mexico. Shortly thereafter, an American tourist heard them in Tijuana and offered to finance the band's attempt to break through in America's densely populated rock scene in the late-'60s. They flew to NYC, but ultimately failed to find success...
Back at home in Mexico, the group's music was received well and their fame began to rise... Then, just as Dug Dug's had proven to be trendsetters in switching to English vocals, they sparked an interest among Mexican bands to return to their Spanish roots. By the group's second album, recorded in 1972, the band had shrunk from a quintet to a trio and had switched back to singing in Spanish in the process. They went on to record a total of four albums in the '70s." - getLevitation
Wednesday, April 04, 2007
2 Thunderbirds - Just Let Me Know
3 The Escorts - The Last Time
4 The Tempos - You're Gonna Miss Me
5 The Hermon Knights - Don't Bring Me Down
6 The X-cellents - Walk Slowly Away
7 Thee Muffins - Not Fade Away
1 Oxford 5 - The World I've Planned
2 The Savages - Quiet Town
3 The Ones - Mister You're A Better Man Than I
4 The Foul Dogs - I'm A Man
5 P.J. Orion & The Magnates - We Gotta Get Out Of This Place
6 The Fugitives - Said Goodbye
7 The Invictas - Do It
1 The Weekenders - Spring Weekend '65
2 Spiffys - Dreams
3 The Stowaways - Just A Toy
4 The Best - You Meant Nothing To Me
5 Society's Children - I'll Find A Way
6 Hard To Believe - Hard To Believe
7 Bobby J. & The Generations - Lost In Time
1 The Day After - The Graduate
2 Six Pence - Got A Girl
3 I.D.E.C. - Blues Theme
4 Noblemen - Under My Thumb
5 Grandma's Rockers - Talk Talk
6 The Summer Sounds - When Autumn Leaves Turn Brown
7 The Night Riders - Journey To The Stars
Download vol1 Download vol2
"14 us 60's garage-psych rarites "
2 The Avengers - Reflection
3 The Red-Lite District - I Gotta Know
4 The Sweetarts - A Picture Of Me
5 The Storybook People - Afternoon Glare
6 The Sound Effect - Season's Of A Man
7 Butterscotch Caboose - Can I Borrow Some Time
1 Underground Sunshine - 9 To 5 (Ain't My Bag)
2 The King's Horse - Colors
3 The Dirty Shames - Blow Your Mind
4 The Fourth Way - The Far Side Of Your Mind
5 The Omegas - I Can't Believe
6 The Ash - Fly Up Tight
7 The New Chains III - The End
Enjoy here @128
Tuesday, April 03, 2007
(as requested) @320
01 Behold & See (Gilded Lamp of the Cosmos)
02 Visions of Your Reality
03 Jazz Thing
04 Mind Flowers
05 Where You're At
06 Suite: Genesis of Beauty (In Four Parts)
07 Fifth Horseman of the Apocalypse
08 Fragmentary March of Green
Richard Nese -Bass
Geoffrey Winthrop -Guitar, Sitar, Vocals
Ian Bruce Douglas -Guitar, Harmonica, Vocals, Keyboards
Barbara Hudson -Guitar, Vocals
Keith Lahteinen -Drums, Vocals
No need to say a lot about one of my favourite 60's bands.
If you liked the first Ultimate Spinach album, than you'll Love this one !
Mindblowing....or maybe better MindFlowering !
Since the big-traffic blogs I checked that were sharing this in past epochs all seem to have let their links expire, I doubt I'm stealing anyone's thunder by putting this up here and keeping it (deservedly) in circulation. Ahem: This album is a 1968 private pressing in an edition of only 150 copies. Rare as hen's teeth but far more enjoyable. Sweet, naive melodies crash into passionate performances and fuzz guitar solos, and that one microphone being held in position with a beer bottle somehow manages to capture everything necessary. The consensus seems to be that "Tables of Grass Fields" and "Minister to a Mind Diseased" are the best cuts, but I like to play people "My Independence Day." Two interlocking melodies and what-the-hell-is-he-talking-about lyrics. There are a couple of places where the album loses some momentum, but overall, this is seriously high-quality Nuggets-level 60s garage (pop?) (protopunk?) psych for the ages.
Get it HERE.
Sweden acid folk 1973 , srs4620 (silence)
This record is often called the best swedish acid-folk album ever. The music is a perfect mix between acid-folk, protest songs and psychedelic trips in the same vein as TRAD, GRAS OCH STENAR. The album includes all the best parts of acid-folk and psych as a long meditative track, but also funky tracks with tablas, violin, percussion, flute and sitar. HIGHLY RECOMMENDED PIECE OF ACID-FOLK/PSYCH!
1. Glädjens blomster (3:07)
2. Kungen (4:11)
3. Att ta och att ge (3:57)
4. Åh pappa....ormarna ringlar (4:00)
5. Kvällen är här (3:29)
1. Min egen väg (5:52)
2. Skeppet (9:26)
3. Christiania (6:08)
Lightning-Rod Man - Lowell George
Lost - Lowell George
Candy Cane Madness - Lowell George
Slow Down - Lowell George
Smile, Let Your Life Begin - Lowell George
The Loved One - Lowell George
Sleep Tonight - Lowell George
No Place I'd Rather Be - Lowell George
Hey Girl! - Lowell George
Changes - Lowell George
Candy Cane Madness (live version) - Lowell George
Crack In Your Door - Lowell George
Teenage Nervous Breakdown - Lowell George
Framed - Lowell George
Juliet - Lowell George
Here's the AMG review: Lightning-Rod Man rescues 15 tunes cut by this unit, including the single and over a dozen outtakes and demos. Almost exclusively original material, most of these tracks were recorded in 1966 and 1967. They show the group pursuing a slightly eccentric folk-rock vision that neither bears much similarity to George's more famous work nor matches the best work done in this genre by their L.A. peers. A few songs cut toward the end of the decade feature a heavier, bluesier sound that show George edging in a different direction. Frank Zappa produced and played on a couple of the demos, and one-time Mothers of Invention members Elliot Ingber and Roy Estrada show up on a few others. An enjoyable vault find, but not a major revelation.
Lime Spiders - 1987 - The Cave Comes Alive
1- My favourite room
2- Are You loving me more
5- Just one solution
6- Blood from a stone
7- Just one solution
8- Action woman
9- Rock star
11- Space cadet
12- Theory of Thira
Mick Blood : Vocals
Tony Bambach : Bass
Gerard Corben : Guitar
Richard Lawson : Drums
Chris Abraham : Harmonical Organ
* Jim Zembis : Bouzouki on 12
* Bill Gibson : Backing vocals on 1 & 5
After a pile of singles the Spiders finally come out with the slab of vinyl that some of us at least have waited for with high expectations. They deliver with a massively accessible album of 60's influenced garage rock. And when I say 60's influenced I'm not talking about Sgt. Pepper or any of that ilk, but of the underground grungers like the Strawberry Alarm Clock.
The first side is the knockout punch...every track on it sounds like a 45 A-side. I'm particularly flipped out over the cover of Cream's "NSU" with its stunning drum parts, but there's no denying the fabulousity of "Just One Solution" or "Ignormy" either. These songs have blasting guitar, pummeling bass, searing vocals and punishing drums, and they hit one right after the other.
Turn it over and there are still some gems. The reprise of "Just One Solution" mellows things a little, but the pace returns with "Action Woman" and "Rock Star", neither of which has a hook of the side one material. "Jessica" is a slower song and not the sort of stuff this band really does well, but the record finishes in a blaze with "Space Cadet" and "Theory Of Thira".
The only complaint anyone could make about this record is that it plays its whole hand at once; the material is a little too accessible and doesn't grow on you at all. If you like it the first time you hear it, you'll keep liking it about as well. If you don't like it first listen, I doubt you'll change your mind. However, the same comment could be made about the Ramones, and they have made god knows how many classic albums now, so don't let this sort of talk scare you too much. - nkvdrecords.com
Lime Spiders - 1985 - Slave Girl (EP)
01- Slave Girl
02- That's How It Will Be
03- 25th Hour
04- Beyond the Fridge
06- Can't Wait Long
Monday, April 02, 2007
Awe-inspiring neopsychedelia from Swedish psych historian and musician Stefan Kery. OOP limited-edition vinyl release on the Xotic Mind label. Fantastic, intelligent jams with a beautiful balance between written-out sections and effortless grooving improvisation. Highly, highly, highly recommended! This is a nice, clean, VBR rip with full cover, label, and booklet photos.
Get it HERE.
Sunday, April 01, 2007
Found this at:.
The musicians remained very active, Frost played in Rainbow Band/Midnight Sun and Savage Rose; Gudman in e.g. Culpeper’s Orchard, Mo-I-Rana, Savage Rose. Ingemann played with Skousen in Musikpatruljen also as a duo and guest musician. He played in No Name (album Fødelandssange - 1972), Dream City, as a session musician with folk-rock singer Sebastian.
01. Absolution 3:28
02. Drowning 3:40
03. Jesus Toy 3:31
04. Piece of Sky 3:52
05. So Far Gone 3:11
06. Can't Understand 4:39
07. Swinging Around 3:39
08. Manic Depression 3:41
09. Third Eye Shades 4:01
10. Crack Down 3:33
11. Our Tabs 1:04
Smell the Fragrance is the Dead Flowers' first album released in 1991. The psychedelic cover art is all paisley and solarized photos harkening back to those golden years of flower power. Dead Flowers music is a combination of aggressive punk and psychedelia. Ten of the eleven songs are original Dead Flowers tunes full of monotonous bass ostinatos that probably work well with drug induced trances. The non-Dead Flowers song is an excellent cover version of Jimi Hendrix' "Manic Depression". Smell the Fragrance is a decent debut album but only hints at what the Dead Flowers can do. "Can't Understand" just begins to suggest the Pink Floyd / Hawkwind cosmic jams that appear on Moontan. "Manic Depression" is the quasi-industrial "Third Eye Shades". These Dead Flowers have blossomed over the past two years and Smell the Fragrance is a good bench mark to use to chart their progress. ~by GEPR
Dead Flowers - 1993 - Moontan
01. Chocolate Staircase 5:13
02. Spiral Eye 3:55
03. Filling in Time 4:21
04. Through the World 9:06
05. Gaia's Love Hole 8:54
06. Hammer Rash 3:22
07. Slow Burn 4:00
08. Feed It 4:13
09. Gibberish 1:24
Light your sandalwood incense, take a deep breath, and exhale slowly. The Dead Flowers have released their second CD Moontan. Moontan opens with the powerful instrumental rock of "Chocolate Staircase" inviting comparisons to a hyper version of Pink Floyd's "Set the Controls for the Heart of the Sun." These guys really cook! They then slow things down a bit with "Spiral Eye", a slow space rock jam in the tradition of Ash Ra and Hawkwind. Just when you begin to float among the pollen grains, Dead Flowers shatters the illusion and brings you crashing into the nineties with "Filling in Time" and its post punk shouting backed by sizzling guitars, bass, and drums. The Dead Flowers then sets their "way back" machine for a nine minute trip through "Thought World," a slow bluesy ballad that caused me to lose touch with time and space. I thought I was back in 1968 sitting in a smoke filled coffee house complete with black lights and strobes. Following on its heels is "Gaia's Love Hole," another slow contemplative trip filled with echoing flutes, guitars, electronics, birds, children at play, and strands of Beethoven. Suddenly, after a young child recites "Twinkle, Twinkle Little Star," the Dead Flowers make another mid-course correction slamming you back into the nineties with "Hammer Rash," a melding of Killing Joke and psychedelia. While your head is still ringing, "Slowburn" (not to be confused by the Peter Gabriel song) starts to heat things up with its fantastic guitar work and vocals. Somehow it reminds me of The Doors. Closing out the album is "Feed It" sounding as if the Dead Flowers mated Hawkwind's "In Search of Space" with Joy Division's "Closer." A curious and inventive one minute ditty of echoed and layered gibberish chanting follows "Feed It" but does not appear on the liner notes. Moontan is an exceptional and varied release by one fine new band. ~by GEPR
Dead Flowers - 1994 - Altered State Circus
part I ~ part II
01. The Elephants Eye was Eerie 8:49
02. Altered State Circus 5:00
03. Warmth Within (Chemical Binoculars) 10:35
04. Slouch Factor 9 8:19
05. Full Fist 4:17
06. Free the Weed 8:37
07. Vodaphone in Oz 13:14
Sadly now defunct, this wonderful band from the blue collar town of Newcastle in the north of England put out three stellar albums in the early 1990s. Altered State Circus, their finale, is such an awesome recording that I figure they must've called it a day simply because they knew this one couldn't be topped. From beginning to end, this album oozes trippy psychedelia at a level previously never seen. So it's not hard to figure out what they're referring to in tracks like 'Warmth Within (Chemical Binoculars)' and 'Free the Weed.' Guitarist Steev Swayambhunath, who derived his pseudonym from a buddhist temple in Kathmandu, is a master of both heavy, fuzzed-out riffing and light spacey leads and arpeggios. Vocalist Ferank Manseed similarly displays a wide range from whispering to bellowing, and gives the group an extra dimension that the Ozric Tentacles lack. As I like to say, Altered State Circus is the best Ozrics album they never made. ~ by Keith Henderson aural-innovations
Saturday, March 31, 2007
Info is spotty on these suckers, but the album is believed to be recorded in 1972 by a band from Huntington Beach, CA. This album doesn't sound like 1972, though... What we're looking at (and what hopefully you will be downloading and listening to soon) is spectacular garage psych, with killer rockin' melodies and inspired, tight playing. All of which is hidden behind a bank-vault-door-sized wall of looooooow fidelity. In that sense I suppose the best band to
compare Clap to would be The Bachs, although Clap has more of that shades-of-punk-to-come energy and attitude that one hears in, say, the New York Dolls. The tune "My Imagination" has one of those classic naive untrained ham-fisted sax solos in it. SO GOOD!!!
Get it HERE, friends!
01 Happy (5:24)
02 Come (6:11)
03 Wages of Sin (3:37)
04 Circus of Invisible Men (5:32)
05 Stoned Cowboy (5:55)
06 Understand (4:42)
07 What's Next (9:24)
David Robert Robbins - bass
Mario Anthony Russo - keyboards
Lydia Janene Miller - vocals
Vincent James DeMeo - lead guitar/vocals
Gregory Scott Kimple - drums
A Californian obscurity from 1970, this eponymous LP by Fantasy held promises. The group offered a brand of psychedelic rock itched by the mood swings of progressive rock -- Jefferson Airplane meets Babe Ruth. Lead singer Lydia Janene Miller is the group's strongest asset. Her voice, still rough-edged and untamed, allies the bluesy rawness of Janis Joplin (striking in "Understand") or Carol Grimes with Grace Slick's acrobatics. The liner notes state she was only 16 at the time, but that is simply too hard to believe! If the vocals are fantastic, the music needed improvement. Psychedelic rock for the thinking man, Fantasy often sounds self-indulgent. "Stoned Cowboy" is a flat instrumental number where Vincent James DeMeo, Jr. delivers an overlong generic solo on fuzz guitar. And what about Mario Anthony Russo's classical quotes (à la John Hawken on Renaissance's first two LPs) in "What's Next"? On the other hand, the alternating verses and choruses in "Happy" work out perfectly, and further developments in "What's Next" (a nine-minute epic) serve up a highlight. If you can overlook the misjudgments of youth and a certain naïveté in the lyrics, seek out this rarity. Miller's soul-piercing voice is something you don't easily forget.
~ François Couture, All Music Guide
Thursday, March 29, 2007
The various versions of Mick Divven's great band, the Boys From Nowhere, have all managed to show that he's one of those rare people who can put together a group that burns with that kind of flame...one listen to a few of their records will make that obvious. Divven's approach blends a sixties garage sound that will remind some people of bands like the Lyres or Stems with a harder, nastier element that owes a debt to the Stooges or even late 70s punk bands. It's a sound that hasn't won him or his band a lot of success in his hometown of Youngstown, Ohio, despite the fact that Boys From Nowhere have records out in four different countries and are generally adored everywhere anyone has heard of them. Like fellow Ohio natives Sister Ray, the Boys From Nowhere find themselves struggling to get gigs and draw people at home and unable to assemble a tour away from home. But Mick has an even bigger problem than Sister Ray, because he barely has a band together behind him...
The Boys From Nowhere have been going since about 1984. The first three Boys From Nowhere records were singles; "Beg"/"@@@@@", "Jungle Boy"/"1966" and "Goin' Too Far"/"I Don't Bother". All three are a blast of garage punk with a real hard edge to them...much tougher than almost any band you can think of in this kind of thing. Top of the stack is "Goin' Too Far", which has a feeling like the hardest edge of the British invasion with a terrific tune and irresistible chorus.
If you can't find the singles, you can get most of the tracks through the three import eps. I asked Mick how these came to be. He started by discussing the origins of the German ep Cyclone Death Machine.
"Reinhart was doing a magazine, and I don't think he's doing it anymore...before there was Glitterhouse the label there was Glitterhouse the magazine. He was also doing some small level of distribution and wholesale. So he had taken so number of copies of the first couple of 45s, and when he decided to go away from the magazine and start the record label, the first record that he did in order to generate the funds to start the record label was a compilation The Declaration Of Fuzz. He got all his favorite 60s and 70s punk bands to send him a track to be included in this record. None of the bands got anything for it, which didn't really bother me because he's a pretty cool guy. I think he did really well with the record. I know that it went into at least two printings because there are two different colored covers of it, red and blue. Everything that he took in above the printing and pressing costs was profit to him since he didn't have to pay any of the bands, and that's the money that he used to start that record label."
"So he and I had a history going back. And subsequently he kept asking me if I would put out an album on his label...and I...when I did those eps, a German one and an Australian one and a Spanish one, I gathered up 12 or 14 songs and I sent each of the people that I'd worked with the same 12 or 14 songs and told them all pick your favorite 6. So all the three eps have a couple of similar tracks and some different tracks. The Spanish one has a bunch of unreleased stuff. That guy fucked me over. I'm so pissed. It's on Romilar D. I got nothing out of that... But the Glitterhouse thing worked out cool. I got paid for the Glitterhouse thing."
(from Noise for Heroes, 1991)
Cyclone Death Machine - 6 Song 12" EP
(Glitterhouse Records Germany) 1990 #GR 0048
Don't Make Me Laugh
I Don't Bother
Walk A Fine Line
Goin Too Far
I Can Take It
Mick Divvens - Vocals, Guitar, Vox Organ - all tracks
Charlie McNeil - Guitar - tracks 1 & 2
Ted Nagel - Bass - tracks 1 & 2
Johnny Bernardo - Drums - tracks 1 & 2
Mark Poole - Guitar - tracks 3, 4, 5, 6
Todd Burge - Bass - tracks 3, 4, 5, 6
Wes Poole - Drums - tracks 3, 4, 5, 6
Doug Edwards - Bass - track 6
Bill Donovan - Duck Call - track 6
Engineered by Doug Edwards
Produced by Donovan's Brain
Here you can find the 1989 7" No Reason To Live/1966
Plastic Cloud infamous Canadian 60s psychedelia with stinging over the top and out of control insane fuzz guitar.
The label says: "In 1968, the Plastic Cloud recorded, quite simply, one of the greatest psychedelic albums ever made. This is one hip album, full of catchy melodies and hippie harmonies, as well as some of the most superb (and trippiest) fuzz guitar ever recorded. There is no point singling out a specific track, they are all excellent;one is equally as good as the next.
- Epistle to Paradise
- Shadows of your Mind
- Art's a Happy Man
- You Don't Care
- Bridge Under The Sky
- Face Behind the Sun
- Dainty General Rides
- Civilization Machine
They were signed to Allied Records in Ontario and got one self-titled LP out which, sadly enough, never found an audience, despite beautiful production and some bold, ambitious use of psychedelic effects. Their vocals were pretty and they played better than that, and the results, with a sympathetic producer in charge, were mighty impressive -- their one album is worth hearing a lot more than once, and you get the feeling that if these guys had been working out of, say, L.A. or the Bay Area and been signed to a label with some real marketing power, they'd be a lot more than a footnote today with exactly the music they did leave behind.
Bruce Eder AMG
Download it HERE :
Wednesday, March 28, 2007
1 The Countdowns - Can't You See
7 The Cardinals - I'm Gonna Tell On You
"Raw Sixties Punk Sound.... & More Monsters Tracks"
1. Blues Run The Game
2. Don't Look Back
4. Yellow Walls
5. Here Come The Blues
6. Milk And Honey
7. My Name Is Carnival
8. I Want To Be Alone (Dialogue)
9. Just Like Anything
10. You Never Wanted Me
12. Marcy's Song
13. Visit, The
14. Prima Donna Of Swans
Contributing artists: Al Stewart on track 4
Producer: Paul Simon
Originally released as JACKSON C. FRANK, this was also released in the mid-1990's as BLUES RUN THE GAME.
This is a piece of folk history that slipped through the cracks. Buffalonian Frank traveled to London in the mid-'60s and recorded this album with the help of his still unknown pal Paul Simon. After its release, Frank became the toast of the town, though his music never hit the States. His poetic, Dylan-influenced lyrics, complex fingerpicking, and artsong-like structures influenced everyone from Bert Jansch to Nick Drake.
Except for a young Al Stewart's recorded debut playing second guitar on "Yellow Walls," BLUES RUN THE GAME is just Frank--his lilting tenor arcing over his delicate acoustic guitar accompaniment.
The sparseness adds to the emotional impact. Beset by physical and psychological traumas, Frank soon disappeared, never to make another album, but this stands as one of the most important singer-songwriter offerings of the '60s.
Tuesday, March 27, 2007
(Fontana SRF 67573)
- Need Someone (Bohanna)
- I Cry (Bohanna)
- Hey Little Girl (Bohanna)
- Stone Good Day (Bohanna)
- Even When I'm Up I'm Down (Daniel)
- Jelly Gas Flame (Daniel)
- I See The Light (Daniel/Graybeal)
- Live For Today (Bohanna)
- Point Of No Return (Gerughty)
- So Glad Being Here (Bohanna)
- Gini Graybeal - percussion, lead vocals
- Bob Bohanna - bass, guitar, vocals
- Larry Gerughty - organ, piano, harpsichord, vocals
- Daniel Nu Delman - guitar, vocals
- Allen Wehr - drums
- Producer - Abe Kesh
- Engineer - John Cale
This is a slight bit wilder than most of the Airplane-wannabe albums, with some truly ripping fuzz guitar. As with a lot of these albums it's pretty hit and miss, but the best moments on it are more genuinely psychedelic and experimental than on albums like Yankee Dollar, Ivory, Spirits & Worm, and so on. [AM]
Signed by Fontana, the group's 1968 debut "Two Suns Worth" teamed them with producer Abe 'Voco' Kesh (of Blue Cheer fame). Interestingly the set was engineered by Velvet Underground alumnus John Cale. With three of the six members contributing material, the all original set offered up a distinctively West Coast sound that was simultaneously quite heavy, but also quite commercial. At least a couple of reviews I've seen draw a comparison to The Airplane. It's not a perfect comparison, but gets you in the general aural neighborhood. Exemplified by tracks such as 'Need Somebody' and 'I Cry' Graybeal had a great voice that could more than handle the band's heavy edges. She also avoided the shrieking excesses favored by many of her contemporaries (Lynda Pense, Grace Slick). The rest of the band were also pretty impressive with Daniel NuDelman kicking in more than his share of fuzz guitar. There are enough treasures here to give the album a strong recommendation, particularly since you can still find this one cheap. Personal favorites included 'Stone Good Day', 'Even When I'm Up I'm Down' and 'Jelly Gas Flame'. Fontana tapped the album for at least one single: 'Need Somebody' b/w 'I See a Light' (Fontana catalog number F-1614). ~badcatrecords
It's seems there is something wrong with track 3.
My Apologies for that...
Arica: Audition; 1972 (same as above except Side 4 is 6-part "Mantram")
Arica: Heaven; Just Sunshine JSS-11; 1973 ("Arica Rhythm & Movement Band")
ARICA (New York City, NY)
"Arica" 1972 (Woo Soo a-1001) [2 LPs; gatefold; brown cover)
"Arica" 1972 (Audition a-1001) [2 LPs; gatefold; magenta-pink cover)
This one is great...i love it
6 Stormies - Drums In The Storm
"The Human Expression & Other Psychedelic Groups from the 60's"
1 The Front Page News - Thoughts
2 The Remaining Few - In The Morning
3 The Human Expression - Your Mind Works In Reverse
4 The Human Expression - Calm Me Down
5 The Human Expression - Optical Sound
6 Silk Winged Alliance - Flashback
7 Silk Winged Alliance - Hometown
8 The Remaining Few - Painted Air
9 The Cicadelics - We're Gonna Love This Way
10 Mechanical Switch - Everything Is Red
11 Mechanical Switch - Spongeman
12 Children Of The Mushroom - You Can't Erase A Mirror
13 Children Of The Mushroom - August Mademoiselle
14 The Kyks - Where Are You
15 The Kyks - When Love Comes Searching For Me
16 The Rubber Band - Forever Friday
17 The Rubber Band - Below Up, Above Down
18 The Gruve - You're Gonna Love Me
19 The Gruve - Take Hi Five
20 The Front Page News - You Better Behave
Sunday, March 25, 2007
The album has a good standard blues-rock feel, with some progressive flourishes including hand percussion and jazz flute to make it stand out. Quite well done overall, I'd certain recommend it.
Back after almost 2 months, here's part 6 of the US singles series.
Bags - I Know / Hide And Seek (Stanton Park STP-013, 1989)
Jon Hardy, Jim Janota, and Crispin Wood formed The Bags in the summer of 1985. In 1987 they recorded and released their debut album Rock Starve. In 1989 they released an album on Stanton Park under one of their many aliases, Swamp Oaf. Byron Coley wrote about Swamp Oaf in Spin (February 1990): "This Boston trio (perhaps best known for their non-thug work under the name the Bags) have a sense of compositional burl most redolent of early/mid period Blue Cheer. The guitar quick-switches between ass-puddle wah-boom and overblown zorch-flash with Leigh Stevens-oid flair, and these guys don't get even close to the Zep cliche path most of their "peers" are treading. In 1990 The Bags released their eponymous LP The Bags, again on Stanton Park. At the end of 1991, after six and a half years of playing together, The Bags celebrated the release of their album Night of the Corn People (Stanton Park / Helter Skelter) by breaking up. The Bags left behind a large following and a reputation as a killer live band.
The Bags reunited once in 1996, and in 2003 reformed and spent the summer and fall of 2004 recording Sharpen Your Sticks, their first full-length album in over 13 years.
Dana Lynn - Circle/Pot Head - Son (Dionysus ID074514, 1991)
Formed by the Kroll brothers from Oahu, Hawaii, Dana Lynn settled in LA and released 2 singles and a tape without any success. This single came out in a pressing of 1000 on different vinyl colors (grey, blue, purple, green...). The band (troy Miller gtr/vcls, James Kroll bs/vcls, Jon Kroll gtr and Johnee Kop drms changed their name to Chokebore, and in 1993 they send a demo at AmRep in Minneapolis. As you may know they're active until today.
Johnny & The Jumper Cables - Total Depravity/I Get Nervous (Dog Meat DOG-015, 1990)
Known as the proud proponents of what local scribe Brett Milano once dubbed “proto-garage-metal,” Johnny and the Jumper Cables were part of the 1980s Boston club scene, direct descendents of bands like the Nervous Eaters, Real Kids, and Neighborhoods. Started in 1982 as a recording project by guitarist and band roadie Johnny Black and the legendary Kenne Highland of Afrika Korps and Gizmos fame, the band was joined in the Radiobeat studios in Kenmore Square by Swinger’s Resort/Outlets drummer Tom Bull and bassists Lee Harrington (Peytons/Neighborhoods) and Jonathan Paley (Paley Brothers/Nervous Eaters) for sessions that produced “Not Your Kind,” “I Get Nervous,” “Landmine,” and “Death Squad of the Mind.” The Cables went on to record a series of 45s and compilation album tracks for the Stanton Park, Dionysius, and Modern Method labels in the US and Dog Meat in Australia. The band performed as recently as 2004, although Kenne Highland, once a staple of the local rock scene, has now apparently forsaken rock and roll for gospel music and has not appeared onstage since. (from the band's myspace page)
Hypnolovewheel - Wow/KGM-365 (Alias 1992)
Well, you can't consider Hypnolovewheel a garage band, they're more on the guitar/grunge/smart/Husker Du-pop side, but this 7" (with the a-side from their Angel Food LP) finds them playing with feedback and fuzz (on Wow), as well with Fall parody (on KGM-365). Hypnolovewheel were a good band, they lasted enough, they put out great LPs, yet w/o any success. Same sad story.
R.Erickson & 27 Devils Joking - You Don't Love Me Yet/I Am Her Hero, She Is My Heroin (Sympathy For The Record Industry SFTRI-152, 1990)
This is a more rockin' version of "You Don't Love Me Yet" - Roky sings and plays rhythm guitar, backed by 27 Devils Joking, a New Mexico band lead by Brian S.Curley (for more on B.S.Curley read the next single's notes). On the flip side there's no sign of Roky, but a nice version of "Heroin" w/Curley on vocals. The two of them (Roky & Brian) had been playing together in the 80s (in The Resurrectionists & Evilhook Wildlife).
Psycho Desert Rangers - Rhythm of Blood/I Can't Help It/And We Dream/House Made of Dawn (Live Wire 1986)
Brian Salvador Curley is an outstanding figure in Texas & NM garage-punk for over 20 years. He played with Lester Bangs in The Delinquents and with Roky Erickson in The Resurrectionists & Evilhook Wildlife. This is a 7-inch from 1986, recorded in Santa Fe, NM. Psycho Desert Rangers were two couples: Brian & Melinda Curley and Lee Ann & Dave Cameron. It reminds me a bit of Chris D's Divine Horsemen, especialy the use of man-woman vocals. Brian now creates rock posters (and has for many years) in his studio, South Texas Psychedelic Cattlemen's Association and he's a vegetarian.
Yard Trauma - Eyes/Traumatized/Priority Mail (Dionysus 74511, 1991)
No need to tell you 'bout Lee Joseph, I believe. His own band, Yard Trauma started in Tucson at the end of 1982, with just Lee and singer/guitar player Joe Dodge. After almost 10 years of pure garage, Y.T. became more punk and more heavy. "It's funny how things change like that", says Lee. "We're playing a lot faster than we used to. And the funny thing is that when Dave (Steel -drums) joined the band he was totally sick of all the hardcore stuff. We had no intention of sounding like we sound right now. It just kind of happened."
Produced by Brett Gurewitz from Bad Religion.
I forgot Johnny & The Jumper Cables single out of the rar file. Apologies and here it is: Total Depravity/I Get Nervous
Lyd - 1970 - Lyd
01. The Time Of Hate And Struggle (3:09)
02. Need You (2:37)
03. Stay High (3:57)
04. Double Dare (1:56)
05. Think It Over Twice (7:23)
06. Trash Pad (2:13)
Originally recorded in 1970, unreleased one sided acetate. Some great garage guitar psych with intense basement atmosphere, long fuzz excursions, and wasted junkie lyrics, well worth checking out. [PL]
that you can't miss!!
Friday, March 23, 2007
"Quebec garage-beat 1966-67"
2 Les Dabsters - J'en Ai Assez
3 Les Differents - Soyons Differents
4 Les Fleaux - Gloria
5 Alex Fontaine - Tu N'es Pas Sincere
6 Les Loups Blancs - Je Sais Que Tu Mens
1 Les Loups - Pour Tout Dire
2 Les Miserables - Chemises A Pois, Cravates A Fleurs
3 Le Pouvoir Des Fleurs - Va T'en Chez Toi
4 Regent - Qui Es-Tu
5 Les Tallmud - Avoir Raison
6 Le Comte Richard Valente - Kansas City
3 The Leathercoated Minds - Psychotic Reaction
4 The Wailers - I Don't Want To Follow You
5 Gypsy Trips - Ain't It Hard
6 The Second Helping - Hard Times
7 The Leathercoated Minds - Eight Miles High
8 The Second Helping - On Friday
9 The Sound Sandwich - Tow Away
10 The Shindogs - Who Do You Think You Are
11 The Second Helping - Floating Downstream On An Inflatable Rubber Raft
12 The Sound Sandwich - Zig Zag News
13 The Leathercoated Minds - Non-Stop
14 Sunday Servants - I'm Puttin' You On
15 Sunday Servants - Who Do You Love
16 Roger Tillison - Nobody's Lover
Thursday, March 22, 2007
Plasticland is a Neo-Psychedelic and Garage rock (revival) band, formed in Milwaukee in 1980 from two remaining members of Arousing Polaris, Glenn Rehse and Dan Mullen and John Frankovic.
Color Appreciation - (1984)
Plasticland - (1985)
Wonder Wonderful Wonderland - (1985)
Salon - (1987)
Confetti (Live) - (1990)
Plasticland's acid-drenched neo-psychedelic sound bore some resemblance to L.A.'s concurrent paisley underground scene, but instead of drawing their chief inspiration from the Velvet Underground, the Milwaukee quartet had a greater affinity for vintage garage rock and British mind-benders like Syd Barrett-era Pink Floyd and the Pretty Things. Formed in 1980 out of the ashes of prog rockers Arousing Polaris, Plasticland included vocalist/guitarist/organist Glenn Rehse, guitarist Dan Mullen, bassist John Frankovic, and drummer Vic Demechei, who debuted that summer with the "Mink Dress" single on Scadillac. Several more singles and EPs followed, including 1982's Pop! Op Drops (whose material later became part of the band's first album); there were also several personnel shifts, as Demechei was replaced first by Bob DuBlon, then Rob McCuen. (Several tracks with the Violent Femmes' Brian Ritchie on guitar were also recorded during this era.)
Plasticland's first full-length, Color Appreciation, was issued on the French Lolita label in 1984; a year later, it was re-released in America by Pink Dust with two different tracks, titled simply Plasticland. The follow-up, Wonder Wonderful Wonderland, was released before the end of 1985, and featured Mellotron and bouzouki, among other vintage psychedelic accoutrements. By the time of 1987's Salon, Demechei had returned to the fold. Plasticland subsequently resurfaced on the Midnight label with a pair of live albums: 1989's You Need a Fairy Godmother featured onetime Pink Fairies/Pretty Things drummer Twink, and 1990's Confetti. In the late '80s, a German fan commissioned an album, Dapper Snappings, for his Repulsion label. The albums was eventually released in 1994. Some of the band's early recordings were collected on Mink Dress and Other Cats, while a career-spanning collection was issued in 2006.
Download It Here :
Phonograph Record / The First
Wear Your Love Like Heaven
Mad John's Escape
There Was a Time
Little Boy in Corduroy
Under the Greenwood Tree
The Land of Dosen't Have to Be
Donovan – vocals, whistling and guitar
Cilff Barton – bass
Mike O'Neil – organ, piano and harpsichord
Kieth Webb – drums
Candy John Carr – conga and bongo
Harold McNair – flute
Mike Carr – vibraphone
Eric Leese – electric guitar
Jack Bruce – electric bass on "someone singing"
Phonograph Record / The Second
Song of the Naturalists Wife
The Enchanted Gypsy
Voyage into the Golden Screen
Isle of Islay
The Mandolin Man and his Secret
Lay of the Last Tinker
The Tinker and the Crab
Widow with Shawl (a portrait)
The Lullaby of Spring
Starfiss-on the Toast
Epistle to Derroll
Donovan – vocals, guitar and harmonica
Harold McNair – flute
Tony Carr – drums, bells, conga, Turkish and finger cymbals
Candy John Carr – bongos
Ken Baldock – string bass
A Gift from a Flower to a Garden is the fifth album from Scottish singer-songwriter Donovan, and marks the first double album of his career and one of the first box sets in rock music. It was released in the United States in December of 1967 (Epic Records L2N 6071 (monaural) / B2N 171 (stereo)) and in the United Kingdom on April 16, 1968 (Pye Records NPL 20000 (monaural) / NSPL 20000 (stereo)). In December of 1967, Epic Records released each of the two records from A Gift from a Flower to a Garden as separate albums in the United States. The first record was released as Wear Your Love Like Heaven, and the second record was released as For Little Ones.
This was done to allow budgeting for the double album package, which included a folder of the printed lyrics to the second disc with artwork, and a cover featuring an infrared photo of Donovan by Karl Ferris who was his and Jimi Hendrix's personal photographer (requiring six colour separations for printing, instead of the usual four separations). The back cover photo was also a shot taken by Ferris in LA during Donovan's and Karl's initiation into Transcendental Meditation, and depicted Donovan visiting with the Maharishi Mahesh Yogi.
Tuesday, March 20, 2007
Monday, March 19, 2007
"RARE SIXTIES U.S.GARAGE SOUNDS - R.I.P."
1 The "In" - Just Give Me Time
2 The Colors Of Night - C-O-L-O-R-S
3 Castaways Five - Revenge
4 Sir Kenneth & The Yorkshire Coachmen - Set You Free
5 Cole & The Embers - Love Won't Hurt You
6 J.T. & The Three Wise Men - You're Gonna Lose Your Lovin' Man
7 The Centuries - I'd Cry For You
8 Dave & The Stone Hearts - I'll Feel A Whole Lot Better
9 The Barons - Now You're Mine
10 The Illusions - Just Be You
11 Fugitive Five - I Ain't Gonna Give Up (My Way Of Life)
12 The Sensational Sleepers - Do You Feel It
13 The Lee VI's - I Don't Know
14 The New Lime - Ain't Got No Soul
15 Disturbers - Coming To Your World
16 The Zero End - Blow Your Mind
17 The Paragons - Mister You're A Better Man Than I
18 The Troupe Of Love - Running Away From Love
19 Other Five - You Really Got Me
20 The Triumphs - The Walk
21 Sanz, Incorporated - I Just Want You
22 The Delcords - I Got Wise
23 Willie Hobbs & The Dirte Four - Gloria
Portland-based guitarist Daniel Riddle, a founding member of industrial combo Hitting Birth Family Circus, originally launched King Black Acid as a solo side project, but eventually it became a real band (King Black Acid And The Womb Star Orchestra) with keyboardist Melinda Dicillo, guitarist Roger Campos, bassist Nathan Jorg, drummer Scott Adamo (ex Wipers), percussionist Joe Trump (ex Pigface). The single Caterpillar Blood (Ruckus, 1995) and the posthumous EP Into The Sun (Starseed, 1999) capture their early, raw sound. Their performances were soon legendary.
The real deal, though, was the albumd Womb Star Sessions (Cavity Search, 1995), that contains four lengthy jams: the 10-minute The Wave (with samples of chanting monks), the 18-minute Aloha, the 15-minute Alone On Mars (with a poppy refrain that leads to a demonic freak-out) and the 10-minute Autumn. It was blues-based space-rock, something different from the mighty Oregon school of garage-rock, something that mixed and disfigured Red Crayola, Pink Floyd, Neil Young, Jimi Hendrix, Grateful Dead, Doors, Mercury Rev, My Bloody Valentine, etc.
Sunlit (Cavity Search, 1996) offers a gentler, dreamier, dilated sound. The tracks are even longer: twenty minutes for Somethings Must Be Believed To Be seen and eighteen for Headfull. But the third and last track, Think Away makes up for the languor with a 22-minute devastating freak-out.
Royal Subjects (Cavity Search, 1997), the soundtrack for a film that apparently never materialized, refined their atmospheric experiments. While not as wildly original and spontaneous as the previous albums, it achieved a classical sound of sort. The main tracks were structured and well-planned like progressive-rock suites, rather than chaotic free-form improvistations. Except for The 144,000 Member Acid Army (with didjeridoo) and Royal Subjects (both a quarter of an hour), the songs were also shorter. 60 Cycles Numb and Only Wine Will Tell seemed attempts at focusing rather than expanding the mind and recall Brian Eno at his most abstract (but not yet ambient).
King Black Acid broke up in 1997 and the following year they transformed into Starseed Transmission. But then somehow the band reconstituted and released a new album, the sprawling Loves A Long Song (Cavity Search, 2000). The songs (eight of them, each about 10-minute long) continue the metamorphosis towards a more traditional structure and performance, although they maintain Riddle's penchant for hypnotic codas and for contrasting gently-morphing phases with hard-hitting phases, implosions with explosions, introversion with extroversion. Not only School Blood recalls late-period Pink Floyd and Colorado rediscovers the format of the orchestral ballad, but standout tracks Into the Sun and Butterfly Bomb are fundamentally catchy progressive-rock. The album even gains spiritual depth from the celestial psalm, Gentle Collapse, that closes it.
Side 1 1 The Little Boy Blues - Love For A Day
2 The Little Boy Blues - Look At The Sun
3 The Little Boy Blues - I'm Ready
4 The Little Boy Blues - Little Boy Blue's Blues
5 The Little Boy Blues - I Can Only Give You Everything
6 The Little Boy Blues - You Don't Love Me
7 The Little Boy Blues - The Great Train Robbery
8 The Little Boy Blues - The Season Of The Witch
1 Lindy Blaskey & The LaVells - I'll Get Along Somehow
2 Lindy Blaskey & The LaVells - My Baby Done Left Me
3 Lindy Blaskey & The LaVells - Papa Oom Mow Mow
4 Lindy Blaskey & The LaVells - Would You Believe
5 Lindy Blaskey & The LaVells - You Ain't Tuff
6 Lindy Blaskey & The LaVells - Let It Be
7 Lindy Blaskey & The LaVells - Sweets For My Sweet
8 Lindy Blaskey & The LaVells - Moving Away
9 Kartune Kapers - Knock On Wood
10 Kartune Kapers - On The Plane
Sunday, March 18, 2007
(UK ultra rare folk psych)
02 Easy Love
03 Little Miss Freedom
07 As I lay me Down
08 Some Kind of Unholiness
09 Park and Grinners
10 Waiting For the Blues
11 Across the Miles
Mick Stevens: lead & backing vocals, electric guitar, 12 and 6-string acoustic guitars
Warne Livesey: Bass, harmony vocals
Mick Ransome: Drums
John Theedom: guitar and harmony vocals
Des Brewer: Guitar and harmony vocals.
Mick Stevens album, originally released in 1975, and extremely unknown. Stevens is credited on: words and music, vocals, guitars, banjo, percussion, bouzoukitars. "Loner vibe, beautiful vocals, a mixture of acoustic and electric numbers. If you like Michael Angelo with a Billy Nichols touch, this one is yours.
The recording quality is top major studio. The album where pressed at Deroy studios, the famous collectors label among Psych and Folk freaks. All Deroy albums are rare because you could press as little as 10 copies for a start. So most Deroy production are under 100 copies pressed. Some famous Deroy LP's are: Candida Pax, Parameter, Complex, Circulation...This 2 album set, which features that came out separately in 1972 and 1975, beats all other Deroy productions, sound-wise and music-wise. Mick Stevens was able to create a sound of emotions with an underground touch.
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Bio from AMG
Review from AMG
Saturday, March 17, 2007
Paper Mountain Man
Call of the River
Hey, Who Really Cares?
Moons and Cattails
Porcelain Baked Cast Iron Wedding
Here's a superb long-lost gem from the end of the 1960s, a perfect example of the more thoughtful & optimistic sensibilities of that time. Linda Perhacs' voice is haunting, playful, yearning, sensual, or soaring, just as each song demands. There's intelligence & a certain otherworldliness in her songs, along with an occasional streak of whimsy & mischief. An album just made for solitary listening, it will take you to a sunnier place (with patches of cool, mysterious shade) ... and isn't that what we all need at times? "Chimacum Rain" & "Hey Who Really Cares?" are standout tracks, along with the wonderfully spacey title track, which just shimmers with eerie beauty.
Download It Here :
Bonus Tracks :
02 Ship of Fools
03 The Lay of the Surfers
04 Voyaging to Vinland
05 The Making of Midgard
06 Brave New World
076 Magical Potion
08 Moonshine in the Mountains
09 Storm Chant of the Skraelings
10 Volstead of Vodeo Do
11 Phase Locked Loop
12 Ragna Rock
Robert Calvert (Vocals, Percussion, Trumpet)
Andy Roberts (Guitar)
Simon House (Violin)
Sal Maida (Bass)
Mike Nicholls (Drums, Percussion)
Paul Rudolph (Bass, Guitar)
> Read various of Calvert's statements on LUCKY LEIF on the QUOTES pages
- and Paul Rudolph's memories on the recording sessions.
> Read an extensive interview/article on Calvert from the time of the Lucky Leif release.
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.
Download Link :
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.
Read More Here
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