Saturday, September 15, 2007
She was a regular on TV talk shows and variety shows in the 1970s, including The Julie Andrews Hour, The Mike Douglas Show, The Andy Williams Show, Hollywood Squares, and The Carol Burnett Show. She guest-hosted for Johnny Carson on The Tonight Show and appeared on that show 13 other times. Elliot also was a guest panelist for a week in late 1973 on the hit game show Match Game '73. She appeared in the 1973 Saga of Sonora, a TV music-comedy-Western special with stars of the day such as Jill St. John, Vince Edwards, Zero Mostel, and Lesley Ann Warren.
Throughout the early 1970s, Elliot continued her acting career as well. She had a featured role in the 1970 movie Pufnstuf and made guest-star acting appearances on TV's The New Scooby-Doo Movies, Young Dr. Kildare, Love, American Style, and The Red Skelton Show, among others [Wikipedia]
Because of her weight and the rumors concerning the cause of her death, Mama Cass Elliot endures as little more than a punch line, which is a real shame; not only was her voice the linchpin of the Mamas & the Papas' most memorable hits, but her solo records were engaging and unique, capturing the unlikely confluence of bubblegum and the blues. Bubble Gum, Lemonade & Something for Mama, Cass' second solo effort, showcases her brassy, exuberant voice couched in a variety of settings, from the girl groupish "It's Getting Better" to "Blow Me a Kiss," an ersatz Tin Pan Alley pop number in the mold of her hit "Dream a Little Dream of Me." The highlight is the closing "Make Your Own Kind of Music," later covered by Paul Westerberg [Allmusic]
01 It's getting better
02 Blow me a kiss
03 Sour grapes
04 Easy come easy go
05 I can dream can't I
06 Welcome to the world
07 Lady love
08 He's a runner
09 Move in a little closer baby
10 When I just wear my smile
11 Who's to blame
12 Make your own kind of music
With help from Rubin, the quartet started touring through the Northeast, eventually catching the attention of the MGM affiliated Poppy Records. Signed to the label, the band's cleverly-titled "The Mandrake Memorial" debut teamed them with producers Anthony Bongiovi and Tony Camillo. Musically their debut's quite entertaining with tracks like 'Bird Journey' and 'Rainy May' showcasing their unique line up of Anderton's angular guitar and Kac's electric harpsichord. Propelled by Monaco's likeable voice, the album's full of strong melodies, with some great harmonies and surprisingly catchy lite-psych moves. Sure, some of the lyrics haven't aged particularly well, but so what. There really isn't a bad song on the LP (how often can you say something like that?). Personal favorites include 'Here I Am' (sporting a killer lead guitar from Anderton), the sitar and feedback propelled 'Dark Lady' and the aptly titled 'Strange'. (Got to admit that I've always wondered why this one gets ignored by everyone in favor of "Puzzle".) Anyone know how the female singer that pops in from time to time is? Linda Cohen?
Friday, September 14, 2007
"The sole album from this Chico, CA quintet was unfortunately released just as their label (Kapp) was dissolving (1971; the final Kapp release came out the following year, although the label had been sold to MCA back in ‘67). It’s a tight knit collection of self-penned bluesy jams, featuring the twin guitar attack of Steve Cooley and Fred Campbell with excellent harmony vocals throughout. “Jeweled Scene Stealer” has some particularly tasty guitar soloing, and Cooley’s paean to the local babes, “Chico Women” coming across as particularly funky and beer-soaked.
Campbell whips out his flute and acoustic classical guitar for Side 2’s short, reflective opener, “Changes,” which segues quite nicely into the unusually syncopated time changes of the bluesy howler, “People Change.” Guest Eddie Abner’s steel guitar” and the omnipresent harmonies imbue “Blue Water” with a nice country rock flavor that should please fans of the goodtime groove of New Riders of The Purple Sage, Little Feat and Heartsfield (check out 1975’s “Foolish Pleasures”), with a hint of The Allmans not too far off in the distance.
Bassist Randy Reaves, who wrote or co-wrote seven of the album’s nine tracks, turns in one of his best efforts on “Movie,” a hard-driving, two-step toodle-oo that predicts some of the southern fried chicken rock of Lynyrd Skynyrd and Marshall Tucker. If sweaty, straight ahead bluesy country rock is your cup of moonshine, come forth and drink from the fountain that is Sundance." (Foxy Digitalis) (BUY IT!)
1) Train Time
2) Jeweled Scene Stealer
3) Strange New Time
4) Chico Woman
6) People Changin
7) Blue Water
9) Hollywood Dancers
The first volume was created in 1984, and the series was completed in 2002 (and later, the New Rubble series has begun). Rubble is one of the first series of compilation albums of psychedelic rock, freakbeat, rhythm and blues, garage rock and beat music of the mid to late 1960s in the United Kingdom. It predated similar compilation series, such as the English Freakbeat series, which AIP Records started in 1988.
The name "Rubble" is influenced by the title of the seminal Nuggets double LP, and resembles the titles of several similar compilation series, such as the Pebbles series, Boulders series and Rough Diamonds series. Most of the bands on these albums were not commercially successful, such as the Glass Menagerie, Wonderland and Wild Silk. However, the albums also include a few better-known bands, such as Tomorrow, The Poets, The Pretty Things and The Crazy World of Arthur Brown.
~@~@~Click on titles for traclists
VA_-_The_Rubble_Collection_vol 01 @256.rar
VA_-_The_Rubble_Collection_vol 02 @256.rar
VA_-_The_Rubble_Collection_vol 03 @256.rar
VA_-_The_Rubble_Collection_vol 04 @256.rar
VA_-_The_Rubble_Collection_vol 05 @256.rar
VA_-_The_Rubble_Collection_vol 06 @256.rar
VA_-_The_Rubble_Collection_vol 07 @256.rar
VA_-_The_Rubble_Collection_vol 08 @256.rar
VA_-_The_Rubble_Collection_vol 09 @256.rar
VA_-_The_Rubble_Collection_vol 10 @256.rar
VA_-_The_Rubble_Collection_vol 11 @192.rar
VA_-_The_Rubble_Collection_vol 12 @192.rar
VA_-_The_Rubble_Collection_vol 13 @192.rar
VA_-_The_Rubble_Collection_vol 14 @192.rar
VA_-_The_Rubble_Collection_vol 15 @192.rar
VA_-_The_Rubble_Collection_vol 16 @192.rar
VA_-_The_Rubble_Collection_vol 17 @192.rar
VA_-_The_Rubble_Collection_vol 18 @192.rar
VA_-_The_Rubble_Collection_vol 19 @192.rar
VA_-_The_Rubble_Collection_vol 20 @192.rar
Click on titles for traclists
Vols 01-10 by verybadboy
Vols 11-20 by Opa-Loka
Thursday, September 13, 2007
Wednesday, September 12, 2007
A1 Coast To Coast (11:14)
A2 The Quick And The Dead (4:56)
A3 Believe (5:55)
B1 Orange Cucumber (22:18)
John Redfern (guitar, vocals)
Mo Hone (guitar)
Chris Jordan (bass)
Stephen Bayes (drums, percussion)
Simon Redfern (drums, percussion)
This could be described as The Morticians second album, as it features the two main members of that band and sounds a bit like side two of The Morticians LP. We're talking heavy acid rock jams, with an American '60s West Coast meets the Pink Fairies feel...
A limited edition of 1000 (Vinyl only).
The best music CHEROKEE MIST recorded was with Caroline Davey from WOBBLE JAGGLE JIGGLE sharing the vocals with John Redfern. "Coast to Coast" and "Orange Cucumber",etc. This was going to be released as an LP on the Tangerine label, until the master tapes dissapeared? Theres some Rock and Roll Mythos for you! (Dec 2003).
Get it here @192
Monday, September 10, 2007
2) Nostalgia Trip
3) Reflections on a Warm Day
4) Do You Think About Me?
5) White Light
7) My Lonely Friend
9) The Goodnight Song
10) Shine on Heart
11) Do It Together
12) Do You Think About Me? (live)
13) Nostalgia Trip - 1975
14) Reflections on a Warm Day - 1975
15) Do You Think About Me? (demo)
16) The Goodnight Song (original)
Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsure ness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell's classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell's riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen. [Allmusic]
01 - Tin Angel
02 - Chelsea Morning
03 - I Don't Know Where I Stand
04 - That Song About The Midway
05 - Roses Blue
06 - The Gallery
07 - I Think I Understand
08 - Songs To Aging Children Come
09 - The Fiddle And The Drum
10 - Both Sides, Now
Style; Folk-Jazz, Folk-Rock, Singer/Songwriter
Stack Waddy's debut album is one of the "must hear" discs of the early 1970s, an uncompromising roar that might cavort through that shell-shocked no man's land that sprawls between Captain Beefheart and the Edgar Broughton Band, but which winds up defiantly beholden to absolutely nothing else you've ever heard -- one reason, perhaps, why the group vanished with so little trace.Recorded live in the studio (or thereabouts, Stack Waddy is a blurring blend of brutal band originals and deliciously mauled covers. Beefheart's "Sure Nuff Yes I Do" is an unblinking highlight, while raw takes on "Suzie Q" and "Road Runner" remind us of the group's mid 60s genesis on the Manchester R&B scene. There's also a version of Jethro Tull's "Love Story" that comes close to topping the Sensational Alex Harvey Band in terms of lascivious power and ferocity. Certainly John Knail takes no prisoners as he howls his way through and, while Stack Waddy holds back from completely recreating the live band experience (there's no breaking bottles, for a start), still this is one of those few albums that genuinely requires you to wear protective clothing.
Saturday, September 08, 2007
Are You Losing Your Mind?
Alien I Am
Love In Space
Assassins (2CD only)
No need to say something about Hawks.
At this time, Clint was holed up in a remote farm in Breton, and after being asked by Andrew Lauder of UA to do a solo album, he transferred holes to Rockfield Studios in
‘Out Of My Tree’ [5:18] begins in a kinda mainstreamy guitar rock mode, and it’s perhaps the most ordinary and seriously-toned track on the album, but don’t let that put you off, there’s better to come, and this song does have a cool slashing fuzzed guitar bit that’s nice. This track might grow a little on you over time, as it has for me. You gotta love a song that’s about questioning your sanity (at least that’s what I think it’s about...).
‘Brand ‘X’’ [3:44] changes the mood considerably, not to Brand X-like fusion but with a kooky cascade of cheesy keyboard, bass and guitar matching notes and dripping down the chromatic scale before swinging into a totally chugging Man-esque hard guitar riff, with ultra-cool vocals pleading for a little bit of rock’n’roll. This is a fist-in-the-air anthem to rock and a go-get-‘em attitude that’s up there with the Fairies’ ‘Do It’ as a positive motivator. Midway it breaks down into a gutsy down-home groove as Andy Fairweather Low (here rechristened as Ferretweather) cuts loose with a wicked guitar solo. As far as the guitar-oriented side of things go, this is like Man at their best, I guess not counting things like the 20-minute ‘Spunk Rock’ jam
on ‘Greasy Truckers Party’.
‘Summer Song’ [5:22] sees us in softer, spacier, wistful Man mode, keyboards predominating with a gentle, simple structure that bobs along like the Good Ship Lollipop (no, it doesn’t sound like the Shirley Temple song, I’m trying to create imagery here...), and wouldn’t have been out of place as one of the more unassuming tracks on ‘Back Into The Future’.
‘Visitin’ The Duke’ [5:59] is more traditional and down-homey at the start, with blues harmonica and guitar wheezing away, before kicking into a hard, gritty Southern boogie rock slide riff with meaty vocals, done of course a la Man, breaking down and dirty with the harmonica for another jam-out that these guys just can’t seem to escape let alone do badly, and let us be thankful for that! This track, by the way, is about visiting Deke Leonard in
‘Love To You’ [6:14] starts with bass throbs and weird keyboard sounds hovering in the background, hinting at something that doesn’t come, before a steady, loping groove sets in with a kinda psych-soul-boogie feel, if that makes any sense. Reminds me a bit of The Indelible Murtceps, in other words
‘Overflow’ [5:07] begins with some jazzy sparring for a few seconds before a structure sets in with ease and we have a mellowish, unusual rock number with a guitar rhythm and bass line that’s only a few degrees removed from reggae, though as imagined by Patto, if you can paint that in your mind. And the Patto comparison holds into the unexpected brief jam that opens up next, now denser and with more of a jazz-informed hard rock edge, though the second (and longer) jam that follows and fades out the track is more akin to a mellow, almost spacey Man circa ‘Back Into The Future’.
‘Bust Again’ [4:36] is, of course, about being busted (for growing dope), and flows as a slow-plodding skanky fuzz rock number as Clint recounts the lament of the events of his undoing at the petty hands of the law. As Clint puts it, “What the fuck can you do with a bush or two of my weed?” Musically, this is comparable to Man’s ‘Romain’ and is likewise pretty cool.
‘Ferret Interview’ [1:38] is a ridiculous interview in silly voices regarding the sexual habits of ferrets, apparently “rather a domesticated form of perverted stoat”! I won’t give away any of the rest, suffice to say you’d have to be made of stone if this track doesn’t raise a few chuckles.
‘Hold Your Ferret Aloft’ [5:34] is in a slightly odd angular jazz rock vein, cruisy and juicy and reeking of the weed, with oozing harmony vocals imploring us “hold your ferret aloft” and “vote for stoat”, amongst other things I can’t quite make out. However, instrumental interplay predominates, as the band jam away in a lazy, stoned and virtuosic way through various shades and permutations of the basic groove, Phil Ryan providing some tasty, unshowy keyboard licks. I can certainly imagine this track sitting comfortably on the Chillum album, or maybe snuck into some early/mid-70’s Zappa album, and it’s one of the few tracks here that doesn’t sound derived from styles set down previously by Man – let’s call them Mannerisms, eh? But how can you accuse Clint of being derivative of something he helped create and was a part of in the first place? Even if you could get away with calling any of it derivative, there’s no escaping that the music is still great regardless, and that’s what matters ultimately. Unless you don’t like this sort of thing, in which case, why have you read this far?
I was told that Clive has lots of early Man recordings that maybe one day could see the light of day - I certainly hope so.
As I promised last month, I have set up a website for free access to my songs, including the originally-planned version of the Seventh Dawn "Sunrise" album.
The website is www.heffmunson.com
It contains new versions of my songs from that album plus the other songs as originally planned. The album title is "Such A Lonely __/Seashore". I have also recreated my original cover artwork, and included a printable lyric book.
There are other songs as well, and I will add more from time to time.
Thanks to the people who listened to the 1976 version.
les rallizes denudes - ('77 live -disque 1-) 01 enter the mirror
les rallizes denudes - ('77 live -disque 1-) 02 yoru ansatsusya no yoru
les rallizes denudes - ('77 live -disque 1-) 03 kori no honou
les rallizes denudes - ('77 live -disque 1-) 04 kioku ha toui
les rallizes denudes - ('77 live -disque 2-) 01 yoru yori fukaku
les rallizes denudes - ('77 live -disque 2-) 02 yoru no syuukakusyatati
les rallizes denudes - ('77 live -disque 2-) 03 the last one
Link Disc 1 & 2
Thursday, September 06, 2007
Really a great album, not just the track 12 - Time of the Season, I even fancy the other tracks more than that one…
01 - Care of cell 44
02 - A rose for emily
03 - Maybe after he's gone
04 - Beechwood park
05 - Brief candles
06 - Hung up on a dream
07 - Changes
08 - I want her she wants me
09 - This will be our year
10 - Butcher's tale western
11 - Friends of mine
12 - Time of the season
Wednesday, September 05, 2007
review by : Mr. P. G. B. Stromeyer's
Tuesday, September 04, 2007
So we cannot share it/re-upload it .
cause they believe it reduces their sales & we have to respect that.
Sunday, September 02, 2007
1. Looking for the Sun (Alexander)
2. Letter to Baba (Alexander)
3. Topanga (Alexander)
4. Autumn is a Bummer (Alexander)
5. A Bunch of Us Were Sitting Around a Candle in San Francisco Getting Stoned and I Hope You’re There Next Time (Alexander)
6. Waiting for the Time (Alexander)
7. Thinking in Indian Again (Alexander)
8. Puppet Theatre 23 (Alexander)
9. One Real Spins Free (Alexander)
10. Windy Wednesday (Alexander)
11. Miss Mary (Alexander)
I was recently turned on to this album by a friend of mine. It's a really obscure pop-psych record somewhat in the vein of the Association. I'm not familiar enough with the scene to comment at length on the origins of the album; there doesn't seem to be much information. I think it's pretty solid though. Alexander has a breezy, surreal vocal delivery and there's certainly enough trippy moments to satisfy any fan of the genre.
Get it HERE (@256).
(and yes, the tracks tend to end rather abruptly... it's not a problem with the rip!)
Track List :
I'm So Glad
Saturday, September 01, 2007
After honing their sound and building a name locally around Sydney in late 1964, the group was signed to Albert Productions who, in turn, licensed their releases to Australian EMI's Parlophone label. Ted Albert, their producer, seemed to recognize what he had in a group of talented, newly-transplanted Englishmen and Europeans — the real article, and a rare musical commodity in Australia. The band was signed up with 20 original songs already written, and as they sounded fresh, he simply let the band cut them, merely making sure the music came out right on vinyl. Working from originals primarily written by Stievie Wright, by himself or in collaboration with George Young, the group's early records (especially the albums) were highly derivative of the Liverpool sound, which was fine by all concerned. What made it special was the sheer energy that the quintet brought to the equation — they were highly animated in the studio and on stage, they looked cool and rebellious, and they sang and played superbly
Read more on Allmusic
01-It's So Easy
02-I'm A Madman
04-She Said Alright
05-I'm Gonna Tell Everybody
07-She's So Fine
08-You Got It Off Me
09-Cry Cry Cry
12-You'll Come Back Again
13-Girl On My Mind
14-Ya Can't Do That
15-For My Woman
16-Say That You're Mine
17-The Old Oak Tree
18-Friday On My Mind
19-Lisa, Rough Mix
20-Find My Way Back Home
21-No One Knows
22-She's So Fine (Live)
Style; Rock & Roll, Garage