Wednesday, December 06, 2006
Victoria - 1971 - Victoria ( usa psych)
Here’s the original cd from Seven Little Indians with the beautiful red velvet digipack and golden engraved artwork (limitied 500 copies with 4 extra songs and photo’s)
Maybe 5 or 6 known copies of this of this demo release (200 made) of a New Jersey band. A Fantastic concept psych beauty.
3 girls and 1 guy.
They tried to get attention from big labels but this never happened. They wanted him to sound like Blood Sweat and Tears. But this wasn’t Greg’s idea of music. The music has everything you need, like a wild version of early Moby Grape combined with New Dawn and C.A. Quintet, sometimes dreamy sometimes totally wild underground-psych, with female vocals and splattering leads, titanic guitars and distorted guitars. Sweet tunes turn into dark psychpower!!!!!
Personnel :
SHARON BARTON
MAUREEN DEIDELBAUM
GREG RUBAN
CHERYL SIMPSON
Produced, arr.Composed by GREG RUBAN
Greg Ruban, the composer and front-man of victoria recorded this album just before he had to go to Vietnam. When he returned from War, he took his unreleased album on a 3 month trip to Europe on a motorbike to promote it, but unfortunately that did not work out at all. The album was unreleased until only a few years ago.…
enjoy!!!!Mazzy Star - Live in Chicago - bootleg
01 - Flowers In December
02 - Ride It On
03 - Into Dust
04 - Give You My Lovin
05 - Fade into you
06 - Halah
07 - Ghost Highway
08 - Blue Flower
A very rare live bootleg of Mazzy Star.
Mazzy Star was a dream pop/alternative band formed in 1989 from a band called Opal, a collaboration of guitarist David Roback (of the eighties Paisley Underground group Rain Parade) and bassist Kendra Smith (of Dream Syndicate fame). They were later joined by Smith's friend Hope Sandoval as the vocalist. Kendra Smith soon left the band.
Mazzy Star is probably best known for the song "Fade Into You," which brought the band some success in the mid-1990s and was dream pop's biggest mainstream hit (it was later sampled by Richard X for his song "Into You" featuring Jarvis Cocker). Roback and Sandoval were the creative center of the band, with Sandoval writing most of the lyrics and Roback composing most of the music.
Listen to dreamful voice of Hope, and feel the spirit of mazzy star live.
posted by mafalda
Labels: by Friends and Visitors of this Blog, M 
Earcandy - Sound Is Just The Way You Ear It
Bandname Earcandy
Country UK / Exeter Devon
Musicstyle Space Rock • Psychedelic
Dave & Mandy Thor
MORE INFO
THE TITLE DESCRIBES THE MUSIC PERFECT
A 90's UK private pressing by an obscure musical ensemble this album blends all of the elements of psychedelic spacerock into a bottle of champagne for your head. Flip the cork, pour and watch the bubbles rise. Every psychedelic trick in the book is thrown into the production on this mind melter.. by Freakemporium site
A must have for every psych-head
Enjoy
Cyrus Faryar - 1971 - Cyrus
Personnel incl:
MIKE BOTTS drms A
CRAIG DOERGE piano A
CYRUS FARYAR vcls, glass hrmnca, gtr A B
BRIAN GAROFALO bs A
ALEX HASSILEV electronic score, backing vcl A
PAUL McCANDLESS oboe A
GLEN MOORE bs A DICK ROSMINI gtr A
RALPH TOWNER gtr, mellophone A
COLIN WALCOTT perc A B
(DAVID CROSBY backing vcl A)
(MAMA CASS ELLIOT backing vcl A)
(BOB GIBSON gtr, backing vcl A)
MIKE BOTTS drms A
CRAIG DOERGE piano A
CYRUS FARYAR vcls, glass hrmnca, gtr A B
BRIAN GAROFALO bs A
ALEX HASSILEV electronic score, backing vcl A
PAUL McCANDLESS oboe A
GLEN MOORE bs A DICK ROSMINI gtr A
RALPH TOWNER gtr, mellophone A
COLIN WALCOTT perc A B
(DAVID CROSBY backing vcl A)
(MAMA CASS ELLIOT backing vcl A)
(BOB GIBSON gtr, backing vcl A)
ALBUMS:
1(A) CYRUS (Elektra 74105) 1971
2(B) ISLANDS (Elektra ?) 1973
The former Modern Folk Quintet member and voice of Zodiac Cosmic Sounds recorded these solo albums in 1971 and 1973. Cyrus was recorded in Los Angeles with the help of the members of the jazz group Oregon, David Crosby, Cass Elliot and various sessionmen. It's mainly composed of introspective folk rock with some oriental influences and very religious lyrics (Softly Through The Darkness, New Beginnings, Kingdom). Springtime Bouquet is an electronic score composed by Alex Hassilev. Recorded in 1973, Islands is presumably in the same style.
Faryar can also be found on recordings by Fred Neil, Mama Cass and the Stone Poneys and he sung one track for the soundtrack of "Last Summer" produced by John Simon. He even produced some albums by the Firesign Theater. In the early seventies, Faryar moved to Hawaii where he produced some local groups like Country Comfort.
(Stephane Rebeschini)
1(A) CYRUS (Elektra 74105) 1971
2(B) ISLANDS (Elektra ?) 1973
The former Modern Folk Quintet member and voice of Zodiac Cosmic Sounds recorded these solo albums in 1971 and 1973. Cyrus was recorded in Los Angeles with the help of the members of the jazz group Oregon, David Crosby, Cass Elliot and various sessionmen. It's mainly composed of introspective folk rock with some oriental influences and very religious lyrics (Softly Through The Darkness, New Beginnings, Kingdom). Springtime Bouquet is an electronic score composed by Alex Hassilev. Recorded in 1973, Islands is presumably in the same style.
Faryar can also be found on recordings by Fred Neil, Mama Cass and the Stone Poneys and he sung one track for the soundtrack of "Last Summer" produced by John Simon. He even produced some albums by the Firesign Theater. In the early seventies, Faryar moved to Hawaii where he produced some local groups like Country Comfort.
(Stephane Rebeschini)
Sebastian - Rays Of The Sun - 1969
ALBUM: 1 RAYS OF THE SUN (MCA 7001) 1970
45s: 1 Now That It's Over/Elaine (Apex 77106) 1970 54 2 Back In Love Again/Smile A Little (Apex 77109) 1970 81 3 Babe I Can Carry Your Tombstone/I Won't Do It Mama (Quality 1976) 1970 - 4 Jimmy, Janis And Alan/Wexford Boulevard Hangup (Yorkville 45032) 1971 - 5 Jubilation/Through With Your Love (MCA 2004) 1971 - 6 Too Young/Darlin' I Do (Mr. Maestro 801) 197? -
NB: (1) also issued on Decca (32655) 1969.
An obscure singer/songwriter from Ontario, or maybe a group leader, who signed a solo recording contract to release the above album. His songs in general are overproduced by Roy Dykhof, with orchestral (horn and string) arrangements by Roger Grevel. Although there are some good guitar leads here and there, the result is an unimpressive pop/rock sound, comparable to the British artist Barry Ryan. There are two longer tracks: Passages and Rays Of The Sun, produced by Sebastian himself, with real rock backing (gtr, bs, drms and piano) by his friends (or his real group?), that are outstanding! The first starts slow and melodic and then quickens in pace; the second is mid-tempo. The mood is psychedelic with piano breaks and excellent guitar leads. These two tracks really are worth a spin.
(CA)
(CA)
Ruth Copeland - Gimme Shelter
Ruth Copeland (feat. Parliament) - Gimme Shelter_The Invictus Sessions
Track Listings
01. Prologue: Child Of The North
02. Thanks For The Birthday Card
03. Your Love's Been So Good To Me
04. Music Box
05. Silent Boatman
06. To William In The Night
07. No Commitment
08. I Got A Thing For You Daddy
09. Gift Of Me
10. Medal
11. Crying Has Made Me Stronger
12. Hare Krishna
13. Suburban Family Lament
14. Play With Fire
15. Don't You Wish You Had (What You Had When You Had It)
16. Gimme Shelter
Two very rare funk-soul albums (on one disc) which George Clinton's Parliament were the backing band as Ruth Copeland was an integral part of the early 70's band. Copeland effortlessly blends soul, funk,blues, psychedelia and acoustic material onto these albums. The second album 'I Am What I Am' had an incredible version of the Stones classic 'Gimme Shelter'. Funk out! ~ Freak Emporium
Rare funky work by Ruth Copeland -- a Detroit-based female rock singer, but one who worked with George Clinton on a number of her tracks -- giving her albums a hard funky sound that's right up there with early work by Parliament or Funkadelic! The CD features both Ruth's albums for the Invictus label -- Self Portrait and I Am What I Am -- the former of which has great work by Clinton, who also wrote a number of the songs. Titles include "Your Love Been So Good To Me", which starts with a very fuzzy electric break, and "I Got a Thing For You Daddy", which has some great spacey guitars on the intro! Other cuts include "Child of the North", "The Medal", "Gimme Shelter", "Play With Fire", "Hare Krishna", "Suburban Family Lament", "No Commitment", "A Gift of Me", and "The Music Box".
Get it Here !
Afrika Korps - 1987 - God, It's Them Again EP
Afrika Korps - 1987 - God, It's Them Again EPLine-up
Solomon Gruberger: vocals, lead guitar, rhythm guitar / Jay Gruberger: bass, lead guitar (3,6) / Kenne Gizmo Highland: vocals, lead guitar (1,2,4,7) / Marthat Hull: vocals (1,2,7) / Kenny Kaiser: drums, percussion (1,7) / Kim Kane (Slickee Boys): rhythm guitar, vocals (1,7) / Tommy Carr: drums (2)
recorded on august 14, 1982 - producers: S.Gruberger, J.Gruberger, K.Kane
Track listing
1.I'm lost in the sea of your love (part 1)
2.Nothings gonna change my life
3.Tonight
4.Reno Mania
5.Don't spoil the cake
6.Cute little she devil
7.I'm lost in the sea of your love (part 2)
The Afrika Korps was formed in 1976 by three pioneers of the American DIY garage-punk movement Solomon Gruberger (O.Rex), Kim Kane (Slickee Boys) and Kenne Highland (Gizmos). All three had already released their own indie records at this point, and with the addition of Ken Kaiser on drums and 16 year old Jay Gruberger on bass, the Afrika Korps was a casually constituted underground supergroup whose fifteen-person lineup included fanzine writers, and other assorted Washington DC-area garagepunks. Their first LP 'Music to Kill By' boasts 22 songs (including the Slickee Boys' "Jailbait Janet," covers of the Kinks and Yardbirds, and such culturally profound outpourings as "Iggy," "Death to Disko!" and "N.Y. Punk.").
Reuniting on a smaller scale five years later, the Korps roared back into action with a punchy second album. Solomon Gruberger (who does a pretty good Joey Ramone imitation on "Tonight") shares lead vocal duties on the half-dozen songs with ex-Slickee Boys singer Martha Hull and SB guitarist Kim Kane. These recordings released as an 12"EP by the French label New Rose, in 1987. The best review for this comes from Dimitri T.Shepilov, Editor in Chief of Pravda, in the 50s: "All this nervous and insane Boogie Woogie are the wild orgies of cavemen...devoid of all elements of beauty and melody...representing an uncontrolled release of base passions, a burst of the lowest feeling and sexual urges."
Labels: A, Rainy Day Sponge
Tuesday, December 05, 2006
The Far Cry - 1969 - The Far Cry
The Far Cry - 1969 - The Far Cry
01. Shapes
02. Midnight Juice
03. Dream?
04. Hellhound
05. Earthlight
06. Sweet Little Angel
07. Listen to the Walls
Here's a hard to find psychedelic free-for-all...a favorite of mine although you need to be in a certain mood to fully appreciate it. Fans of Captain Beefheart would probably like this one!
-Lanchester
Here's the review from lysergia:
Geez, ever heard the phrase something is "an acquired taste"? Well, it's certainly an applicable description for the Boston-based Far Cry. An early entry to the horn-rock sweepstakes, this seven piece outfit was signed by the short-lived New York-based Vanguard Apostolic Records, and the band's self-titled debut teamed them with producer Daniel Weiss. Imagine Blood, Sweat and Tears locked into a closet with Captain Beefheart and Quicksilver Messenger Service's John Cipollina... Largely original (the lone exception being a cover of Riley King's 'Sweet Little Angel'), the album featured a strange blend of jazz, fusion and psychedelic rock moves. While it may not have sounded particularly promising, the combination of styles was actually intriguing. Whiting's bizarre and wild voice (on tracks such as 'Shapes' and 'Hellhound' it sounded as if he were about to suffer a terminal stoke), Martin's free form sax (sometime it sounded as if he were reading the charts for a different song) and Lenart's fluid guitar (check out the introduction to 'Earthlight') made for an album we play on a regular basis.
Labels: F, Lanchester
The Oracle - 1989 - Nataraja Da Nada
Hi mushroom-eaters. This one is more rare than my mother's fotos with bikini.
So GET IT!!!!
ORACLE: Nataraja Da Nada
(Paradise Lost US 1989 )
The Oracle Speaks (24:18)
a. The invocation
b. The proclamation
c. Don't hold your breath
The awakening (24:00)
Please walk with me through the tangled web that surrounds this LP, as the rewards that await on the other side are generous. For instance, how many LPs do you own that are made by a 300 pound redneck biker that calls himself "Rameshwar"?
But let's begin at the beginning. Around 1990, a Texan record dealer and occasional impressario named Darryl Menkin distributed this LP among the psych-head underworld. Information on it was limited, but Menkin himself was listed as "executive producer" on the sleeve, and the recording was stated as having been made in West Virginia. It appeared to be a modern release of a contemporary psych group. Except that this band didn't look like the Blacklight Chameleons - they looked like they had wandered out of the time-space continuum at a Lynyrd Skynyrd concert in 1975 and hadn't found their way back to earth until 1989. And the record didn't really sound like a modern psych band either - to begin with, it was insane.
The potential cloud of confusion was made flesh when Darryl Menkin, and others with him, unexpectedly started referring to the LP as a "reissue" of an LP from "1976" - the original of which noone had ever seen. This information made its way into various record lists and eventually into Ron Moore's admirable "Underground Sounds" book, which is where I first spotted it.
Fast forward to Spring 2002. I've just received a tape of Oracle's "Nataraja da nada" and am listening to it in headphones. I hear it based on the assumption that it is a rare private press from 1976, because I don't yet know what is described above. The tape has the album sides reversed, beginning with "The awakening" which is side B. This turns out to be another fortunate mishap, as "The awakening" is the stronger trip of the two.
About 1 minute into the track I'm upright in my chair, having sunk into a couch potato pose after listening to half-ass psych all day. I mean, this sounds like the real thing; the basement fidelity, the acid guitar, the murky drumming. Then when the vocalist opens his mouth I'm practically on my feet. What the hell IS THIS? It sounds like the missing link between Sky Saxon & James Brown, with a thick redneck accent to boot. The lyrics are obscure, but what I pick up spells "L"-"S"-"D". About halfway through the track the trio takes off for the Andromeda Galaxy, a 10-minute space guitar jam with echoes of Manuel Gottsching and Terry Brooks, before Rameshwar the vocalist reappears to send a final transmission back to the Solar system. Whew! No coincidence they called their recording shack "The Sponge" - there must have been liquid acid running down the walls in there.
All must bow before the almighty Rameshwar.
Over on the reverse side is "The oracle speaks", another 24-minute trip which I'm pretty certain was recorded in a lysergic state - there's no other way to explain the strange wave-like in/out-of synch drumming. Beginning with ghostly whispers of Sanskrit the piercing Voice appears again to intone the LP title, before setting off on a bizarre imitation of rootsy garage rock interspersed with crude acid guitar leads. Less musically appealing than "The awakening", we are nevertheless treated to some great anti-social lyrics wherein Rameshwar explains, in the way a Hell's Angel might, that noone should even think about changing his way of living, not the Government or even Mr President - Don't hold your breath!
That's about it. A conceptual tribal basement acid space guitar trip that is as good as anything I've heard from a modern - as I believe them to be - psych band. It's not for everyone, but heads who enjoy Ya Ho Wha 13 LPs can find comfort in the fact that there were freaks as flipped out as Yod's guys 15 years later, right in the middle of the Reagan-Bush American heartland.
So GET IT!!!!
ORACLE: Nataraja Da Nada
(Paradise Lost US 1989 )
The Oracle Speaks (24:18)
a. The invocation
b. The proclamation
c. Don't hold your breath
The awakening (24:00)
Please walk with me through the tangled web that surrounds this LP, as the rewards that await on the other side are generous. For instance, how many LPs do you own that are made by a 300 pound redneck biker that calls himself "Rameshwar"?
But let's begin at the beginning. Around 1990, a Texan record dealer and occasional impressario named Darryl Menkin distributed this LP among the psych-head underworld. Information on it was limited, but Menkin himself was listed as "executive producer" on the sleeve, and the recording was stated as having been made in West Virginia. It appeared to be a modern release of a contemporary psych group. Except that this band didn't look like the Blacklight Chameleons - they looked like they had wandered out of the time-space continuum at a Lynyrd Skynyrd concert in 1975 and hadn't found their way back to earth until 1989. And the record didn't really sound like a modern psych band either - to begin with, it was insane.
The potential cloud of confusion was made flesh when Darryl Menkin, and others with him, unexpectedly started referring to the LP as a "reissue" of an LP from "1976" - the original of which noone had ever seen. This information made its way into various record lists and eventually into Ron Moore's admirable "Underground Sounds" book, which is where I first spotted it.
Fast forward to Spring 2002. I've just received a tape of Oracle's "Nataraja da nada" and am listening to it in headphones. I hear it based on the assumption that it is a rare private press from 1976, because I don't yet know what is described above. The tape has the album sides reversed, beginning with "The awakening" which is side B. This turns out to be another fortunate mishap, as "The awakening" is the stronger trip of the two.
About 1 minute into the track I'm upright in my chair, having sunk into a couch potato pose after listening to half-ass psych all day. I mean, this sounds like the real thing; the basement fidelity, the acid guitar, the murky drumming. Then when the vocalist opens his mouth I'm practically on my feet. What the hell IS THIS? It sounds like the missing link between Sky Saxon & James Brown, with a thick redneck accent to boot. The lyrics are obscure, but what I pick up spells "L"-"S"-"D". About halfway through the track the trio takes off for the Andromeda Galaxy, a 10-minute space guitar jam with echoes of Manuel Gottsching and Terry Brooks, before Rameshwar the vocalist reappears to send a final transmission back to the Solar system. Whew! No coincidence they called their recording shack "The Sponge" - there must have been liquid acid running down the walls in there.
All must bow before the almighty Rameshwar.
Over on the reverse side is "The oracle speaks", another 24-minute trip which I'm pretty certain was recorded in a lysergic state - there's no other way to explain the strange wave-like in/out-of synch drumming. Beginning with ghostly whispers of Sanskrit the piercing Voice appears again to intone the LP title, before setting off on a bizarre imitation of rootsy garage rock interspersed with crude acid guitar leads. Less musically appealing than "The awakening", we are nevertheless treated to some great anti-social lyrics wherein Rameshwar explains, in the way a Hell's Angel might, that noone should even think about changing his way of living, not the Government or even Mr President - Don't hold your breath!
That's about it. A conceptual tribal basement acid space guitar trip that is as good as anything I've heard from a modern - as I believe them to be - psych band. It's not for everyone, but heads who enjoy Ya Ho Wha 13 LPs can find comfort in the fact that there were freaks as flipped out as Yod's guys 15 years later, right in the middle of the Reagan-Bush American heartland.
Labels: O, stavros666999
McFadden's Parachute - 2003 - Black Fuzz
01. Black Fuzz
02. Crashing Into Amethyst
03. Intoxicated Red Illusions
04. When A Flower Dies
05. The Last Woman On Earth
(lyrics by Del Rivers - music by Dagwood McFadden and Del Rivers)
06. Fall Of The Queen (Destiny's Children)
07. No Good Without You (Stevenson)
08. We're Nevermore (Coming Home) (cover song)
09. The Other Side (cover song)
10. Song Of A Baker (cover song)
Formed in 1988 by Dagwood McFadden. Members consist of one man - Dagwood. He writes all the material, plays all the instruments, records and mixes all of the songs. Recorded and released 23 full length albums (325 + songs) since 1990. After releasing self-produced albums for 9 years, formed a live version of the band in 1999 with Rick Cona of The Chesterfield Kings and Dave Anderson of The Projectiles and The Riviera Playboys. Toured the NE US summer of 1999 (Geno's in Portland ME, CBGB'S ijn NYC, The Midway in Boston, The Bug Jar in Rochester))- disbanded in September 1999. Dagwood returned to recording as the "one man" band and 7 more full length releases followed, and will never stop being made until he croaks...Also played drums on the new album by Sky Sunlight Saxon (of The Seeds) and his new project called Green Forrests. Recorded in
Discography :
1988
"Julie's Illusion" b/w "Empty Plaines" (Dagwood McFadden) - Unreleased Single
"Bishopsgate Turtledove" (Dagwood McFadden) - Unreleased Live Demo
------------------------------------------------------------------------------------------
Physical Culture Sanitariuum Self-released Cassette Album
------------------------------------------------------------------------------------------
1992
Just A Minute, Man Self-released Cassette Album
The Smell Of Incense Self-released Cassette Album
Musical (?) Schizophrenia Self-released Cassette Album
------------------------------------------------------------------------------------------
1993
Decent Of The Peacefrogs Self-released Cassette Album
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1994
McFadden's Parachute Unplugged Self-released Cassette Album
Dropping Out Self-released Cassette Album
Black And White Rainbows Self-released Cassette Album
The Anti-electric Sounds Of McFadden's Parachute Unreleased EP of acoustic versions of previously released songs
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1995
The Akle Jane Quatrains
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Lost In Space Unreleased Double Album
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Mid-60's Garage Punk Rock Spunk Records SP-008
Supernova Spunk Records SP-023
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Supernova Spunk Records SP-023
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1999
Another Chick Induced Dream Spunk Records SP-11:11.
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2000
Allison Crow Is Dying Garage-Pop Records GP - 09
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2001
McFadden's Parachute Garage Pop Records GP - 13
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2002
Paisley
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2003
Black Fuzz Jargon Records JAR - CD0301
Far - Out - Fisa Jargon Records JAR - CD031001
Supernova Jargon Records JAR - CD0302
------------------------------------------------------------------------------------------
2004
Sweep Out The Brainfog Jargon Records JAR - CD - 0404.
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2005
McFadden's Parachute
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HAMMERDOWN Promo Copy Only No Label Yet, Shopping For One
Resources :
profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=21161513
home.rochester.rr.com/wls1/McFadden.html
I would really appreciate it if anyone could share some more of McFadden's material .
Thanks in advance
DownloadLink:
http://rapidshare.com/files/6200031/blackfuzz.rar.html
http://rapidshare.com/files/6200031/blackfuzz.rar.html
Labels: innocent76, M
Gary Higgins - Red Hash - 1973
Gary Higgins
Personnel:
DAVE BEAUJON
bs
A
JAKE BELL
gtr, vcls
A
TERRY FENTON
organ, piano
A
GARY HIGGINS
vcls
A
PAUL TIERNEY
flute, mandolin, vcls
A
MAUREEN WELLS
cello, vcls
A
ALBUM:
1
RED HASH
(Nufusmoon WMI 3673)
1973 R1
NB: (1) reissued on CD.
Connecticut electric folk/rock of a very high standard - it even approaches Mu territory at times on tracks like Thicker Than A Smokey, Telegraph Towers and I Can't Sleep At Night. Produced by Higgins and Chico Carillo, the LP came with a lyric sheet.
(Clark Faville/Stephane Rebeschini)
Franco Battiato
^
Franco Battiato (born March 23, 1945) is an Italian singer-songwriter, composer,
filmmaker and (as Süphan Barzani) painter.
...Clic 1974
Aside from backing vocals and a string quartet, everything else is Battiato's doing, with evident krautrock elements - stronger than those of his previous works. Meditative and dreamy, Battiato's soundscapes are created by controversial collages of images and sensations, experimental and intricate, with a quasi-dadaist disrespect for what is passed as 'trendy' by the intelligentsia.
^
Battiato isn't far from his usual use of irony thus the statement title: "propriedad prohibida" (prohibited property) which was his bitterly wry take on more-leftist-than-thou Italian bands of the time (the song itself is a sedative tanderine-dreamesque-instrumental). Such fun spirits turn up on the album on "rien ne va plus, andante" where the string quartet, the piano and the people gently go berserk.
^
"Ho dormito per non morire
buttando i miei miti di carta
su cieli di schizofrenia"
download: http://rapidshare.com/files/6100604/franco_battiato_-_clic__1974_.zip
βλαχάκι (το)
postαρίστικε απο (το) βλαχάκι
posted by Vlahaki (the)
posted by Vlahaki (the)
Labels: B, by Friends and Visitors of this Blog, F
Joy of Cooking- Same
JOy of cookingInitial release : 1971
Capitol 661
The debut Joy Of Cooking album.
Tracks
Hush (Traditional arr. Garthwaite and Brown)
Too Late, But Not Forgotten (Brown)
Down My Dream (Brown)
If Some God (Sometimes You Gotta Go Home) (Brown)
Did You Go Downtown? (Garthwaite)
Dancing Couple (Brown)
Brownsville / Mockingbird (medley) (Lewis / Brown / Garthwaite)
Red Wine At Noon (Brown)
Only Time Will Tell Me (Brown)
Children's House (Brown)
Musicians
Terry Garthwaite - guitar, clarinet, lead vocals
Toni Brown - keyboards, steel guitar, kalimba, lead vocals
David Garthwaite - bass, giuitar
Fritz Kasten - drums, alto saxophone
Ron Wilson - congas, harp, cowbell, tambourine
Great soul funk, West coast psyche...recommended
This late, lamented, early-'70s band from Berkeley exemplifies what sociologists call emergent properties: They combine rock, folk, jazz, Latin, blues and country elements into a whole that exceeds the sum of its parts. In going beyond their musical antecedents in this manner, they would appear to have something in common with a certain upstate New York resident of our acquaintance :-). They enjoy historical as well as musical significance, moreover--their gender-integrated, female-fronted organizational structure is generally considered to have been innovative for its time.
Info here
Wanda Jackson - Queen of Rockabilly -The Very Best of The R'n'R Years
Wanda Lavonne Jackson was born in 1937 in Maud, Oklahoma, a small town about fifty miles southeast of Oklahoma City. Her father played piano in bar bands and worked whatever odd jobs he could find, which weren't many in the Dust Bowl during the Depression. So in 1941 he loaded up the family and headed for California and a better way of life. The family settled in Bakersfield. Wanda first learned to sing in a church gospel choir. She learned to play the guitar after her father bought her one in 1943. Wanda practiced incessantly. As her mother later said, "Wanda wasn't like other children after the guitar came into her life."
The Jackson family moved back to Oklahoma City in 1949 when Wanda was 12-years-old. While attending high school, Wanda won a talent show at a local radio station. Her prize was a daily fifteen-minute radio program.
From 1956 to 1961, Wanda Jackson produced some awesome rock & roll. However, in the early 1960s events conspired to end her career in rock, and she turned to country music. But her rock & roll records remain as evidence that for a few years a young Oklahoma girl rocked as hard as anyone. She achieved a wildness and energy that was every bit as intense as her male counterparts, and today she ranks as one of the best rockabilly singers ever, male or female.
Rock It
Rock It
Leviathan (UK) - 1969 - Forgotten Jewels
Leviathan (UK) - 1969 - Forgotten Jewels
01 - Time
02 - Children Of Tomorrow
03 - My White Bicycle
04 - Times To Remember
05 - Second Production
06 - The World In My Heart
07 - Flames
08 - Shades Of Autumn
09 - Blue Day
10 - Time (Alternate Version)
11 - The War Machine
12 - Evil Woman
Some time ago, this album appeared in the UK via many best-known pstch / prog / beat music outlets. The label hails from Bremen, Germany, and it it was immediately obvious that FJ didn't know much about the band they had 'scooped' for this release. Apart from track listings that made up this album, all that we are told by FJ is that 'tracks 1 - 3 performed by The Shivering Span' (sic), 'tracks 4 - 12 performed by Leviathan' (the compilers of this platter must have seen the 'Psychedelic Dungeon' boxed 7" set which features two songs by the Mike Stuart Span : the booklet which accompanies the package reproduces an old music paper article on the band's appearance in the film "Better A Widow". It describes the how the four musicians were performing a number in Hyde Park for the benefit of the cameras - in mid-December, wearing nothing warmer than their paisley shirts! The heading for it was simply 'Shivering Span' which gives you some idea how much research was done for this LP!). What the LP doesn't tell you is that these tracks were culled from the band's singles, a Radio One session and also some unreleased acetates. This album is a pretty shoddy affair and with a little bit of care and effort they could have turned into a very nice release, but whoever did the cover (and pointless insert) should stick to painting by numbers.
All that aside, the music is excellent; the Span / Leviathan wrote and performed some of the most distinctive progressive / psych sounds of the era and anyone who has a copy will no doubt play it again and again. So, what better way of talking us through the contents of the album can there be other than hearing it from someone who was there at the time?
Gary 'Roscoe' Murphy, the drummer with Mike Stuart Span / Leviathan, will now give us a guided tour :
Time (John Peel session version) : Not as strong as the single version, technically not so well engineered. Note : complete with Simon & Garfunkel ending! Simple, pleasant and melodic
Children of Tomorrow (John Peel version) : Far superior to the ultra-rare 45 version on the Jewel label, however, perhaps lacks the raw excitment of the original
My White Bicycle (again from the Peel session) : Pleasant, strong melody and a possible commercial re-release. Stands up wellby modern standards, and one of my favourites from the LP
Remember The Times : Our first single as Leviathan, comercial, driving music, well engineered with good vocals. This is one that I enjoyed playing live immensely
Second Production : One of the strongest songs - very '60's lyrics and strange percussive rhythm. Almost ethereal quality solo - far too short! The unreleased Decca version is far superior - the solo is out of this world, and could be earmarked for private release
World In My Head : Fairly simple melody and lyrics which builds up to a good solo. This was good to play live, but doesn't transfer to vinyl 100% succesfully
Flames : My own personal favourite of all time (from our own material that is) - well engineered and played : one of the most 'theatrical' numbers. Brian is at his best and shows excellent guitar skills. The faded ending, however is not for effect and, sadly, shortened purely to fit on the album. There are several other versions of this and they're all good
Shades of Autumn (Peel version) : The correct title of this should be "Through The Looking Glass". More instrumental than vocal; some excellent guitar passages by Brian, with many rhythm and mood changes. Very enjoyable to play and listen to
Blue Day : As the title suggests, very blues-orientated. Whilst it features Roger on a brilliant bass solo, this is not overall the best version around. Musically somewhat mediocre - the alternate version has more drive and harder wah-wah guitar throughout which strengthens the whole performance, and, while the bass solo is omitted, it reaches a much more professional climax
Time (Alternate version) : Much nicer; better recorded and an altogether fuller sound. Still lacks, in my opinion, either brass or string accompaniment. Moving, sincere lyrics. Somewhat disappointing ending though
The War Machine : Now we're really talking; a very strong number. Very pleasing effect, drums superbly recorded (and played I might add), star vocal appearance by yours truly! A very satisfying production; unusually contrasting guitar solo which works admirably well. Probably the best-recorded and most original song on the whole album
Evil Woman : This was an attempt on at putting down a 'live' track, which doesn't fully come off; what might work in a club or a concert venue loses something during the recording - probably atmosphere and a lack of an audience. Musically quite rewarding but just lacks that magic spark.
So there you have Gary's feelings on each of the tracks on this bootleg, but what does Gary think of it as a whole?
Gary : Overall, the album is a good representation of Leviathan's collective talents at songwriting and musical ability : where it fails is in presentation and poor quality recordings. By bootleg standards however, the cover is not too bad, but the insert is less pleasing and does nothing to enhance the finished product. I'd liked to have seen some more information and photos of the band included....the track listing hasn't been well thought out either, and could have been divided almost equally into the singles and non-singles on sides A and B. Rather than repeat "Time" a more obvious choice would have been "Concerto of Thoughts" (B-side of the Jewel 45) or perhaps "Just Forget Tomorrow", B-side of the last Leviathan single on Elektra, which is one of the best suited to Stuart's vocals. Summing up, the LP is not all bad, but could've been greatly improved using better quality recordings and other versions of the same tracks which were positively superior. However, if nothing else, it has made people aware of the band and that if enough interest is shown there are still some gems to be found locked in the 'jewel' casket....!
This article originally appeared in 117 magazine issue two.
Monday, December 04, 2006
Hidden Peace - 1986 - We All Have...
Hidden Peace - 1986 - We All Have...
First and last release of this acid-punk outfit from North Hollywood. It was released by the greek label Hitch-Hyke Records in LP (LIFT-003). Who knows the story behind this release... Hidden Peace had previously appeared in the Battle of the Garages vol.III compilation of Bomb/Voxx records.
Line-up
Paul S.Halbe - gtr, vcls
John Gleeson -drms
Ricky Hart - rhythm gtr
Dez Hernan -bs
Deanne - tambourine
Don't know anything else about them, didn't find any trace of Paul Halbe who apparently was the leader and wrote all the songs. As the for the music, if you listen to it between tracks from 60s garage/psyche groups, you would't tell the difference. Fuzzed guitars, Seeds, Standels, Fuzztones influences, and good songwriting and playing make this record worth a listen!
SIDE A
Summer Of Love
Stop It
Peacemaker
I Still Send Her Flowers
Acid Rain
In The Beginning
SIDE B
You Better Run You Better Hide
When The Day Is Coming
Tomorrow's Gone Away
Hioy Hi Hioy Ho
I Don't Know Anymore
The Final Detail
Labels: H, Rainy Day Sponge
Derroll Adams - Live 1975
LP B 1975 Sounds Superb 4M048-23599
S1 T1 Muleskinner Blues MISSING
S1 T2 Darlin´Cora
S1 T3 Freight Train Blues
S1 T4 Dixie Darlin´
S1 T5 Trouble Mind
S2 T1 Rich And Ramblin´Boy
S2 T2 Portland Town
S2 T3 Grand Coulee Dam
S2 T4 The Rock
S2 T5 The Valley
There are no word to disribe this man...
Reminds me of Bob Dylan and Markos Vamvakaris at the same time
GET IT.... It's Xmas time
Enjoy
There are no word to disribe this man...
Reminds me of Bob Dylan and Markos Vamvakaris at the same time
GET IT.... It's Xmas time
Enjoy
Pesky Gee - 1969 - Exclamation Mark
Pesky Gee - 1969 - Exclamation Mark
01 Another Country (7.37)
02 Pigs Foots (4.39)
03 Season Of The Witch (8.22)
04 A Place Of Heartbreak (3.00)
05 Where Is My Mind (3.00)
06 Piece Of My Heart (2.50)
07 Dharma For One (4.02)
08 Peace Of Mind (2.19)
09 Born To Be Wild (4.20)
-Jim Gannon - Guitar
-Jess "Zoot" Taylor - Organ
-Kip Trevor - Vocalist
-Clive Jones - Saxophone
-Bob Bond - Bass guitar
-Clive Box - Drums & percussion
-Kay Garret - Vocalist 
Starting out as a typical U.K. club soul band, and then turning toward psychedelia and prog rock in the latter half of the '60s, it wasn't until Pesky Gee! changed their name in 1970 to Black Widow, transformed, and released the satanic Sacrifice that they reached the public eye. If not singular in any particular way, the prog-edged Pesky Gee! album, released on Pye in 1969, has enough cool Hammond organ flourishes and late psych-intoned vocals (male and female) to cause interest. Much is aimless, relies too much on the blues-rock boom, or is downright bad ("Born to Be Wild"), but when they got the mix right they were superb, as on their original psych/soul/prog numbers: on "A Place of Heartbreak" there is a superb male/female vocal, a soulful beat, and some haunting changes; while "Where Is My Mind" (both songs were released as a 45) has a driving rhythm, a unique use of horns, and sees the beginning of the band's fascination with sinister subject matter and horror vocalization. The covers get a bit much, although the Julie Driscoll-intoned reading of Donovan's "Season of the Witch" has some fine moments. Not a solid affair but representative of the change in the British music scene of the late '60s. ~ Jon 'Mojo' Mills, All Music Guide
01 Another Country (7.37)
02 Pigs Foots (4.39)
03 Season Of The Witch (8.22)
04 A Place Of Heartbreak (3.00)
05 Where Is My Mind (3.00)
06 Piece Of My Heart (2.50)
07 Dharma For One (4.02)
08 Peace Of Mind (2.19)
09 Born To Be Wild (4.20)
-Jim Gannon - Guitar
-Jess "Zoot" Taylor - Organ
-Kip Trevor - Vocalist
-Clive Jones - Saxophone
-Bob Bond - Bass guitar
-Clive Box - Drums & percussion
-Kay Garret - Vocalist
Starting out as a typical U.K. club soul band, and then turning toward psychedelia and prog rock in the latter half of the '60s, it wasn't until Pesky Gee! changed their name in 1970 to Black Widow, transformed, and released the satanic Sacrifice that they reached the public eye. If not singular in any particular way, the prog-edged Pesky Gee! album, released on Pye in 1969, has enough cool Hammond organ flourishes and late psych-intoned vocals (male and female) to cause interest. Much is aimless, relies too much on the blues-rock boom, or is downright bad ("Born to Be Wild"), but when they got the mix right they were superb, as on their original psych/soul/prog numbers: on "A Place of Heartbreak" there is a superb male/female vocal, a soulful beat, and some haunting changes; while "Where Is My Mind" (both songs were released as a 45) has a driving rhythm, a unique use of horns, and sees the beginning of the band's fascination with sinister subject matter and horror vocalization. The covers get a bit much, although the Julie Driscoll-intoned reading of Donovan's "Season of the Witch" has some fine moments. Not a solid affair but representative of the change in the British music scene of the late '60s. ~ Jon 'Mojo' Mills, All Music Guide
Sunday, December 03, 2006
The Sound - From The Lion's Mouth
Tracks :
01 Winning
02 Sense Of Purpose
03 Contact The Fact
04 Skeletons
05 Judgement
06 Fatal Flaw
07 Possession
08 The Fire
09 Silent Air
10 New Dark Age
There is a kind of double irony to the lyrics of the opening track of The Sound's second album. Listening to the excellent new wave classic 'Winning' the lyrics convey becoming triumphant in the face of adversity: "I was going to drown then I started swimming. I was going down then I started winning". Yet these optimistic words are set to a doomy rhythm section that suggests anything but. All of this naturally leads to thinking of frontman Adrian Borland's recent suicide. Rather reflect on that though, it is best to concentrate on an excellent album from the early 80's which ranks alongside The Comsat Angels' early work for being an overlooked classic. 'From The Lion's Mouth' possesses that same air of controlled miserablism and that tangible sense of loneliness that sounds just as poignant now as it did 22 years ago. Unfortunately the group lost their way on subsequent albums in an effort to cross over to a more lucrative market. Remember them instead for exemplars of edgy rock such as the rattling intensity of 'The Fire' and 'Skeletons' or the awesome 'Fatal Flaw' and 'New Dark Age' with its threatening military drum introduction.
resources : http://www.leonardslair.co.uk/lions.htm
EXCELLENT album guys ! 9/10
Download Link :
http://rapidshare.com/Sound_-_Lions_Mouth.rar
resources : http://www.leonardslair.co.uk/lions.htm
EXCELLENT album guys ! 9/10
Download Link :
http://rapidshare.com/Sound_-_Lions_Mouth.rar
Labels: innocent76, S
The Brood
Portland, ME, garage rock revivalists the Brood consists of members Chris Horne (guitar and vocals), Crystal Light (drums), Betsy Mitchell (bass), and Asch Gregory (organ). Formed in the early '90s, the quartet issued their debut, Vendetta, in 1992, following it up with 1995's Hitsville, and 2000's Beyond the Valley of the Brood, the latter of which was a fictitious soundtrack to a film starring an all-girl band called the Swizzle Chicks.
''The Brood is an all-woman group, but this fact alone does not make them remarkable or notable. The fiery, inspirational 60's punk garage music they create is what sets them apart. Unlike other girl groups which sought to cash in on the novelty of their gender,the Brood is a world-class garage group first, and talanted female musicians second. Each discs contain a consistent rough edge, with guts and fuzz galore - and all of their output is highly recommended.
They are the definition of pure teen garage-mania.''
Timothy Gassen (The Knights of Fuzz writer)
Singles
I Need You There 7" (Get Hip, 1988, GH-107)
Let's Talk About Boys 7" (Primitive Records, 1988, PR-003)
Since He's Been Gone 7" (Stanton Park Records, 1990, STP 014)
But You're Gone 7" (Get Hip, 1990, GH-131)
Knock On My Door 7" (Estrus, 1992, ES 735) first pressing: white vinyl second pressing: black vinyl
Albums
In Spite Of It All LP/CD (Skyclad Records, 1988, NAKED-21)
Download Link:
Brood-1988-In_Spite_Of_It_All.rar
Vendetta! LP/CD (Estrus, 1992, ES 007)
Download Link:
Brood-1992-Vendetta_.rar
Hitsville LP/CD (Dionysus Records, 1995, ID 123330)
Download Link:
Brood-1995-Hitsville.rar
Beyond The Valley Of The Brood LP/CD (Dionysus Records, 2000, ID 123366)
Download Link:
Brood-2000-Beyond_The_Valley.rar
Compilations
The Estrus Lunch Bucket 3x7"-box (Estrus, 1990, ESBX1/ES706)
Turban Renewal: A Tribute To Sam The Sham & The Pharaohs 2xLP/CD (Norton Records, 1994, ED-234)
Singles
I Need You There 7" (Get Hip, 1988, GH-107)
Let's Talk About Boys 7" (Primitive Records, 1988, PR-003)
Since He's Been Gone 7" (Stanton Park Records, 1990, STP 014)
But You're Gone 7" (Get Hip, 1990, GH-131)
Knock On My Door 7" (Estrus, 1992, ES 735) first pressing: white vinyl second pressing: black vinyl
Albums
In Spite Of It All LP/CD (Skyclad Records, 1988, NAKED-21)
Download Link:
Brood-1988-In_Spite_Of_It_All.rar
Vendetta! LP/CD (Estrus, 1992, ES 007)
Download Link:
Brood-1992-Vendetta_.rar
Hitsville LP/CD (Dionysus Records, 1995, ID 123330)
Download Link:
Brood-1995-Hitsville.rar
Beyond The Valley Of The Brood LP/CD (Dionysus Records, 2000, ID 123366)
Download Link:
Brood-2000-Beyond_The_Valley.rar
Compilations
The Estrus Lunch Bucket 3x7"-box (Estrus, 1990, ESBX1/ES706)
Turban Renewal: A Tribute To Sam The Sham & The Pharaohs 2xLP/CD (Norton Records, 1994, ED-234)
The Cat Empire - Two Shoes
The Cat Empire is a six-piece band, based in Melbourne, Australia. Their sound is often described as a fusion of jazz, ska, funk and rock with heavy Latin influences. As of 2006, they have released four albums and are signed on the Virgin Records label.
Currently, the Cat Empire comprises Ollie McGill (keyboard and backing vocals), Ryan Monro (bass and backing vocals), Felix Riebl (percussion and vocals), Harry James Angus (trumpet and vocals), Will Hull-Brown (drums) and Jamshid "Jumps" Khadiwhala (decks, percussion). They also have guest musicians, who make guest appearances with the band on a recurring basis. A strong, recurrent theme of their music is the rejection of materialism, war and intolerance and an enthusiastic embrace of cultural diversity and the simple, carefree life. They are also known for their unusually kind treatment of their fans, doing things like sending out personally messaged and autographed postcards to members of their volunteer promotional teams across Australia.
The Cat Empire began as a trio with Oliver McGill on keyboards, Felix Riebl on percussion and vocals and Ryan Monro on double bass in late 1999 and started playing a wide variety of gigs in Melbourne. The band soon expanded in 2001 adding Harry James Angus on trumpet, Will Hull-Brown on drums and Jamshid "Jumps" Khadiwala as a DJ.
By late 2001, the band was appearing in the Speigeltent at the Melbourne Festival. The band prepared an independent single "Feline" (plus EP "Live at Adelphia") at the end of that year. In early 2002, the band played a series of gigs at the Adelaide Festival of Arts. Later that year, they were the headline act at the Melbourne International Comedy Festival and St Kilda Film Festival in March.
The band commenced its first overseas tour on the west coast of the United States playing to sellout crowds in the Matrix in San Francisco and playing at the Napa Valley Wine Auction in June 2002. The band received a Music for the Future to fund the recording of The Sun album at the Adelphia studio in Melbourne before flying out to the Edinburgh Festival where they played sixteen successive shows at the Late'n'Live show between 3am and 5am. The band returned to Melbourne for the 2002 Melbourne Festival and played a series of sell-out performances in Melbourne, with Kate Ceberano appearing as a guest vocalist at their final show of the year.
Currently, the Cat Empire comprises Ollie McGill (keyboard and backing vocals), Ryan Monro (bass and backing vocals), Felix Riebl (percussion and vocals), Harry James Angus (trumpet and vocals), Will Hull-Brown (drums) and Jamshid "Jumps" Khadiwhala (decks, percussion). They also have guest musicians, who make guest appearances with the band on a recurring basis. A strong, recurrent theme of their music is the rejection of materialism, war and intolerance and an enthusiastic embrace of cultural diversity and the simple, carefree life. They are also known for their unusually kind treatment of their fans, doing things like sending out personally messaged and autographed postcards to members of their volunteer promotional teams across Australia.
The Cat Empire began as a trio with Oliver McGill on keyboards, Felix Riebl on percussion and vocals and Ryan Monro on double bass in late 1999 and started playing a wide variety of gigs in Melbourne. The band soon expanded in 2001 adding Harry James Angus on trumpet, Will Hull-Brown on drums and Jamshid "Jumps" Khadiwala as a DJ.
By late 2001, the band was appearing in the Speigeltent at the Melbourne Festival. The band prepared an independent single "Feline" (plus EP "Live at Adelphia") at the end of that year. In early 2002, the band played a series of gigs at the Adelaide Festival of Arts. Later that year, they were the headline act at the Melbourne International Comedy Festival and St Kilda Film Festival in March.
The band commenced its first overseas tour on the west coast of the United States playing to sellout crowds in the Matrix in San Francisco and playing at the Napa Valley Wine Auction in June 2002. The band received a Music for the Future to fund the recording of The Sun album at the Adelphia studio in Melbourne before flying out to the Edinburgh Festival where they played sixteen successive shows at the Late'n'Live show between 3am and 5am. The band returned to Melbourne for the 2002 Melbourne Festival and played a series of sell-out performances in Melbourne, with Kate Ceberano appearing as a guest vocalist at their final show of the year.
The Cat Empire released their second album, Two Shoes on 19 April 2005. The album, recorded in Havana, Cuba, contains many old favourites for those who followed the Cat Empire from the beginning, as well as some new tunes (the first single, "Sly", being released on 28 March 2005).
The Cat Empire consists of:
Core members
Felix Riebl (lead vocals, percussion, chariotti)
Harry James Angus (trumpet and lead vocals; recorder and resonator)
Ollie McGill (piano, keyboard, recorder, tubular bells, backing vocals, Melodica)
Ryan Monro (double bass, bass guitar, backing vocals) Will Hull Brown (drums)
Jamshid "Jumps" Khadiwhala (turntables, tambourine, clave, also dances)
Felix Riebl (lead vocals, percussion, chariotti)
Harry James Angus (trumpet and lead vocals; recorder and resonator)
Ollie McGill (piano, keyboard, recorder, tubular bells, backing vocals, Melodica)
Ryan Monro (double bass, bass guitar, backing vocals) Will Hull Brown (drums)
Jamshid "Jumps" Khadiwhala (turntables, tambourine, clave, also dances)
The Empire Horns
A small group of musicians who play with the band and are basically full time members.
Kieran Conrau - Trombone/Trumpet/Tuba/Backing vocals
Ross Irwin - Trumpet/Backing vocals
Carlo Barbaro - Saxophone/Flute/Clarinet
Guest musicians
Other musicians featured on various tracks:
Jesus "Aguaje" Ramos (trombone)
Yauren Muniz (trumpet)
Javier R Zalba Suarez (baritone saxophone)
Idania Valdes (backing vocals)
Maritza Montero (backing vocals)
Virgillio Valdes (backing vocals)
Alyssa Conrau (violin)
Georgina Cameron (violin)
Kristy Conrau (cello)
Max Riebl (trumpet, soprano voice)
Jorge Yoandi Moline (congas)
Arnado Valdes Perez (timbales)
Greg Sheehan (percussion)
Richard Dinesco (guitar)
The Empire Dancers
Fay Khadiwhala
Anthony
Carlos
Kieran Conrau - Trombone/Trumpet/Tuba/Backing vocals
Ross Irwin - Trumpet/Backing vocals
Carlo Barbaro - Saxophone/Flute/Clarinet
Guest musicians
Other musicians featured on various tracks:
Jesus "Aguaje" Ramos (trombone)
Yauren Muniz (trumpet)
Javier R Zalba Suarez (baritone saxophone)
Idania Valdes (backing vocals)
Maritza Montero (backing vocals)
Virgillio Valdes (backing vocals)
Alyssa Conrau (violin)
Georgina Cameron (violin)
Kristy Conrau (cello)
Max Riebl (trumpet, soprano voice)
Jorge Yoandi Moline (congas)
Arnado Valdes Perez (timbales)
Greg Sheehan (percussion)
Richard Dinesco (guitar)
The Empire Dancers
Fay Khadiwhala
Anthony
Carlos
Discography
Albums
Live @ Adelphia (2001)
The Sun (2002) The Cat Empire (2003) - #15 Australia
Tapes, Breaks and Out-Takes (2003)
On the Attack (2004)
Two Shoes (2005) - #1 Australia
Cities: The Cat Empire Project (2006) - #11 Australia
Singles
From The Cat Empire
"Hello" (2003) - #12 New Zealand (no commercial Australian release)
"Days Like These" (2004) - #37 Australia
"The Chariot" (2004) - #34 Australia
"One Four Five" (2004)
From Two Shoes
"Sly" (2005) - #23 Australia
"The Car Song" (2005) - #46 Australia
"Two Shoes" (2005) - #49 Australia
Band's Page & Band's Market
Albums
Live @ Adelphia (2001)
The Sun (2002) The Cat Empire (2003) - #15 Australia
Tapes, Breaks and Out-Takes (2003)
On the Attack (2004)
Two Shoes (2005) - #1 Australia
Cities: The Cat Empire Project (2006) - #11 Australia
Singles
From The Cat Empire
"Hello" (2003) - #12 New Zealand (no commercial Australian release)
"Days Like These" (2004) - #37 Australia
"The Chariot" (2004) - #34 Australia
"One Four Five" (2004)
From Two Shoes
"Sly" (2005) - #23 Australia
"The Car Song" (2005) - #46 Australia
"Two Shoes" (2005) - #49 Australia
Band's Page & Band's Market
posted by mafalda
Labels: by Friends and Visitors of this Blog, C
Leopards - 1987 - Magic Still Exists
Leopards - 1987 - Magic Still ExistsThis is the second and last LP from the Leopards. It came out on Voxx records in 1987. That's where "Psychedelic Boy" (also released as a 7" and included in the "Be A Caveman" compilation) comes from.
Track list
Block Party
Back On The Track
Empty People
Last Night
Harlean's House
Psychedelic Boy
Chief Red Scar's Herbal Cure Show
It Can Happen To You
I'm Drowning
Waiting
Cryin'
Dusty Treasures
Maggie Lane
Line-up
Dennis Pash -gtr, pno, hmca, pcsn, vcls
Ross Inden -bs, pcsn, vcls
James Bordy - gtr, vcls
Dennis Bouch - drms, pcsn
Surprisingly enough the record was engineered by Brett Gurewitz of Bad Religion and Epitaph Recs who also lend them instruments and amps!
By the time the Leopards got around to releasing another album, more than a decade later than 'Kansas City Slickers', the Kinks had a lower profile than ever, which makes Magic Still Exists a most welcome arrival. On its opening track, the hyper "Block Party," the band threatens to stake out a style of its own; after that, Pash and friends get back to business, sounding as wonderfully Kinky as ever. Here's hoping they do it again in 1999.[Ira Robbins / Scott Schinder]
Today Dennis Pash is living in a college town just west of Kansas City, Kansas, playing traditional string music on a Riverboat with another member of the original Kansas City lineup of the Leopards.
There is also a demo tape from the same period of the Voxx album.
Magic Still Exists is the best Kinks album of the '80s.
Labels: L, Rainy Day Sponge
The Savage Resurrection - 1968 - The Savage Resurrection
Initial release : 1968
Mercury 61156
The only Savage Resurrection LP.
Track Listing :
Thing in "E" (Palmer)
Every Little Song (Hammon)
Talking to You (Harper/Palmer)
Tahitian Melody (Palmer)
Jammin' (Hammon/Palmer)
Fox Is Sick (Palmer)
Someones's Changing (Hammon/Palmer)
Remlap's Cave, Pt. 2 (Palmer)
Appeal To The Happy (Harper/Palmer)
Expectations (Palmer)
Musicians:
Bill Harper - percussion, lead vocals
Randy Hammon - lead guitar, vocals
John Palmer - lead guitar, vocals
Steve Lage - bass, vocals
Jeff Myer - drums
Other credits
Producer - Abe Kesh
Recorded at Amigo Studios, North Hollywood
Related releases
One single was released in conjunction with this LP;
Thing In "E" / Fox Is Sick, The Savage Resurrection, 1968, Mercury 72778
Thing In "E" and Fox Is Sick were included on the compilation;
Electric Food, Various Artists, 1968
The original LP plus bonus tracks was released on CD as;
The Savage Resurrection, The Savage Resurrection, 1998
Mercury 61156
The only Savage Resurrection LP.
Track Listing :
Thing in "E" (Palmer)
Every Little Song (Hammon)
Talking to You (Harper/Palmer)
Tahitian Melody (Palmer)
Jammin' (Hammon/Palmer)
Fox Is Sick (Palmer)
Someones's Changing (Hammon/Palmer)
Remlap's Cave, Pt. 2 (Palmer)
Appeal To The Happy (Harper/Palmer)
Expectations (Palmer)
Musicians:
Bill Harper - percussion, lead vocals
Randy Hammon - lead guitar, vocals
John Palmer - lead guitar, vocals
Steve Lage - bass, vocals
Jeff Myer - drums
Other credits
Producer - Abe Kesh
Recorded at Amigo Studios, North Hollywood
Related releases
One single was released in conjunction with this LP;
Thing In "E" / Fox Is Sick, The Savage Resurrection, 1968, Mercury 72778
Thing In "E" and Fox Is Sick were included on the compilation;
Electric Food, Various Artists, 1968
The original LP plus bonus tracks was released on CD as;
The Savage Resurrection, The Savage Resurrection, 1998
The Savage Resurrection, a West Coast Psychedelic band in the late 1960s, left this album only, full of Jimi Hendrix obsession. The members were from two West Coast local groups, Button Willow and Whatever's Right.
And this must be one of the greatest (typical) heavy Psyche (and Garage) sounds ever recorded in the 1960s. Based on the R&B manner, brilliant twin guitar sounds spark, while experimental echoes and sound effects runs to and fro. I really love this kinda sound, amazing acid-rock.
Excellent!
Saturday, December 02, 2006
Many Bright Things - 2005 - Many Bright Friends
01 Many Bright Friends
02 East West
03. the silver witch
04 Minor Parade For 18 Strings
05 I Am Not A Collector Potato
06 There Will Be A Slight Delay
"The idea of the 'Supersession' album dates back to 1968 with Al Kooper's LP with Michael Bloomfield and Steve Stills. Fast forward thirty-seven years to the new album by Many Bright Things. It opens with the twenty-second title track, followed by the twenty-minute centerpiece: The Paul Butterfield Band's John Coltrane/Ravi Shankar-inspired masterpiece, 'East West.' Across its twenty minutes and forty-four seconds no fewer that FIVE guitarists step into the center ring with solos that begin with Larry Demyer (Windopane) and include back-to-back fiery electric sermons by Nick Saloman (Bevis Frond) and Al Simones. 'The Silver Witch' is written and performed by Alisha Sufit (Magic Carpet) accompanied by Frank DeFina on a beautiful Stephen Gilchrist F-5 mandolin. We think this song opens the second side of the vinyl as nicely as 'Within You Without You' opened side two of Sgt. Pepper. Alisha's voice reminds us of our dreams of angels. A tamboura drone and tabla accompaniment (by Paul Tescher) are the foundation for 'Minor Parade for 18 Strings' and a duet between Stan Denski's acoustic 12-string Guild guitar and Paul Major's lead electric. Stan Denski & Larry Demyer play guitars, David 'Tufty' Clough (Zero Boys) adds bass and Lon Paul (Marmoset) adds percussion, all of which form the ground upon which Jello Biafra (The Dead Kennedys) improvises observations on 'rare psychedelic music' on 'I Am Not a Collector Potato!' We guarantee you've never heard anything quite like this. The CD adds the ambient bonus track 'There Will Be a Slight Delay.'"
Psych fan Stan Denski, in cooperation with Michael Piper, both long time collectorstended to make from Many Bright Things a kind of Supergroup. In reality it is a assemblage of recordings Stan Denski collected over a period of three years with some of his favourite musicians. Never the less he succeeded ino making collector’s items from the two earlier limited edition releases by the collective project, involving all those for who all participated.
The longest track is “East West”, based upon John Coltrane’s idea of fusion, bringing the Indian raga into a western bluesrock context. (This I guess refered to the The Paul Butterfield Blues Band and their album "East West" where possibly one of the first times some electric raga guitar idea appeared into a rock band). This is in fact a bluesrock jam, with various solo’s, starting with Larry Demver (Windopane) who’s solo sounds like a cross between Santana and early Hendrix, followed by a very different personality guitar style, by Nick Saloman (Bevis Front). The next and shorter track, “The Silver Witch” is sung by Alisha Sufit (from former sitar psychfolkrock group Magic Carpet, which had a collector’s item made in 1974). This is especially nice thanks to the mandolin performance of Frank DeFina, making Alisha sound solo at her best (-and much better compared to her latest album effort in a songfolk style-). Also “Minor Parade For 18 Strings” has again an Indian association, provided by the effect of the electric tambura and tabla combined with quick pickings on 12-string by Stan Denski, combined with the lead guitar by Paul Major. “I am not a collector potato” is a somewhat disturbing-the psychhead-let-go an effect, which was almost created there on the album anyway. Jello Biafra narrates his thoughts with some frustration, with a droning voice -unlike his effective earlier voice, full of fire, in the time from his intellectual punk band Dead Kennedy’s-. Even when the track remains in a bluesy psychedelic sphere, it is disturbing hearing him confront blind lovers of psychedelia and money-urging collectors, especially when his thought isn’t really hitting the true essences of things, it surely is less to the point within the context of this musical concept. It then sounds like it's coming from someone who is almost expected to have some comments at hand, and who also acts according to these expectations, even when he isn’t hitting the real essence with his urge. Last moody track is a kind of additional audio bonus gift by Stan Denski, which is a guitarspin in CGCGCF, associating guitarists like Richard Bishop, with some additional e-bow guitar and some delay as experimental effect.
Link
Enjoy
Reboelje - Skepper Fan De Skepper
Here my first tribute to the blog,
I start with a local band called Reboelje, with I am a great fan of
They started in 1987 and stopped in 2004, their music style is a kind of Folk-Rock and their lyrics are almost poetic, but I don’t think you’ll understand a bit of it course all their lyrics are in the Frisian language…
Let me introduce you their first album from 1989; Skepper fan de Skepper [free translated it means; Creator of the Creator]
Best track of the album is in my opinion track 9, specially because I sing loudly along with it the lines; moarn wur ik wekker as in winner [tomorrow I awake like a winner]
Reboelje has their own label called Marista
Tracklist;
01 – Ingelân [Angelland]
02 – Frjemdeling [Stranger]
03 - Eilân yn de see {Island in the sea]
04 – Marista
05 – Lemming
06 - Ferflein fers [Blown away/lost/gone song]
07 - Skepper fan de skepper [Creator of the creator]
08 - Dokter fan Bartlehiem [Doctor of Bartlehiem (Bartlehiem = village)]
09 - Ik haw wûn [I have won]
01 – Ingelân [Angelland]
02 – Frjemdeling [Stranger]
03 - Eilân yn de see {Island in the sea]
04 – Marista
05 – Lemming
06 - Ferflein fers [Blown away/lost/gone song]
07 - Skepper fan de skepper [Creator of the creator]
08 - Dokter fan Bartlehiem [Doctor of Bartlehiem (Bartlehiem = village)]
09 - Ik haw wûn [I have won]
Line-up; Durk Hogendorp – acoustic guitar, vocals
Rommert Reitsma – drums
Marius de Boer – lead vocals, keyboard, guitar
Tjerk Bootsma – bass, harmonica, vocals
Tiede Lanting – electric guitar
More information can be found in the tag-files [like the lyrics]
Let me know what you think about this album, greetings; Frisian
Rommert Reitsma – drums
Marius de Boer – lead vocals, keyboard, guitar
Tjerk Bootsma – bass, harmonica, vocals
Tiede Lanting – electric guitar
More information can be found in the tag-files [like the lyrics]
Let me know what you think about this album, greetings; Frisian
The Real Yeti Band - Yeti
The Real Yeti Band - Yeti
01 Poem For The Whistling Cowboy 07:17
02 In The Garden Of Unborn Sensations Part 65 08:33
03 Changes 07:26
04 Red-Haired Butterfly 09:18
05 Broken Dreams 10:14
THE REAL YETI BAND
(with a little help from some percussion animals)
SWARA SAMRAT vocals, guitar, moog, organ, sax
CAPTAIN ILOR leadguitars, vocals, synthie
HERMAN THE GERMAN bass, piano, background vocals
This limited vinyl-only edition on audiophile 180-gram virgin vinyl comes in a handlettered and autographed laminated cover plus a fantastic insert that explains
how you can get a real yeti picture - namely by buying this record!
An acidrock masterpiece in the Düül vein including 5 tracks of which each is generating atmospheres that remind of names like Peter Hammill, The Doors,
Neil Young or Jimi Hendrix.
Belgian fanzine “CROHINGA WELL”
in issue # 14
A label like Coloured Rain is a good indicator for measuring the rise of a new krautrock scene in Germany: This exclusive vinyl label is the musical dada of 2 record collectors and fans of 70s krautrock and psychedelic music as a whole. They recorded a nice batch of outstanding psychedelic LPs so far, under their pseudonyms Captain Ilor and Swara Samrat: “The Truth About Suzanne”, “Blue Sunshine”, “Mindfuck”, “The Lottery Of Memories” and “Megatrip”.
Their newest studio concoction is called Yeti, a trio formed by Swara Samrat (vocals, moog, guitar, organ, sax), Captain Ilor (lead guitar, vocals, synths) and Herman the German (bass, piano, vocals). They recorded 5 pieces of really zonked krautrock, comparable to the best moments of Amon Düül II, Gila and Eiliff combines into an ever-varying mass of howling Hendrix guitars and roaring keyboards with Swara Samrat even singing in a Peter Hammill stylee on “Red Haired Butterfly”.
We are used to the very high quality standards of Coloured Rain music but this time they really surpassed themselves and made their best one yet: a super-stoned krautrock album, one of the best of 1997.
Very recommended LP...
Labels: Lost In Tyme, R
Kath (USA) - 1975 - Kath
TRACKS:
01 Love Me Down
02 I Want To Love You
03 Lonely Again
04 Goodbye Sunshine
05 Tell Laura I Love Her
06 As I Looked
07 It Doesn't Mean
08 Candleman
09 Norwegian Wood
10 Mother Dear
11 BLPSVC
12 Just Like You
13 Say What You Feel
14 She's The Girl I Love
MUSICIANS:
Val Rogolino
Cheese Sollers
Bruce Lapier
Brent Buckley
and Bob.
From Freakemporium :
Originally released in a limited edition of 60 hand made copies, this LP has gone virtually unknown for 30 years and has only been whispered about by the heaviest of collectors. The band evolved from the local Maryland 60s band "Badge" and is heavily influenced by The Beatles. This is a real DIY effort recorded in the home of the bands leader and dedicated to his pet monkey!!!! No, we're not making it up. . . This release has most of the original LP cuts and a couple of unreleased songs for good measure.
Metallic silver and blue paste over cover is a duplication of the original artwork and the inserts contain band photos and story. One of the few folks who have heard this LP, the Psychedelic High Lama, had this to say about Kath..... "Obscure and impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out" "Not unlike the best tracks on Rockadrome" " At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day." "Good fuzz throughout, charming amateur vocals".
Only a few hundred made and on ROCKADELIC!
"Kath" 1975 (no label) [60p; gatefold]
"Kath" 2005 (Rockadelic 51) [+bonus tracks; no gatefold; 500p]
From Acid Archives :
Obscure and quite impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out, hits the Ampex two-track echo & tinny drum sound dead on. The sound is a bit "Canadian" to me, with a few French language snips and a typical Maple Leaf sound with lots of keyboard and reverbed vocals, not unlike the best tracks on Rockadrome. As it turns out the band was actually from Maryland, though leader Val Rogolino was part-French. In any event, it's mostly originals with a few covers including a fuzzed-out cough syrup take on "Norwegian Wood" that could be the best version ever. The selfpenned material is good, with a 60s teenbeat sensibility rather than heavy/hard rock. At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day. At the same time there are obvious hints that this dates from a later era, and it was in fact recorded over a period of several months in 1974. Good fuzz throughout, charming amateur vocals, and a late-night rehearsal space ambience. "It doesn't mean" is a highpoint for me. There are also brief snips of aural experiments for the right $15 avantgarde touch. "Kath" appears to be a reference to the main guy's girlfriend. The band also had a non-LP EP from 1978 under the name Badge, with a more polished version of "It doesn't mean", and a 45 around the same time. The Rockadelic removes one track from the original, and adds a couple new ones. [PL]
A totally outside garage/psych/private LP that feels as personally projected as alla those Michael Yonkers sides and that was recorded in Maryland in 1974. Nuts lo-fi recording quality and impossible-to-figure production values gives this a nicely zonked almost real-people vibe and I've seen listings that compare the lost, garage feel of this record to revered sides like Mystery Meat and Index. At points the sound is so dosed in lo-fi F/X that it sounds like the tapes are somehow inside out. Buncha originals, some French language, keyboards, fuzz, heap of amateur avant spirit and a cover of "Norwegian Wood" that ranks up there alongside Bill Comeau's "Eleanor Rigby" as one of the few listenable Beatles covers ever cut by teens with brains. Beautiful silver/blue paste-on sleeves and insert with the full saga and pics.
Labels: K, Lost In Tyme
Masters Of Deceit - Hensley's Electric Jazz Band And Synthetic Symphonette - 1969
Masters of Deceit
Personnel:
STEVE BLUM gtr, bs A
GARY CAMPBELL bs, tenor sax, vcls A
STAN GAGE drms A
TOM HENSLEY keyb'ds, vcls A
ALBUM:
1(A) HENSLEY'S ELECTRIC JAZZ BAND AND SYNTHETIC SYMPHONETTE (Vanguard 6522) 1969
NB: (1) reissued on vinyl (Vanguard/Comet ).
The album may interest fans of acid psychedelia with a strong jazzy haze. The group originated from Indianapolis and was fronted by Tom Hensley, an excellent keyboard player who would become a sought-after studio musician during the seventies, working with Leonard Cohen, Hall & Oates and David Blue to name but a few.
Their sole record features some fine guitar work, particularly on Boxes and Long Hard Journey but suffers somewhat from rather weak vocals. Hensley was aware of this problem, as he mentioned in the long, rather intellectual and often funny liner notes that "I was never able to work out the trick of singing as if I were black. So I compromised. I try to sound like a Jewish singer. I haven't done too well on that one either. So we like to think of ourselves as primarily a playing group."
An acetate recorded at Ultra Sound Studios in NY with some non LP tracks has recently resurfaced.
(Vernon Joynson/Stephane Rebeschini)
ENJOY!!!
October Country - 1968
October Country
Personnel:
EDDIE BERAM drms A
CARYLE DE FRANCA vcls A
JOE DE FRANCA vcls A
MARTY EARLE gtr A
BRUCE WAYNE gtr A
BOB WIAN keyb'ds A
ALBUM:
1 OCTOBER COUNTRY (Epic BN 26381) 1968
NB: (1) reissued by Quadrant.
45s: 1 October Country/Baby What I Mean (Epic 10252) 1968 2 Just Don't Know/My Girlfriend Is A Witch (Epic 10320) 1968 3 Cowboys and Indians/I Wish I Was A Fire (Epic 10373) 1968
A Los Angeles-based six piece harmony pop group. October Country is a quite delightful piece of orchestrated harmony pop and showcased Michael Lloyd's talents as a producer and composer. Check it out on Nuggets, Vol. 3 (LP).
He also worked with the West Coast Pop Art Experimental Band, Smoke, and as an arranger or producer (or both, often with Kim Fowley) with Fire Escape, St. John Green, American Revolution, A.B. Skhy and Grains Of Sand. He was also a member of Laughing Wind, a band who recorded for Tower and masterminded an album called Cream Songbook (GTR 10000) 1969, which was credited to The Rubber Band, as well as Cotton, Lloyd and Christian, before becoming an even more successful producer and songwriter.
ENJOY!!!!
NB: (1) reissued by Quadrant.
45s: 1 October Country/Baby What I Mean (Epic 10252) 1968 2 Just Don't Know/My Girlfriend Is A Witch (Epic 10320) 1968 3 Cowboys and Indians/I Wish I Was A Fire (Epic 10373) 1968
A Los Angeles-based six piece harmony pop group. October Country is a quite delightful piece of orchestrated harmony pop and showcased Michael Lloyd's talents as a producer and composer. Check it out on Nuggets, Vol. 3 (LP).
He also worked with the West Coast Pop Art Experimental Band, Smoke, and as an arranger or producer (or both, often with Kim Fowley) with Fire Escape, St. John Green, American Revolution, A.B. Skhy and Grains Of Sand. He was also a member of Laughing Wind, a band who recorded for Tower and masterminded an album called Cream Songbook (GTR 10000) 1969, which was credited to The Rubber Band, as well as Cotton, Lloyd and Christian, before becoming an even more successful producer and songwriter.
ENJOY!!!!
Mary Anne Paterson - 1970 - Me
Mary Anne Paterson - 1970 - Me
(Rare UK Folk -her only album)
(Rare UK Folk -her only album)
Scottish folksinger Mary-Anne Paterson made a nice if modest acoustic traditional-oriented album in 1970, Me. It matched her high, clear vocals, acoustic guitars, and flute with sparse echoed production and very occasional touches of acid folk and pop, though overall the LP had a haunting medieval tone. Most of the songs on the record were traditional folk tunes, though she did write a couple of them herself. Paterson fell into a recording career somewhat by accident in the late '60s, when she was a drama teacher who wrote songs for educational television on the side. A friend convinced her to go to London to make a demo in late 1969, though she did so primarily in hopes of raising money for a children's art center she hoped to set up. Me was done in one session around the beginning of 1970, Paterson backed by some buskers from a London tube station with whom she barely rehearsed, and never saw again. In fact, not many people ever saw the album itself; as she was interested in starting her arts center rather than establishing a professional career, she didn't promote it with any concerts, and no publicity was done on the LP's behalf. In subsequent decades, Paterson worked as a teacher and wrote songs for TV and radio, with Me getting reissued on CD in 2006.By Richie Unterberger
Highly Recommended
The Last Drive
The Last Drive were a Greek garage revival rock group which formed in 1983 and broke up in 1995. They are regarded by many as the most important Greek rock group of the 80's and one of the most important and influential groups of Greek rock history.
1983-1986: The beginnings
They started playing under the name "Last Drive" in late 1983 and their first performance was at the "Rodeo club" on December 27,1983. They adopted the name "Last Drive" after noticing a cocktail by that name at a bar menu. During 1984, Yiorgos Karanikolas was added on lead guitar. The group was basically playing garage rock mixed with rockabilly and surf rock . They started playing in underground joints of that time, while some band members played with Blue light ( group) at their first live performance at Pegasus club. In 1985 they released their first record, the 7" single Midnite Hop, which now is the most sought-after record by collectors in Greece. They also participated with a song in a compilation tape by Dikaioma Diavasis records, Live at the Kyttaro club.
Their first very rare 7 inch single including 3 explosive tracks!
1986-1990: Success in Europe
In 1986 they released their full-length LP album, called Underworld Shakedown, which caused a sensation both for its content and the quality of production (by the Drive themselves) which was unusually high for the standards of the independent scene of that time. The LP contained covers of garage standards like Misirlou and Night of The Phantom, as well as their own material.
1983-1986: The beginnings
They started playing under the name "Last Drive" in late 1983 and their first performance was at the "Rodeo club" on December 27,1983. They adopted the name "Last Drive" after noticing a cocktail by that name at a bar menu. During 1984, Yiorgos Karanikolas was added on lead guitar. The group was basically playing garage rock mixed with rockabilly and surf rock . They started playing in underground joints of that time, while some band members played with Blue light ( group) at their first live performance at Pegasus club. In 1985 they released their first record, the 7" single Midnite Hop, which now is the most sought-after record by collectors in Greece. They also participated with a song in a compilation tape by Dikaioma Diavasis records, Live at the Kyttaro club.
Their first very rare 7 inch single including 3 explosive tracks!
1986-1990: Success in Europe
In 1986 they released their full-length LP album, called Underworld Shakedown, which caused a sensation both for its content and the quality of production (by the Drive themselves) which was unusually high for the standards of the independent scene of that time. The LP contained covers of garage standards like Misirlou and Night of The Phantom, as well as their own material.
Underworld Shakedown ( 1986 )
Me 'n my wings
Valley Of Death
Poison
Misirlou
This Fire Inside
Blue Moon
Sidewalk Stroll
The Shade of Fever
Every Night
The Night of the Phantom
Repulsion
They continued to appear live in Athens and many other cities in Greece, and in the Spring of 1987 they toured abroad for the first time, in Germany, Italy, France and the Netherlands. They performed alongside the Fuzztones, the Creeps, the Stomachmouths,the Dizzy Satellites and others. In 1988, having replaced Nick "Pop Mind" with Panos Kasiaris on rhythm guitar, they released Heatwave, which was produced by Peter Zaremba of the Fleshtones. That was the album that established their name in Europe, where it was re-released (with a new cover) by Music Maniac Records, a German label specializing in garage-rock releases.
Heatwave ( 1988 )
I Love Cindy
Heatwave '88
Joe Esposito's Gun
Devil Make Care
Gone Gone Gone
It's All Over Now Baby Blue
Blue City Shores
Whisper Her Name
Baby It's Real
Their success brought them to Germany, where they participated in the Berlin Independence Days festival and also recorded the Time EP.
By this time the sound of the group had started to somewhat change, becoming harder and speedier and moving towards neo-psychedelia, without however burning the bridges with its garage past. The band also caught the eye of Paul Cutler, of Dream Syndicate fame, who would produce their next two records.
1990-1995:
Their LP Blood Nirvana, which was released in 1990, marked the change in their sound, a fact that let down some of their hardcore garage fans and ended their cooperation with Music Maniac. At this time they were considered a part of the "explosion" of the hard rock/indie Greek scene that took part during the early 90's. Thus, they started becoming widely popular among rock fans in Greece, and on the same year they were voted "band of the year" by the readers of the leading music magazine, Pop & Rock. They played as a support act for the Wipers,Jesus & Mary Chain,The Gun Club and toured Germany with Dead Moon. In 1992 they released the F*head Entropy album, which is their most mature work. Following a tour in Spain, the Last Drive celebrated their 10th anniversary with a live performance (pie fight included) at the "West Club" on December 23, 1993. In 1994, their contract with their long-time company, Hitch Hyke Records, ended. They signed for the multinational BMG Hellas and released Subliminal, an album in which songs followed a somewhat slower tempo than before, and also was to be their last release. In 1995, Karanikolas left the band and moved to the States. Some months later the Last Drive disbanded, after twelve years on the road, having created a dedicated following in Greece and abroad, an explosive live act, and a legend that most bands in Greece still envy.
After the Last Drive:
Yiorgos Karanikolas created Blackmail, who generally picked up from where the Drive had stopped, but with a greater emphasis on neo-psychedelia, and became quite popular at the time.
Alex Kalofolias and Thanos Amorginos created the Earthbound in 1998, a group with a completely different orientation around ethnic/Latin/desert rock. There have been rare instances in which the Earthbound were joined on stage by former Drive members. Kalofolias and Karanikolas also co-wrote the music for the Stratos Tzortzis film Sose Me (Save me). Amorginos also writes music for theatrical plays, while Kalofolias's main profession is now literature translation.
Chris Michalatos played for a while with The Speedballs, a rockabilly act.
Members
Alexis Kalofolias (Alex K.) - ripper bass, vocals
Yiorgos Karanikolas (B.George Bop) - lead guitar, vocals
Christos Michalatos (Chris B.I.) - drums
Thanos Amorginos (T.H. Lime) - guitar
Panos Kasiaris (P.PEP) - guitar
Nick "Pop Mind" - guitar
Discography
In Greece
Singles/EPs
Midnite Hop (Art Nouveau 7", 1985)
I Was A Teenage Zombie (with the Flashtones as "The Pleasure Hustlers") (Time Bomb: The Flashtones present the Big Bang Theory, Hitch Hyke 1989)
Time (Hitch Hyke EP 1989)
Overloaded (Hitch Hyke single sided promo 1991)
LPs
Underworld Shakedown (Hitch Hyke 1986)
Heatwave (Hitch Hyke 1988)
Blood Nirvana (Hitch Hyke 1990)
F*Head Entropy (Hitch Hyke 1992)
Subliminal (BMG 1994)
Contribs
Live sto Kyttaro (Dikaioma Diavasis 1985)
May This Bullet (The Thing Magazine Compilation CD Volume 1)
Rock Fm - Rodon Live (Music Box 1991)
Jailbird/Outlaw (Local Heroes '95 Comp., Pop & Rock mag.)
Abroad
Singles/EPs
Blue Moon / Every Night / Sidewalk Stroll (Voxx 7, 1987)
LPs
Their Story So Far (Double CD, Music Maniac 1989)
Blood Nirvana (Romilar D 1991)
Blood Nirvana (Music Maniac 1991)
Blood Nirvana (Restless CD 1992, bonus "Time Has Come Today" alternative mix)
Contribs
Every Night (Battle of the Garages Vol. 4, Voxx 1986)
Valley of Death (The sounds of now, Dionysus 1986)
I love Cindy (The secret team, Voxx 1988)
Hell to pay (Music Maniac Gimmick Comp., 1989)
Black Limo (The monster dance hall favorites vol. 3, Munster 1990)
Overloaded (It's a Restless World, Restless 1991)
The End Inc. (Larsen/Zine Comp. 1993)
Outlaw (Enclosed Please Find... Your Invitation To Suicide: A Tribute to the Songs of Martin Rev & Alan Vega Double LP, Munster 1994)
Resourses: wikipedia
Highly Recommended For All Garage Maniacs Out There !
Me 'n my wings
Valley Of Death
Poison
Misirlou
This Fire Inside
Blue Moon
Sidewalk Stroll
The Shade of Fever
Every Night
The Night of the Phantom
Repulsion
They continued to appear live in Athens and many other cities in Greece, and in the Spring of 1987 they toured abroad for the first time, in Germany, Italy, France and the Netherlands. They performed alongside the Fuzztones, the Creeps, the Stomachmouths,the Dizzy Satellites and others. In 1988, having replaced Nick "Pop Mind" with Panos Kasiaris on rhythm guitar, they released Heatwave, which was produced by Peter Zaremba of the Fleshtones. That was the album that established their name in Europe, where it was re-released (with a new cover) by Music Maniac Records, a German label specializing in garage-rock releases.
Heatwave ( 1988 )
I Love Cindy
Heatwave '88
Joe Esposito's Gun
Devil Make Care
Gone Gone Gone
It's All Over Now Baby Blue
Blue City Shores
Whisper Her Name
Baby It's Real
Their success brought them to Germany, where they participated in the Berlin Independence Days festival and also recorded the Time EP.
By this time the sound of the group had started to somewhat change, becoming harder and speedier and moving towards neo-psychedelia, without however burning the bridges with its garage past. The band also caught the eye of Paul Cutler, of Dream Syndicate fame, who would produce their next two records.
1990-1995:
Their LP Blood Nirvana, which was released in 1990, marked the change in their sound, a fact that let down some of their hardcore garage fans and ended their cooperation with Music Maniac. At this time they were considered a part of the "explosion" of the hard rock/indie Greek scene that took part during the early 90's. Thus, they started becoming widely popular among rock fans in Greece, and on the same year they were voted "band of the year" by the readers of the leading music magazine, Pop & Rock. They played as a support act for the Wipers,Jesus & Mary Chain,The Gun Club and toured Germany with Dead Moon. In 1992 they released the F*head Entropy album, which is their most mature work. Following a tour in Spain, the Last Drive celebrated their 10th anniversary with a live performance (pie fight included) at the "West Club" on December 23, 1993. In 1994, their contract with their long-time company, Hitch Hyke Records, ended. They signed for the multinational BMG Hellas and released Subliminal, an album in which songs followed a somewhat slower tempo than before, and also was to be their last release. In 1995, Karanikolas left the band and moved to the States. Some months later the Last Drive disbanded, after twelve years on the road, having created a dedicated following in Greece and abroad, an explosive live act, and a legend that most bands in Greece still envy.
After the Last Drive:
Yiorgos Karanikolas created Blackmail, who generally picked up from where the Drive had stopped, but with a greater emphasis on neo-psychedelia, and became quite popular at the time.
Alex Kalofolias and Thanos Amorginos created the Earthbound in 1998, a group with a completely different orientation around ethnic/Latin/desert rock. There have been rare instances in which the Earthbound were joined on stage by former Drive members. Kalofolias and Karanikolas also co-wrote the music for the Stratos Tzortzis film Sose Me (Save me). Amorginos also writes music for theatrical plays, while Kalofolias's main profession is now literature translation.
Chris Michalatos played for a while with The Speedballs, a rockabilly act.
Members
Alexis Kalofolias (Alex K.) - ripper bass, vocals
Yiorgos Karanikolas (B.George Bop) - lead guitar, vocals
Christos Michalatos (Chris B.I.) - drums
Thanos Amorginos (T.H. Lime) - guitar
Panos Kasiaris (P.PEP) - guitar
Nick "Pop Mind" - guitar
Discography
In Greece
Singles/EPs
Midnite Hop (Art Nouveau 7", 1985)
I Was A Teenage Zombie (with the Flashtones as "The Pleasure Hustlers") (Time Bomb: The Flashtones present the Big Bang Theory, Hitch Hyke 1989)
Time (Hitch Hyke EP 1989)
Overloaded (Hitch Hyke single sided promo 1991)
LPs
Underworld Shakedown (Hitch Hyke 1986)
Heatwave (Hitch Hyke 1988)
Blood Nirvana (Hitch Hyke 1990)
F*Head Entropy (Hitch Hyke 1992)
Subliminal (BMG 1994)
Contribs
Live sto Kyttaro (Dikaioma Diavasis 1985)
May This Bullet (The Thing Magazine Compilation CD Volume 1)
Rock Fm - Rodon Live (Music Box 1991)
Jailbird/Outlaw (Local Heroes '95 Comp., Pop & Rock mag.)
Abroad
Singles/EPs
Blue Moon / Every Night / Sidewalk Stroll (Voxx 7, 1987)
LPs
Their Story So Far (Double CD, Music Maniac 1989)
Blood Nirvana (Romilar D 1991)
Blood Nirvana (Music Maniac 1991)
Blood Nirvana (Restless CD 1992, bonus "Time Has Come Today" alternative mix)
Contribs
Every Night (Battle of the Garages Vol. 4, Voxx 1986)
Valley of Death (The sounds of now, Dionysus 1986)
I love Cindy (The secret team, Voxx 1988)
Hell to pay (Music Maniac Gimmick Comp., 1989)
Black Limo (The monster dance hall favorites vol. 3, Munster 1990)
Overloaded (It's a Restless World, Restless 1991)
The End Inc. (Larsen/Zine Comp. 1993)
Outlaw (Enclosed Please Find... Your Invitation To Suicide: A Tribute to the Songs of Martin Rev & Alan Vega Double LP, Munster 1994)
Resourses: wikipedia
Highly Recommended For All Garage Maniacs Out There !
Download Links:
http://rapidshare.com/files/2138825/Midnight_Hop_7_1985.rar
http://rapidshare.com/files/5630946/underworldshakedown.rar
Underworld Shakedown & Heatwave posted by innocent76
Midnite Hop posted by 16Forever
Labels: 16Forever, innocent76, L
Various Artists - 1990 - Viva Los Angeles II (2LPs)
2LPs with a 20 pages large (almost LP size) booklet (VIVA 12, 1990 - English edition), which covers the best part of the L.A. scene. Also released as CD in a LP sleeve and booklet.
Drowning Pool - The Italian Pop Song
Afterimage - Out of Breath
Gothic Hut - Rio
Marnie - Songs Hurt Me
Red Temple Spirits - Rollercoaster
17 Pygmies - Under the Freeway
Kommunity FK - Is It Your Face
Partly Cloudy - Jihad
Trotsky Icepick - This Car Is Not Blue
Shiva Burlesque - Arabesque
Scott Fraser - The Cool Shades
Radwaste - War of the Roses
The Rub - A Thousand Days
Soul Brothers - Du Bist Käse
Savage Republic - Valetta
Mark Nine - Sun and Shadows
Fourwaycross - Let It Come Down
In the Distance - Migration
This out-of-print compilation, along with volume I (1986), catches the Californian -mainly L.A.- underground scene of the time (1986-1989). Here you'll find 18 tracks by 18 bands, recorded mainly 1988-89, varying from alternative to New Wave/Goth, and from synth-pop (only one track!) to experimental. You will find the distant thunder of Drowning Pool, Savage Republic in their "calm" phase (Ceremonial), Marnie again, the Eastern electronics of Partly Cloudy, the bright melancholy of 17 Pygmies, sound collages with found radio sounds from Soul Brothers, the always ashtonishing Fourwaycross and a lot more to keep your mind and ears busy.
Excluding Savage Republic, 17 Pygmies and Shiva Burlesque, all the rest remained in the shade and vanished (well, some of the artists are active until today, but...) Well, you may like many of the 18 tracks here, and you may not. But this is a strong compilation, succesfully capturing the underground music of the era. The chosen tracks represent well each band and I believe its worth a listen (and mayby more!).
disk 1
disk 2
P.S. As I don't get any comments to my posts (except Paniolo), I don't know if there's anybody interested. Maybe these bands are out of place for this blog? I want to post more of this scene but does anybody want more of them? I would like to know.
posted by Rainy Day Sponge
Labels: Rainy Day Sponge, Various Artists
Friday, December 01, 2006
The Pretty Things - BBC Sessions 1964-1975
The Pretty Things - BBC Sessions 1964-1975This collection of work from the B.B.C. Sessions gives you an overall view of the 'Pretties' career from 1964 to 1976. All the early singles are here. (The Pretty Things had a surge of popularity stateside when David Bowie covered their first two singles 'Rosalyn' and 'Don't Bring Me Down' on his album Pin Ups. To many Americans this was the first time they ever heard of the 'Pretty Things'.)
It all goes a bit pear shaped in their psychedelic era, but then it did for a lot of people (remember the Stones? Or Their Satanic Majesties Request?), but on their return to hard edged rock 'n' roll, like on the Radio One 'In Concert' show to promote 'Freeway Madness', the band is so hot, it is incendiary. Nobody can throw caution to the wind with such abandon and still nail a song down like the 'Pretties' like 'Onion Soup' and especially 'Route 66'. The live sessions for the following two albums are a little more controlled, but equally as exciting.
This album is not only a good overview of the Pretty Things' career, but also a good overview of British rock in this era. If you are not familiar with the Pretty Things, this album would be an excellent way to find out. ~Mott the Dog
Album Tracks
01. Big Boss Man
02. Don't Bring Me Down
03. Mama Keep Your Big Mouth Shut
04. Roadrunner
05. Big City
06. Midnight to Six Man
07. Sitting All Alone
08. Midnight to Six Man
09. Buzz the Jerk
10. L.S.D.
11. Defecting Grey
12. Turn My Head
13. Walking Through My Dreams
14. Balloon Burning
15. S.F. Sorrow Is Born
16. She Says Good Morning
17. Send You With Loving
18. Spring
19. Sickle Clowns
20. She's a Lover
21. Cries from the Midnight Circus
22. Stone-Hearted Mama
23. Cold Stone
24. Summer Time
25. Rosalyn
26. Allnight Sailor
27. Religion's Dead
28. Havana Bound
29. Love Is Good
30. Route 66
31. Onion Soup/Another Bowl
32. Route 66
33. Peter/Rip Off Train
34. Atlanta
35. Bridge of God
36. Singapore Silk Torpedo
37. Come Home Momma
38. Dream/Joey
39. Not Only But Also
40. Big City
41. Belfast Cowboys/Bruise in the Sky
Part I
Part II
Part III
It all goes a bit pear shaped in their psychedelic era, but then it did for a lot of people (remember the Stones? Or Their Satanic Majesties Request?), but on their return to hard edged rock 'n' roll, like on the Radio One 'In Concert' show to promote 'Freeway Madness', the band is so hot, it is incendiary. Nobody can throw caution to the wind with such abandon and still nail a song down like the 'Pretties' like 'Onion Soup' and especially 'Route 66'. The live sessions for the following two albums are a little more controlled, but equally as exciting.
This album is not only a good overview of the Pretty Things' career, but also a good overview of British rock in this era. If you are not familiar with the Pretty Things, this album would be an excellent way to find out. ~Mott the Dog
Album Tracks
01. Big Boss Man
02. Don't Bring Me Down
03. Mama Keep Your Big Mouth Shut
04. Roadrunner
05. Big City
06. Midnight to Six Man
07. Sitting All Alone
08. Midnight to Six Man
09. Buzz the Jerk
10. L.S.D.
11. Defecting Grey
12. Turn My Head
13. Walking Through My Dreams
14. Balloon Burning
15. S.F. Sorrow Is Born
16. She Says Good Morning
17. Send You With Loving
18. Spring
19. Sickle Clowns
20. She's a Lover
21. Cries from the Midnight Circus
22. Stone-Hearted Mama
23. Cold Stone
24. Summer Time
25. Rosalyn
26. Allnight Sailor
27. Religion's Dead
28. Havana Bound
29. Love Is Good
30. Route 66
31. Onion Soup/Another Bowl
32. Route 66
33. Peter/Rip Off Train
34. Atlanta
35. Bridge of God
36. Singapore Silk Torpedo
37. Come Home Momma
38. Dream/Joey
39. Not Only But Also
40. Big City
41. Belfast Cowboys/Bruise in the Sky
Part I
Part II
Part III
Glass Harp - 1970 - Glass Harp
Sometimes to give details and information about a group is necessary. But sometimes i think is not so important. It doesn't matter who they are or where are they coming from.
Most important for all of us is the MUSIC.
That is what unites us.
The magic of the MUSIC.
You can call it rock or folk or prog or psych. it doesn't make any difference.
Tonight i feel it is one of these magic moments.
Downloand this blessed album and let your spirit and soul free........
CAN YOU SEE ME
Can you see me brother,
Walking down the lonely road?
Can you see me sister,
Help me find where I must go.
Look for the signs in the stars,
To help us find what must be ours.
For those behind the lonely bars,
We'll help to see.
Can you see me brother,
Here I stand I'm all alone,
Can you see me sister,
I hear the cries among my own.
There are too many people
Saying what it's all about.
Should be praying to find
Themselves and not an out.
For information junkies :
Marnie - 1990 - Songs Hurt Me
Marnie - 1990 - Songs Hurt Me
Marnie Webber is an LA performer, collage artist, musician, active from the 80s 'till today. She was the bass player of the great Party Boys, and after their demise continued as solo artist. Amazingly enough her first two LPs came out from the Greek label Penguin, in 1990 and 1994, and they're long out of print. You can find more at her site.
Discography
1990 Songs Hurt Me, Penguin Ltd. Athens, Greece
1994 Woman with Bass, Penguin Ltd. Athens, Greece
1996 Cry for Happy, Ecstatic Peace! / The End is Here
2005 Songs Forgotten, The Best of Marnie , The End is Here
Be careful; I am my song
Songs Hurt Me, Marnie's first solo LP recorded in 1988, produced by Philip Drucker (aka Jackson Del Rey) of the Savage Republic & 17 Pygmies fame and came out in 1990. It was a Marnie-Drucker duo, as all songs except one were written by both them, and they played all the instruments (Marnie wrote all lyrics and had the musical and visual direction).
This record is the naked emotion of Marnie captured to vinyl by the extraordinary Jackson Del Rey. There is the West Coast and there is Far East here. In fact I believe this is Marnie's vision of China. Nothing in this record is useless, nothing is fake or pretendius, nothing is too much or too little: the voices, the guitars, the keybords, the minimal orchestration, everything drives you in the heart of mystical world of Marnie. That means that you'll hear the confessions, faint memories, dreams and fears of Marnie augmented with the recording and artistic experience of Philip Drucker. These are handcrafted songs by two unique artists of LA.
P.S. If someone has the second Greek LP of Marnie (Woman with Bass), please post it. Thanks.
Marnie Webber is an LA performer, collage artist, musician, active from the 80s 'till today. She was the bass player of the great Party Boys, and after their demise continued as solo artist. Amazingly enough her first two LPs came out from the Greek label Penguin, in 1990 and 1994, and they're long out of print. You can find more at her site.
Discography
1990 Songs Hurt Me, Penguin Ltd. Athens, Greece
1994 Woman with Bass, Penguin Ltd. Athens, Greece
1996 Cry for Happy, Ecstatic Peace! / The End is Here
2005 Songs Forgotten, The Best of Marnie , The End is Here
Be careful; I am my song
Songs Hurt Me, Marnie's first solo LP recorded in 1988, produced by Philip Drucker (aka Jackson Del Rey) of the Savage Republic & 17 Pygmies fame and came out in 1990. It was a Marnie-Drucker duo, as all songs except one were written by both them, and they played all the instruments (Marnie wrote all lyrics and had the musical and visual direction).
This record is the naked emotion of Marnie captured to vinyl by the extraordinary Jackson Del Rey. There is the West Coast and there is Far East here. In fact I believe this is Marnie's vision of China. Nothing in this record is useless, nothing is fake or pretendius, nothing is too much or too little: the voices, the guitars, the keybords, the minimal orchestration, everything drives you in the heart of mystical world of Marnie. That means that you'll hear the confessions, faint memories, dreams and fears of Marnie augmented with the recording and artistic experience of Philip Drucker. These are handcrafted songs by two unique artists of LA.
P.S. If someone has the second Greek LP of Marnie (Woman with Bass), please post it. Thanks.
posted by Rainy Day Sponge
Labels: M, Rainy Day Sponge
Thursday, November 30, 2006
Leadbelly - Good Morning Blues
About Leadbelly:Huddie William Ledbetter (January 23, 1888 - December 6, 1949) was an American folk and blues musician, notable for his clear and forceful singing, his virtuosity on the twelve string guitar, and the rich songbook of folk standards he introduced. He is best known as Leadbelly or Lead Belly.
Although his most commonly-played instrument was the twelve string, he could also play the piano, mandolin, harmonica, violin, concertina, and accordion. In some of his recordings, such as in one of his versions of the folk ballad "John Hardy", he performs on the accordion instead of the guitar.
The topics of Lead Belly's music covered a wide range of subjects, including gospel songs, blues songs about women, liquor, racism, folk songs about cowboys, prison, work, sailors, cattle herding, dancing, and songs concerning the newsmakers of the day, such as President Franklin Roosevelt, Adolf Hitler, the Scottsboro Boys, and multi-millionaire Howard Hughes.
About This Recording :
Compilation of previously unissued recordings from 1935-1940.Narrated by Woody Guthrie!
Enjoy
Compilation of previously unissued recordings from 1935-1940.Narrated by Woody Guthrie!
Enjoy
the Cardinals - s/t
Track List :
1. all I wanna do
2. I need her so
3. I saw the sun
4. you never told me goodbye
5. where the pain can't reach
6. I can cry for yesterday
7. she's my girl
8. could it be that i was wrong
9. never loved you true
10. she's not coming home
11. blond girl
12. let me live my life
Amazing garage band . Their first 7" was the reason that the greek Action Records (which printed Purple Overdose and Frantic V among others ) was formed.
Their first LP was produced only in vinyl in 750 copies and soon became sold-out. This record is a must have for all greek collectors nowadays.
Highly Recommended !!!
Download Link :
http://rapidshare.com/files/5499749/cardinals.rar.html
Labels: C, innocent76
3 Soundtracks From The Past
Three vinyl rips of very rare soundtracks from late 60's early 70's.
Revolution
Original Motion Picture Score
Release date:1968
Record label / catalog #: UA UAS 5185
Country: USA Format: 12" vinyl LP (album), 33 1/3 RPM
Release type: Regular release
Featuring: Quicksilver Messenger Service Steve Miller Band "Their first recordings!!!" Tracy Nelson and Mother Earth
Tracks
Steve Miller Band: 1. Superbyrd 2. Your Old Lady 3. Mercury Blues
Tracy Nelson and Mother Earth: 1. Revolution 2. Without Love 3. Stranger In My Own Home Town
Quicksilver Messenger Service 1. Codine 2. Baby I'm Gonna Leave You
The Steve Miller Band were formed in San Francisco in 1966. The original line-up, Steve Miller, Tim Davis, Lonnie Turner and Curley Cooke first recorded for the soundtrack of the movie Revolution. The group performed at Monterey and were offered a recording contract by Capitol. Before recording for Capitol the line-up changed, Cooke leaving and Boz Scaggs and Jim Peterman joining.
Tracy Nelson moved to San Francisco and, in the midst of the era's psychedelic explosion, formed Mother Earth, a group that was named after the fatalistic Memphis Slim song of that title. (The song is included in her first solo album " Live From Cell Block D".) Mother Earths second recordings came on the soundtrack of "Revolution. Mother Earth, the group, true to its origin, was more grounded than freaky but, nonetheless, was a major attraction at The Fillmore where they encountered the likes of Janis Joplin, Jimi Hendrix and Eric Burdon who, as legend has it, was once bitten by Tracy's dog. In 1968 Mother Earth recorded its first album, which included her own composition "Down So Low." It became her signature song and was later to be covered by Etta James, Linda Rondstadt and Maria Muldaur with Tracy's own stirring latest version included on Live From Cell Block D.
Quicksilver Messenger Service was one of San Francisco's original psychedelic bands of the late 1960s. Essentially a jam band, their early albums and live shows contributed to some of the best instrumental jams of the period. They were popular around the Bay Area but did not reach the national popularity achieved by their San Francisco contemporaries, Jefferson Airplane, Grateful Dead, and others.
Strawberry Statement
Original Release Date: 1970
Tracklisting:
A1 Buffy Sainte-Marie The Circle Game (2:50)
A2 Ian Freebairn-Smith Market Basket (1:53)
A3 Neil Young Down By The River (9:12)
B1 Crosby, Stills & Nash Long Time Gone (4:17)
B2 Ian Freebairn-Smith Cyclatron (3:16)
B3 Thunderclap Newman Something In The Air (3:54)
C1 Richard Strauss Also Sprach Zarathustra (1:37)
Conductor - Karl Böhm
Orchestra - Berlin Philharmonic Orchestra
C2 Neil Young The Loner (3:55)
C3 Ian Freebairn-Smith Coit Tower (3:21)
C4 Red Mountain Jug Band, The Fishin' Blues (1:53)
D1 Alessandro Marcello Concerto In D Minor (5:10)
Conductor - Ian Freebairn-Smith
D2 Crosby, Stills, Nash & Young Helpless (3:30)
D3 Ian Freebairn-Smith Pocket Band (3:01)
D4 The Cast (performed by the cast in the film) Give Peace A Chance (1:40)
Zachariah
Track Listing
01. Zachariah - Main Title
Jimmie Haskell
02. Lagune Salada
The James Gang
03. We're The Crackers
Country Joe and the Fish
04. William Tell Overture
Arr. by Jimmie Haskell
05. All I Need
Country Joe and the Fish
06. Ballad of Job Cain
Doug Kershaw
07. Country Fever
The James Gang
08. The Loney Rider
Jimmie Haskell
09. Medley: Camino/Used Horse Salesman
Jimmie Haskell
10. Camino Waltz
Jimmie Haskell
11. Gravedigger
The New York Rock n Roll Ensemble
12. Shy Ann
White Lightnin'
13. Matthew
Jimmie Haskell
14. Zachariah - End Title
Jimmie Haskell
Notes
Rock soundtrack to the interesting early 70s counter-culture movie Zachariah ("The First Electric Western") from Phil Austin, Peter Bergman, Phil Proctor and David Ossman - otherwise known as The Firesign Theatre.
A true film of its time, Zachariah followed in the wake of such movies as Easy Rider, Zabriskie Point and The Strawberry Statement and played with the theme of the rejection of mindless violence whilst actually using rock bands in some of the starring roles.
Country Joe and the Fish played the outlaw gang "The Crackers", The James Gang played members of Job Cain's gang and The New York Rock 'n' Roll Ensemble appear as members of woman outlaw Belle Star's gang.
Along with the rock tunes - there's also some lovely incidental music from Jimmie Haskell.
This is a really solid album that contains some great music. Also worthwhile for the fact that tracks featured here don't appear anywhere else!
Labels: stavros666999, Various Artists
The Backwards - 1990 - Eerie Thoughts Collection pt. 3
Italian 80's underground...
THE BACKWARDS "Eerie Thoughts Collection pt. 3"
(Crazy Mannequin 1990)
A quite obscure title and band, which at the time was praised by Italian music journos but largely ignored by buyers. even in later years the Backwards were still highly regarded by someone (check their enthusiastic entry in Timothy Gassen's The Knights Of Fuzz), and yet unknown anywhere else.
So, here's a short history:
Born in 1988 as Chapter 24, and soon rechristened as The Backwards, their first demotape 'Real Life Permanent Dream' had excellent reviews ("The best neo-psych band in Italy nowadays" said C. Sorge), but for some reasons their leader P. Rizzo went solo under the same moniker, and in late 1989 proceeded to tape the Backwards' only LP. Rizzo played most instruments, but fellow musicians helped on various tracks (mostly mates fron The Pow and Peter Sellers & The Hollywood Party).
The result was released in spring 1990 on Crazy Mannequin records: the LP sounded reasonably coherent, although a hodgepodge of older and more recent influences: part Beatles/UK psych, part US garage, part Robyn Hitchcock, part Julian Cope, part acid folk, part power pop, part new wave, and so forth... A rather colorful experience, despite the dull b/w sleeve...
of the 500 copies pressed, some were sold, some were given as a gift, and some were lost.
the Backwards went on for 3 more years, with some cassette-only releases, one of which was produced by Delerium rec. in the
song titles:
01. Intro
02. The Backwards Are Here
03. Travellin' Knight
04. She Stared At Her Own Feet
05. Out Of Focus
06. Across Your Mind
07. My Advice For You
08. Pause
09. Your Precious Time
10. Happily Ever After
11. Upstairs
13. Portrait (Of An Unbalanced Mind)
14. Evening Conversation
15. Daily Rites
16. Point Of View
ripped @ 192 kbps
Enjoy !
Posted by The Man Who Wasn’t There
Labels: B, by Friends and Visitors of this Blog
Sainte Anthony's Fyre - 1970 - Sainte Anthony's Fyre
Sainte Anthony's Fyre - 1970 - Sainte Anthony's Fyre
Tracks
01 Love Over You 4:53
02 Get Off 3:09
03 Summer Fun 3:37
04 Starlight 5:38
05 Lone Soul Road 4:45
06 With Your Beau 3:07
07 Chance of Fate 4:08
08 Wet Back
Musicians
Gregory Onushko aka Greg Ohm: Guitar, Vocals
Tomm Nardi: Bass, Vocals
Bob Sharples: Drums, Percussion
Tracks
01 Love Over You 4:53
02 Get Off 3:09
03 Summer Fun 3:37
04 Starlight 5:38
05 Lone Soul Road 4:45
06 With Your Beau 3:07
07 Chance of Fate 4:08
08 Wet Back
Musicians
Gregory Onushko aka Greg Ohm: Guitar, Vocals
Tomm Nardi: Bass, Vocals
Bob Sharples: Drums, Percussion
The Hundredth Monkey - 1986 - Mute Lament
The Hundredth Monkey - 1986 - Mute LamentHundredth Monkey formed at 1983 by Stephen Jay Morris (vocals), Tim Konspiracy (Kummerow) (drums), Pat Amodeo (bass), Tom Carpenter (keyboards), and Brad Frost (guitar). The first two came from the LA punk band Benedict Arnold & the Traitors. With this line-up released a 7' (Quicksand/ Rugged Individual, 1983, Veracious Records). Around 1985 they became a trio with Brad Frost, Tim Kummerow and Ian Montgomery (bass) and the next year released their only LP "Mute Lament", again on Veracious Records, with Frost as main songwriter. The cover was made by the famous Robert Williams. They lasted 'till 1989. After that Kummerow and Montgomery formed Pendu Femmele, a band with no vinyl or CD output (only an entire album in MP3.com in its glorious days). In the 90s Kummerow worked as a graphics artist, a painter and had the TV show Subterranean Sounds, which featured live performances and interviews with Los Angeles area underground bands, and Frost worked as an assistant animator, writer and actor in movies and television.
This LP is another lost treasure of the 80s. You could call it pop-psyche but it's a lot better than that. Short songs with strong melodies, real good production, along with studio effects, backwards tapes etc that sneak in the backround, not dominating but helping the songs unfold. This is west-coast psychedelia at its best. Too bad that they didn't get any attention.
This is a vinyl rip. Again there's nothing about it in the net, (actually Tim Kummerow on his bio doesn't mention the 100th Monkey, and I only found some facts from a Stephen Jay Morris reply) so I took a photo of the cover, which I post.
P.S. About the name - from the back cover:
The Japanese Monkey, Macaca fuscata, has been observed in the wild for more than 30 years. In 1952, on the island of Koshima, scientists were leaving sweet potatoes in the sand for the monkeys. A young monkey named Imo begun to wash off the unpleasant tasting sand. She taught her mother and playmates. They taught others. By 1958, all of the young monkeys were washing their sweet potatoes.
When a certain number of monkeys had learned to wash their potatoes, the tide had turned and all the monkeys on Koshima begun to do so. The impetus of that "Hundredth Monkey" had created an ideological breakthrough!
Then a surprising thing happened. The habit of washing sweet potatoes jumped over the sea! Monkeys on other islands and the mainland, began washing their sweet potatoes too.
Thus, when a certain critical number achieves an awareness, this new awareness may be communicated from mind to mind.
posted by Rainy Day Sponge
Labels: H, Rainy Day Sponge
Wednesday, November 29, 2006
Universe - 1977 - Universe
01 Rock In The Sky
02 If
03 Touchdown
04 Dream
05 Oceans
06 Remember The Stars
07 Light From Above
Players:
Gary Paul Van- electric keyboards, vocals
Dennis Lee Askew- electric guitars, electronic programming, vocals
Walfredo Reyes- percussion
"Universe" 1977 (PBR International 7002)
The opening “Rock In The Sky” starts with a little acoustic guitar, then, wham! Synthesizers come in double barreled, with a loud bass-y one anchoring the song and a higher more unpredictable one soloing over it. THIS is a synthesizer song! It would only be a couple of years before digital synths would rule the world and the instrument would ruin a lot of otherwise good music, so it’s hard to remember how cool the early analogue synths could be. Here it’s as powerful and as mind expanding as any guitars. The mix of space-rock and Christian themes is unique, making this fall into the “I didn’t know Christians made music like that” category. [AM]
Labels: Lost In Tyme, U
The Flowerpot Men - A Walk In The Sky
The Flowerpot Men - A Walk In The Sky
Ripped By @rcadium at 320kbps
01 San Francisco Parts 1& 2 (original mono version)02 Mythological Sunday
03 Blow Away
04 Say Goodbye To Yesterday (alternate version)
05 Lets Go Back To San Francisco Parts 1&2
06 Now and Then (alternate version)
07 A Walk In The Sky
08 Cooks of Cake and Kindness (alternate version)
09 White Dove
10 Children Of Tomorrow
11 Lets Go To San Francisco Parts 1& 2 (stereo version)
13 E=MC-Musha Hada (previously unreleased)
+ Enhaced Cd Track/Film Of The Flowerpot Men On Tv In 1967 performing 'Lets Go To San Francisco'
Personnel:
TONY BURROWS vcls A
PERRY FORD vcls A
NEIL LANDON vcls A
PETER LANDON vcls A
45s:
1 Let's Go To San Francisco (Part 1)/(Part 2) (Deram DM 142) 1967 4
2 A Walk In The Sky/Am I Losing You? (Deram DM 160) 1967
3 A Man Without A Woman/You Can Never Be Wrong (Deram DM 183) 1968
4 In A Moment Of Madness/Young Birds Fly (Deram DM 248) 1969
NB: Let's Go To San Francisco (C5 526) 1988 is a good compilation of their material. There's also a later CD compilation, Let's Go To San Francisco (Repertoire REP 4344-WZ) 1993 which adds several previously unreleased cuts to C5's earlier vinyl collection. Their finer moments are also compiled on The Very Best Of The Flowerpot Men (Sounds & Media SUMCD 411) 199?.
These three session singers successfully articulated the sentiments of the flower-power movement with Let's Go To San Francisco, which climbed to No 4. The follow-up, A Walk In The Sky, also captured the feel of the flower-power era but didn't sell as well. Their later efforts were more ordinary and even a change of name to Friends late in 1968 failed to revive their fortunes. Inevitably, perhaps, this act were destined to be one-hit wonders and after their demise in 1969 Burrows went on to join Edison Lighthouse after a brief stab at a solo career, whilst Landon departed to Fat Mattress. All three had previously been involved in The Ivy League.
REVIEW
Flowerpot MenA Walk In The Sky: The Very Best Ofrpm229 In true Pokemon style these guys had morphed from Carter Lewis & The Southernaires into the Ivy League and finally The Flowerpot Men. All the while it was really Ken Lewis and John Carters ability to roll with the times changing their sound accordingly that provided the backbone to these groups. And they were successful too with a string of hits along the way.By 1967 the times demanded psychedelic flower pop so that’s what Carter & Lewis delivered though still preserving their own identity through drenching the music in wonderful harmonies. Vocally Carter and Lewis were ably assisted by the ubiquitous Tony Burrows.
The songs Lets Go To San Francisco and A Walk In The Sky were massive international hits and the group continued to record up to 1969. RPM presents a thematic collection of their recordings compiled by band leader John Carter, which fit most perfectly into a Bam Caruso styled genre Harmony Pop Sike. The recordings had strong psychedelic overtones but in a Poppy way not in a Pink Floyd way, and still included the aforementioned trademark vocal harmonies.
This compilation also serves as a Best of the groups recordings there being no other compilation on the market at the moment but also provides something for collectors in one previously unreleased track and three previously unreleased alternate versions. A key recording Lets Go Back To San Francisco is included for the first time as one track with Parts 1& 2 united.
TONY BURROWS vcls A
PERRY FORD vcls A
NEIL LANDON vcls A
PETER LANDON vcls A
45s:
1 Let's Go To San Francisco (Part 1)/(Part 2) (Deram DM 142) 1967 4
2 A Walk In The Sky/Am I Losing You? (Deram DM 160) 1967
3 A Man Without A Woman/You Can Never Be Wrong (Deram DM 183) 1968
4 In A Moment Of Madness/Young Birds Fly (Deram DM 248) 1969
NB: Let's Go To San Francisco (C5 526) 1988 is a good compilation of their material. There's also a later CD compilation, Let's Go To San Francisco (Repertoire REP 4344-WZ) 1993 which adds several previously unreleased cuts to C5's earlier vinyl collection. Their finer moments are also compiled on The Very Best Of The Flowerpot Men (Sounds & Media SUMCD 411) 199?.
These three session singers successfully articulated the sentiments of the flower-power movement with Let's Go To San Francisco, which climbed to No 4. The follow-up, A Walk In The Sky, also captured the feel of the flower-power era but didn't sell as well. Their later efforts were more ordinary and even a change of name to Friends late in 1968 failed to revive their fortunes. Inevitably, perhaps, this act were destined to be one-hit wonders and after their demise in 1969 Burrows went on to join Edison Lighthouse after a brief stab at a solo career, whilst Landon departed to Fat Mattress. All three had previously been involved in The Ivy League.
REVIEW
Flowerpot MenA Walk In The Sky: The Very Best Ofrpm229 In true Pokemon style these guys had morphed from Carter Lewis & The Southernaires into the Ivy League and finally The Flowerpot Men. All the while it was really Ken Lewis and John Carters ability to roll with the times changing their sound accordingly that provided the backbone to these groups. And they were successful too with a string of hits along the way.By 1967 the times demanded psychedelic flower pop so that’s what Carter & Lewis delivered though still preserving their own identity through drenching the music in wonderful harmonies. Vocally Carter and Lewis were ably assisted by the ubiquitous Tony Burrows.
The songs Lets Go To San Francisco and A Walk In The Sky were massive international hits and the group continued to record up to 1969. RPM presents a thematic collection of their recordings compiled by band leader John Carter, which fit most perfectly into a Bam Caruso styled genre Harmony Pop Sike. The recordings had strong psychedelic overtones but in a Poppy way not in a Pink Floyd way, and still included the aforementioned trademark vocal harmonies.
This compilation also serves as a Best of the groups recordings there being no other compilation on the market at the moment but also provides something for collectors in one previously unreleased track and three previously unreleased alternate versions. A key recording Lets Go Back To San Francisco is included for the first time as one track with Parts 1& 2 united.
White Stripes - 2005 - Live At the Glastonbury Festival
The band's gig from the Glastonbury Festival that took place on 06.24.05. So for those who went to Glastonbury, you can relive your experience. For those who didn't, you can hear this amazing show for the 1st time!!
Tracklist:
Tracklist:
- Dead Lives on The Dirty Ground
- Blue Orchid
- I Think I Smell A Rat
- Let's Shake Hands
- The Nurse
- Hotel Yorba
- Jolene
- Ball & Biscuit
- My Doorbell
- Cannon
- Passive Manipulation
- Same Boy you've always Known
- The Hardest button To Button
- We're Going To Be Friends
- Little Ghost
- Death Letter
- I just Don't Know What To Do With Myself
- Screwdriver
- Seven Nation Army
Tuesday, November 28, 2006
Paniolo - 1985 - City of Refuge
Paniolo - 1985 - City of RefugeThis is my first post: Paniolo - City of Refuge.
Paniolo was not a real band, it was rather a moniker for one M Rima, a figure in Marina Del Rey scene and close to 17 Pygmies and Savage Republic. This, their only record, is a 1985 release with members of 17 Pygmies and a sound like Tom Rapp-Pearls Before Swine. There's almost nothing about it in the net, so I included credits and a little information in an rtf inside the rar file.
posted by Rainy Day Sponge
Labels: P, Rainy Day Sponge
Swara Samrat
Swara Samrat - 1979 - Lottery of Memories
Tracks
01.Walkin' On The Beach
02. Angelina
03. Hello Goodbye
04. Samba For Lisa
05. Lottery Of Memories
06. A Kind Of Loneliness
The first issue of SWARA Samrat's debut solo album was made for the musicians only in a micro edition of ca 85 copies in a gimmix cover with pinned colour photo and is nowadays one of those sought after private krautrock rarities The most varied album on the CR label is featuring a dark and mystical 10-minute version of A Kind Of Loneliness - a Mahler-like orchestral megatrip.
SWARA SAMRAT vocals, guitar, mandolin, piano, flute, synthie
CAPTAIN ILOR guitar, vocals, moog, bass, talking drum, bouzuki, flute, percussion, acoustic bass
ORLANDO HERNANDEZ spanish guitar
FRED LÄSS bass
KARL DETER drums & percussion
GONZO SCHMIDT organ
CAPTAIN ILOR guitar, vocals, moog, bass, talking drum, bouzuki, flute, percussion, acoustic bass
ORLANDO HERNANDEZ spanish guitar
FRED LÄSS bass
KARL DETER drums & percussion
GONZO SCHMIDT organ
Ingredients: 48,89 % Psychosive & 51,11 % Progredelic Music
Acid, kraut, folky Really tripy stuff from these great Germans...from coroured rain records...
The Link
Enjoy
~~~~~~~~~~~~~~~~~~
Swara Samrat - 1993 - The Truth about Suzanne LP.
Limited audiophile 180-gram edition (virgin vinyl) of 450 autographed copies - mystical progedelic krautrock with folky touch, excellent songwriting and stunning guitar solos - A-side including The Progredelic Part Of The Trip, B-side including The Psychosive Part Of The Trip - a psychedelic highlight featuring CAPTAIN ILOR on guitar outbursts, spacy sounds & freaky trippy hippie vibes - comes in great laminated deluxe cover with superb artwork by Atelier Asmodi + very funny gatefold insert (Five Steps To Your Hippylisation)!!!
Acid, kraut, folky Really tripy stuff from these great Germans...from coroured rain records...
The Link
Enjoy
~~~~~~~~~~~~~~~~~~
Swara Samrat - 1993 - The Truth about Suzanne LP.
Limited audiophile 180-gram edition (virgin vinyl) of 450 autographed copies - mystical progedelic krautrock with folky touch, excellent songwriting and stunning guitar solos - A-side including The Progredelic Part Of The Trip, B-side including The Psychosive Part Of The Trip - a psychedelic highlight featuring CAPTAIN ILOR on guitar outbursts, spacy sounds & freaky trippy hippie vibes - comes in great laminated deluxe cover with superb artwork by Atelier Asmodi + very funny gatefold insert (Five Steps To Your Hippylisation)!!!
Tracks are:
Side ONE:
1 Tuesday Morning Blues 5:16
2 The Deeper You Fall 6:19
3 The Truth About Suzanne 7:40
SIDE TWO:
1 Hippylisation 3:52
2 Mr. Rainbow 7:14
3 Hotchpotch 6:01
The Link
Enjoy
Side ONE:
1 Tuesday Morning Blues 5:16
2 The Deeper You Fall 6:19
3 The Truth About Suzanne 7:40
SIDE TWO:
1 Hippylisation 3:52
2 Mr. Rainbow 7:14
3 Hotchpotch 6:01
The Link
Enjoy
The Bevis Frond - 1987 - Miasma
Track Listing
Garden Gate - 1:05 
She's in Love with Time - 6:04 
Wild Mind - 6:53 
Wild Afterthought - 2:17 
Splendid Isolation - 3:50 
The Earl of Walthamstowe - 0:43
Newgate Wind - 5:16
Release Yourself - 0:44
Maybe - 4:18
Ride the Train of Thought - 4:09
Confusion Days - 6:24
Review by all music guide
The fact that Nick Saloman's debut record sounds as good as it does — especially given this was before the era of cheap and easy home recording equipment — is testimony to his abilities to bring an intense, determined focus to his work. Thankfully his songwriting and playing matches his technical ear, and Miasma still sounds good years after its initial emergence. So much of what would become mainstays of Bevis Frond music — Saloman's hangdog, expressive voice, his tape-melting solos, and overall focus on keeping the psychedelic freak-out spirit alive — was already perfectly in place. There are shorter diversions here and there, such as "The Earl of Walthanstowe," a brief, folky snippet which tips its hat to his earlier acoustic incarnation, and the jokey, murky singalong "Release Yourself." As a one-man band he's able to cover all bases quite well — if he was just a drummer, he'd have a considerable reputation for that alone. But it's as a guitarist that he's most well-known, and deservedly so, throwing himself into rock-god riffs and explorations that in lesser hands could easily just be wankery. Nothing sounds extraneous here, though — it's all about creating and setting the mood. "Wild Mind" demonstrates that well enough, his double-tracked work going all over the place before fading away only to return as "Wild Afterthought." There it's nothing but guitar, in this case, it's a single track piece that's flat-out amazing, worthy of comparison to Hendrix's exorcisms without sounding like it. Elsewhere there's such worthies as the full-on fuzz love of "The Newgate Wind" and the calmer, keyboard-accompanied grooviness that's "Ride the Train of Thought."
Download link :
http://rapidshare.com/files/5185582/bevis.rar.html
Labels: B, innocent76
Odetta - 1965 - SIngs Dylan
Odetta is an African -American singer and guitarist whose repertoire consists largely of American folk music,blues,jazz and spirituals .She was an important figure in the American folk music revival of the1950's and1960's and a formative influence on artists such as Bob Dylan,Joan Baez and Janis Joplin
This album was re-released on CD in 2000. "Blowin' in the Wind" (which first appeared on Odetta Sings Folk Songs,1963) and "Paths of Victory"(Odetta Sings Of Many Things) were added as bonus tracks.
Download Link
This album was re-released on CD in 2000. "Blowin' in the Wind" (which first appeared on Odetta Sings Folk Songs,1963) and "Paths of Victory"(Odetta Sings Of Many Things) were added as bonus tracks.
Download Link
St. Mikael - 1994 - Psychocosmic Songs
St. Mikael - 1994 - Psychocosmic Songs
01 Intro The Veil
02 1000 Dreams Of Love
03 The Psychcosmic Tree
04 Mesozoikum
05 Visions Of The Dinosaurs
06 The Eternal Spirit
07 Like A Dream
08 The Sailor
09 Fire Soul
10 Like A Dream (Reprise)
11 Finale
S.T. MIKAEL: Psychocosmic Songs
(XMLP-4 MS-4 1994)
”This album by the Swedish multi-instrumentalist ST Mikael...with a hand painted cover and a colorful booklet filled with drawings, comics and a picture story about Evolution on Earth. It’s impossible to compare him and his music with any other group or artist. On this record he plays guitars, sitars, turkish saz, drums, congas, tablas, organ, moog and does all the vocals. Some of the best tracks here is in that new, truly original style he has made his own. He will probably be one of the future-legends of the Psychedelic Music...” -Old Man Willow, Norway
”His 4th LP makes new references between the electric and acoustic instruments, which contributes to the new consciousness condensing the moments of insight!” - Rockerilla, Italy
01 Intro The Veil
02 1000 Dreams Of Love
03 The Psychcosmic Tree
04 Mesozoikum
05 Visions Of The Dinosaurs
06 The Eternal Spirit
07 Like A Dream
08 The Sailor
09 Fire Soul
10 Like A Dream (Reprise)
11 Finale
S.T. MIKAEL: Psychocosmic Songs
(XMLP-4 MS-4 1994)
”This album by the Swedish multi-instrumentalist ST Mikael...with a hand painted cover and a colorful booklet filled with drawings, comics and a picture story about Evolution on Earth. It’s impossible to compare him and his music with any other group or artist. On this record he plays guitars, sitars, turkish saz, drums, congas, tablas, organ, moog and does all the vocals. Some of the best tracks here is in that new, truly original style he has made his own. He will probably be one of the future-legends of the Psychedelic Music...” -Old Man Willow, Norway
”His 4th LP makes new references between the electric and acoustic instruments, which contributes to the new consciousness condensing the moments of insight!” - Rockerilla, Italy
Eric Andersen - Today Is The Highway (1965 Debut)
This was made back in the days when it was just the singer, his guitar and his harmonica. Oh yes the comparisons to Bob Dylan were endless and for good reason. Andersen was blessed with the similar talents of Dylan. Just like Dylan's early albums there are plenty of good self penned songs that are sung with the same intensity a lone folksinger would require to succeed. Unlike Dylan, Eric's songs are less political and surreal. They tend more toward romantical topics. Also Eric is a fingerpicker (pretty much pattern style) which gives a softer backdrop to his songs.
Leopards - 1977 - Kansas City Slickers
Leopards - 1977 - Kansas City Slickers
(vinyl rip)
01 Road To Jamaica
02 Mind Of My Own
03 Dancing In The Snow
04 57 Chevy
05 Bugle Boy
06 I Wonder If I'll Ever See You Again
07 Recess
08 It Must Be Love
09 I'm On My Way
10 Raggedy Andy Raggedy Ann
11 Summer's Gone
"Kansas City Slickers" 1977 (Moon mlp-300)
The Leopards are to the "Village Green"-era Kinks what the Rutles are to the Beatles, except that they're pure tribute with no sense of mockery. This album is a blast for Kinks fans, but it's also very nice for fans of 60s pop, as there are great melodies and clever ideas sprinkled throughout. They also released a few excellent non-LP singles. They were around during the Kansas City power pop scene in the late 70s and one has to wonder if Michael Angelo was connected to them or any of the other bands in the area. Promo copies include a printed folder with press clippings. [AM]
Enjoy !!!
(vinyl rip)
01 Road To Jamaica
02 Mind Of My Own
03 Dancing In The Snow
04 57 Chevy
05 Bugle Boy
06 I Wonder If I'll Ever See You Again
07 Recess
08 It Must Be Love
09 I'm On My Way
10 Raggedy Andy Raggedy Ann
11 Summer's Gone
"Kansas City Slickers" 1977 (Moon mlp-300)
The Leopards are to the "Village Green"-era Kinks what the Rutles are to the Beatles, except that they're pure tribute with no sense of mockery. This album is a blast for Kinks fans, but it's also very nice for fans of 60s pop, as there are great melodies and clever ideas sprinkled throughout. They also released a few excellent non-LP singles. They were around during the Kansas City power pop scene in the late 70s and one has to wonder if Michael Angelo was connected to them or any of the other bands in the area. Promo copies include a printed folder with press clippings. [AM]
Enjoy !!!
Monday, November 27, 2006
Duffy Power - Innovations
Description: Beautiful UK Original Recorded In Mono In 1965 And Released In 1970. A Great Session From This Lost Figure of The 60's.
Features John McLaughlin, Danny Thompson, Terry Cox, Jack Bruce And Others.
and link
Fit and Limo - 1995 - Feaher and Dust
Fit and Limo - 1995 - Feather and Dust
(catweezle vinyl 1995)
Tracklist :
01.Feather And Dust
02.Porridge
03.Daddy`s Stroboscope
04.Eyelet
05.I Know A Land
06.Rote Blumen
07.Dear Monster Tentacles
08.Ivan Pawle
09.Bed Peace Revisited
10.She Took A Long Cold Look (Wildwood Version)
11.She Took A Long Cold Look (΄95 Version)
Review :
“Spätestens seit Angel Gopher weiß ein jeder, dass Fit&Limo nicht der Name eines dieser albernen Wellness Center ist, sondern die bessere musikalische Hälfte des Shiny Gnomes Meisters Limo und seiner Frau Fit. Hier vertonen die beiden, gelegentlich zusammen mit Freunden an Schlagzeug und Sitar, ihre virtuellen Jam-Sessions mit englischen Acidfolkies der 70er und spielen sich und den Hörer dabei, wie etwa auf dem über 20minütigen Bed Peace Revisited, oft in eine wohlige transzendentale Trance. Bis auf ein Stück tauchte das Material dieser Platte zwar bereits auf der vor Jahren erschienenen Retrospective LP auf (die Songs entstanden zwischen ΄83 und΄89), da diese jedoch inzwischen nur noch selten auftaucht und die Songs hier zudem komplett neu (und oft sehr zum Vorteil) abgemischt wurden, sollte das niemanden stören. Zumal man diesmal auch ein hübsches Klappcover bekommt und auch eine Bonus-7΄΄ beiliegt, auf der zwei Versionen des Syd Barrett Stücks She Took A Long Cold Look zu hören sind (eine vom Beyond The Wildwood Tribut-Sampler, eine neu eingespielte und beide sehr gekonnt zu sitargetränkten, bzw. ungewohnt rockigen F&L Songs transformiert). Feather And Dust gewährt dem heutigen Hörer einen wissenden Blick auf die Evolution der beiden Nürnberger. Wie sie sich, zunächst der gewöhnlichen Rock-Elemente bedienend (Songs wie Daddy΄s Stroboscope klingen noch stark nach den guten frühen Shiny Gnomes Platten), stetig weiter in Richtung auf fernöstliche Klänge bewegten. Bongos ersetzen nach und nach das gewöhnliche Schlagzeug, Sitars und Bouzoukis kommen hinzu und die Stücke mutieren von leicht-psychedelischem Quasi-Pop zu einlullenden Orient-Jams (Eyelet), mit einer erschreckend selbstverständlichen Authentizität, die einen wie so oft bei Fit&Limo fragen lässt, weshalb man für die bescheidenen Ergüsse lächerlicher LSD-Ritter auf skrupellosen Sammlerlabels das doppelt und dreifache einer Platte wie dieser bezahlen soll, die zudem noch von einem rein musikalischen Standpunkt her wesentlich mehr zu bieten hat.“ (Hayfever)
The LP "Feather an Dust" is a bit more varied mix of early recordings (1983-1989), some of them (a 22 minute track) are more Shiny Gnomes style. "Feather and Dust" is one of my favorite songs of F&L. Gerald
more links
http://psychedelicfolk.homestead.com/Fit_Limo.html
AND DOWNLOAD LINK
Enjoy !
Alain Markusfeld - 1971 - Le Son Tombe Du Ciel
FRANCE 1971
French guitarist/multi-instrumentalist, very unique. His albums blend multi- layered acoustic guitars with fiery leads, piano, ethereal female voices, throbbing bass and percussion. His guitar style could be described as early Larry Coryell (acoustic) meets Randy California (electric) with a strong middle-eastern influence. Le Desert Noir is a heavier guitar album which features drums on almost every track, overall very hendrix influenced. With Platock, there is more maturity in his sound, combining delicate acoustic guitars and more piano to his trademark sound, with less reliance on drums. Contemporus attempts to continue in the same vein, but fails to reach the same energy level, except possibly on the sidelong "Contemporus" suite. Start with Platock, which most will agree is his best. First two releases are very rare.
the Link
alain_markusfeld__le_son_tomb__953__du_ciel__1971.rar
Enjoy !
Various Artists - 1988 - Dimensions Of Sound
1 Miracle Workers - I Got A Right
2 Crimson Shadows - Nightmares
3 United States Of Existence - Baroque Hi Fi
4 Untold Fables - Watch Your Step Woman
5 Stomach Mouths - Almost There
6 Zebra Stripes - You Don't Love Me
7 Otherside - Haneker Row
8 Boys From Nowhere - I Don't Bother
9 Yellow Sunshine Explosion - It's Not My Fault
10 Thee Fourgiven - Love Is Fading
11 Blacklight Chameleons - Blacklight Chameleon Theme
12 The Brood - Give It To Me
13 Thanes Of Cawdor - I Am Alone
14 Not Quite - Tellin' Lies
15 Miracle Workers - Ain't No Use
16 Royal Nonesuch - You Need Love
17 Comedown - In Between Doom And Dope
2 Crimson Shadows - Nightmares
3 United States Of Existence - Baroque Hi Fi
4 Untold Fables - Watch Your Step Woman
5 Stomach Mouths - Almost There
6 Zebra Stripes - You Don't Love Me
7 Otherside - Haneker Row
8 Boys From Nowhere - I Don't Bother
9 Yellow Sunshine Explosion - It's Not My Fault
10 Thee Fourgiven - Love Is Fading
11 Blacklight Chameleons - Blacklight Chameleon Theme
12 The Brood - Give It To Me
13 Thanes Of Cawdor - I Am Alone
14 Not Quite - Tellin' Lies
15 Miracle Workers - Ain't No Use
16 Royal Nonesuch - You Need Love
17 Comedown - In Between Doom And Dope
''From the beautiful front cover (of Jon from the Royal Nonesuch) down, this one is a real treat,with plenty of rare tracks and great package. Definitely another one of the top garage compilations of the decade''
Timothy Gassen (writter of the Knights of Fuzz)
Labels: bluesboyG, Various Artists
G.F. Fitz Gerald (UK) - 1971 - Mouseproof
G.F. Fitzgerald - Mouseproof (1971) UK
This album was recorded with help from Rod Herman (guitar), Alan Place (guitar), B.J. Cole (pedal steel guitar), Rik Kenton (bass, later in Roxy Music), Ian Andrews (bass), Geoff Leigh (sax, he appears in avant-garde albums by Slap Happy, Henry Cow, Hatfield & The North, etc.), Tony Turnbull (drums).
Fitzgerald, G.F. [UK]
Mouseproof (70)
Influences of Frank Zappa, Captain Beefheart, Bonzo Dog Band, Soft Machine, etc. In addition to Gerry Fitzgerald, album features Sam Gopal and Lemmy (of Hawkwind).
Many years ago, no doubt in the dead of night, some intrepid freak climbed fly-like up the walls of the defunct International Film Theatre in Westbourne Grove and pasted up a poster which read "Mouseproof Is Music".
Many times did I gaze fixidly from the top of a number 15 bus at the mysterious cat wearing shades, peering through the bars in the poster. And now the mystery is perceived; Mouseproof is an album by ace alchemist and cat-handler Gerry Fitzgerald, featuring some very notable little riffs by such famed performers as Lady June Campbell-Cramer on Etheopian Nose Harmonium and Cochise Brian Cole on Electric Hair slide and coal scuttle. Best track by far is one called "Factory Sample Not For Resale", obviously written to wobble the frontal lobes and tickle the medulla, it works too.
Overall effect of the album is like crashing a car into a ditch on acid and then finding that you're unhurt, except for a broken finger nail, and that needed cutting anyway.
The link
http://rapidshare.com/files/2356945/g.f.fitzgerald-mouseproof_uk_1971.rar
Enjoy
Merry Airbrakes - 1973 - Merry Airbrakes
Size: 66.8 MB Bit rate: 256mp3Finally out on CD is this rare US album recorded in 1973 by a freaked out Vietnam veteran. Largely a concept album about that great US misadventure it's folky and "down-home" for playing whilst sitting around a fireside. Main man Bill Homans has a fine voice and also plays some mean slide guitar.
Actually the first post-Vietnam record (recorded 1973). With songs about the Vietnam's point of view. Wonder why this never made it onto a major label. Bill Homans great voice is getting you. He, his brother Peter plus 4 other musicians recorded this album for a private studio to get attention from a big label. Some songs sound like Cpt. Beefheart doing Vietnam songs, others are fragile and MOST beautiful. We love it forever."
Tracklist:
01. vigilante man
02. frog song
03. the bearded man
04. quang tri city
05. even those among us
06. draft board blues
07. three hearts
08. a happy song for hanoi
09. preacher song
10. tribute to frankie
Your download link
Sunday, November 26, 2006
The Miners Of Muzu - 1989 - Make My Day
Miners Of Muzu - 1989 - Make My Day
MMLP016
1. 88 Doctors
2. Cycle Fellow Man
3. Coral
4. Deathcom
5. From S.F. To L.A.
6. Sandman
7. White Lightning
8. Rock 'n Roll Bishop
9. Suicidal Flowers
10. Born To Be . . . (Make My Day)
The Miners Of Muzu were a dutch Rock 'n Roll band active throughout the late 1980's and early 1990's. This is the LP version of their debut album, only ten tracks (+ two hidden tracks, on the end of each side), came out in 1989 on Germany's Music Maniac records. This is straight up Rock 'n Roll music with a solid beat.
Labels: M, sonicdeathsound
Neutral Spirits - 1972 - Neutral Spirits
In 1972, five young men ranging in ages between 14-17 traveled to Atlanta from very rural Tennessee to record a very outstanding Psychedelic album. Only 500 copies were ever pressed, and most of them were destroyed in a fire in 1975. Maximum use of the fuzz boxes on this one!!
01) Flying
02) Power City
03) Look What You Done To Me
04) Speak Freely
05) Scenic Void
06) Holding On
07) Can't Leave It This Way
08) I'm Calling Chicago
Lost in time garage band with a primitive sound and very basic songs; should appeal to fans of Cykle and New Dawn. Prominent use of fuzz bass gives an original edge, while the lead guitarist and drummer work frantically within their limited capabilities. Charming teen vocals and some atypical lyrics about Vietnam and dope legislation. Pretty cool, though mainly for fans of local early 70s amateur sounds. Very short playtime. According to the band, 350 copies were destroyed in a house fire in 1981. The Neutral Spirits also appear on a gospel LP recorded the same day in 1972 as the Regency album; "Gospel Songs Old & New" by Dot Henry (Jayla Records 1020). [PL - Acid archives]
Isao Tomita - Snowflakes Are Dancing
Electronica/New Age 
ISAO TOMITA - SNOWFLAKES ARE DANCING - RECORDED 1973-1974
^
“Pioneering Japanese composer and synthesizer expert Isao Tomita
bridged the gap between note-by-note classical/electronic LPs like
Switched-On Bach and the more futuristic,
user-friendly interfaces developed in the 1970s.
After creating one of the first personal recording studios
with an array of top synthesizer gear in the early '70s,
Tomita applied his visions for space-age synthesizer music
to his favourite modern composers - Claude Debussy, Igor Stravinsky, Maurice Ravel
though his recordings steered a course far beyond the sterile academics
of various synthesists. Born in Tokyo in 1932,
Tomita grew up in China as well as Japan,
studying composition and music theory as well as art history at Keio University.
After graduation in 1955, Tomita began composing film,
television and theatre music.
He was awarded frequently during the 1950s and '60s,
and became perhaps the most well-known contemporary Japanese composer.”
^
^
"Claude Debussy (France1862-1918) was among the most influential composers
of the late nineteenth and early twentieth centuries.
His mature compositions, distinctive and appealing,
combined modernism and sensuality so successfully
that their sheer beauty often obscures their technical innovation.
Debussy is considered the founder and leading exponent
of musical Impressionism (although he resisted the label),
and his adoption of non-traditional scales and tonal structures
were paradigmatic for many composers who followed."
^
^
selection: βλαχάκι (το)
postαρίστικε απο (το) βλαχάκι
posted by Vlahaki (the)
posted by Vlahaki (the)
Saturday, November 25, 2006
Kaleidoscope (Mexico) - 1967 - Kaleidoscope
Kaleidoscope (Mexico) - 1967 - Kaleidoscope
01 - Hang Out
02 - P.S. Come Back
03 - A Hole In My Life
04 - Let Me Try
05 - I Think It's All Right
06 - Colours
07 - Once Upon A Time There Was A World
08 - A New Man
09 - I'm Crazy
10 - I'm Here, He's Gone, She's Crying
The Mexican Kaleidoscope's sole, self-titled album is like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars. Yet mucho eccentricity and spontaneity make it more interesting than many such relics. That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility. Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands. And some goofy psychedelic touches appear without warning, like the cheap outer space signals in "Colours"; the Harpo Marx-like horn interjections in the same tune; the atomic explosion that ends "Hang Out"; the out-of-nowhere distant, cornered-wolf yells of "A New Man"; the weird, slightly off-key plunks of "I Think It's All Right," which ring like a tapped wine glass; and the funk rock guitar of "I'm Crazy," which sounds halfway between a chicken-scratch and a drawer being opened and closed, giving way to a harem organ. Then there's the eight-minute "Once Upon a Time There Was a World," which sounds like an unwitting parody of suicidal teenage angst in its over-the-top sorrow for itself, yet backed with a creepy organ-fuzz arrangement of almost funereal grandeur. Review~by Richie Unterberger~AMG
Not to be confused with the U.K. band of the same name
or the US Kaleidoscope !!!
01 - Hang Out
02 - P.S. Come Back
03 - A Hole In My Life
04 - Let Me Try
05 - I Think It's All Right
06 - Colours
07 - Once Upon A Time There Was A World
08 - A New Man
09 - I'm Crazy
10 - I'm Here, He's Gone, She's Crying
The Mexican Kaleidoscope's sole, self-titled album is like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars. Yet mucho eccentricity and spontaneity make it more interesting than many such relics. That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility. Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands. And some goofy psychedelic touches appear without warning, like the cheap outer space signals in "Colours"; the Harpo Marx-like horn interjections in the same tune; the atomic explosion that ends "Hang Out"; the out-of-nowhere distant, cornered-wolf yells of "A New Man"; the weird, slightly off-key plunks of "I Think It's All Right," which ring like a tapped wine glass; and the funk rock guitar of "I'm Crazy," which sounds halfway between a chicken-scratch and a drawer being opened and closed, giving way to a harem organ. Then there's the eight-minute "Once Upon a Time There Was a World," which sounds like an unwitting parody of suicidal teenage angst in its over-the-top sorrow for itself, yet backed with a creepy organ-fuzz arrangement of almost funereal grandeur. Review~by Richie Unterberger~AMG
Not to be confused with the U.K. band of the same name
or the US Kaleidoscope !!!
The Smell Of Incense
Smell Of Incense (Norway) - 1994 - All Mimsy Were The Borogoves
part I
part II
01 Intro
02 Alice
03 Faerie Emerald
04 Fancy
05 Christopher's Journey
06 (The Smell Of) Interstellar Overdrive
07 Witch's Hat
08 Shrine
09 Outro
Bumble B. - viola, voc
Ernie Chung - g, b, voc
Han Solo - b, org, mell
Cool Kat - dr
Lumpy Davy - g, sitar, voc
Some info~from Planet Mellotron
Until I heard them, I was under the impression that The Smell of Incense were 'just another Scandinavian prog band'. Not a bit of it. They mix'n'match influences from all over, but are most easily described as 'psychedelic', whatever you take that to mean. Some of the members had known each other since the mid-'70s, unbelievably, and after putting out various odd releases in the '80s as Famlende Forsøk, they put the SoI together in the mid-'80s with a remit to be as 'psychedelic' as possible, with the intention of recording an album of '60s psych classics.
Somewhere along the line, however, they started writing their own material, ending up with the compromise that is All Mimsy Were the Borogoves (Lewis Carroll's 'Jabberwocky', of course). Of the seven tracks on board, they ended up with three covers (The Kinks' Fancy, The Incredible String Band's Witch's Hat and a heavily customised version of Pink Floyd's Interstellar Overdrive), plus another three where they put their music to someone else's lyrics (Faerie Emerald, from Edmund Spenser's 'Faerie Queen', Christopher's Journey from A.A.Milne's 'Winnie the Pooh' and a late-'60s Peter Hammill poem, Shrine, previously not set to music).
The band obviously refuse to use any equipment produced later than, say, 1972, with the end result being a marvellously 'authentic' late-'60s album. Well, nearly. Mellotron choirs didn't exist until 1972, but who's arguing when they sound this good? Their only wholly 'in-house' number, Alice, has some very background 'Tron strings, but the flute melody and strings on Faerie Emerald are right at the front of the mix, with background choirs. More choirs on Christopher's Journey and Shrine, although Interstellar Overdrive is more of a trippy organ jam, different enough from the original to justify the band's collective co-writing credit. Incidentally, the 'Tron (it seems they own one) was played by 'Han Solo', one of several nom-de-plumes used by the band, for reasons best known to themselves.
The band have released a handful of singles, in various formats, all of which consist of covers of obscure psych classics. 1994 brought their version of the West Coast Pop Art Experimental Band's The Smell of Incense (wondered where they'd got their name), backed with HMS Bounty's A Visit With Ashiya ('67 and '69 respectively). As I've heard neither track in its original version, comparisons are not so much pointless as impossible, but they both sound pretty damn' good here, with some 'Tron strings and a smattering of choirs on the 'b'.
Band's Story Here
Smell Of Incense (Norway) - 1994 - A Visit With Ashiya [7'']
01 - The Smell Of Incense
02 - A Visit With Ashiya
Smell Of Incense (Norway) - 1995 - Why Did I Get So High [7'']
01 - Why Did I Get So High
02 - If Not This Time
03 - Coming Down
Get the above 2 Singles
Here !
part I
part II
01 Intro
02 Alice
03 Faerie Emerald
04 Fancy
05 Christopher's Journey
06 (The Smell Of) Interstellar Overdrive
07 Witch's Hat
08 Shrine
09 Outro
Bumble B. - viola, voc
Ernie Chung - g, b, voc
Han Solo - b, org, mell
Cool Kat - dr
Lumpy Davy - g, sitar, voc
Some info~from Planet Mellotron
Until I heard them, I was under the impression that The Smell of Incense were 'just another Scandinavian prog band'. Not a bit of it. They mix'n'match influences from all over, but are most easily described as 'psychedelic', whatever you take that to mean. Some of the members had known each other since the mid-'70s, unbelievably, and after putting out various odd releases in the '80s as Famlende Forsøk, they put the SoI together in the mid-'80s with a remit to be as 'psychedelic' as possible, with the intention of recording an album of '60s psych classics.
Somewhere along the line, however, they started writing their own material, ending up with the compromise that is All Mimsy Were the Borogoves (Lewis Carroll's 'Jabberwocky', of course). Of the seven tracks on board, they ended up with three covers (The Kinks' Fancy, The Incredible String Band's Witch's Hat and a heavily customised version of Pink Floyd's Interstellar Overdrive), plus another three where they put their music to someone else's lyrics (Faerie Emerald, from Edmund Spenser's 'Faerie Queen', Christopher's Journey from A.A.Milne's 'Winnie the Pooh' and a late-'60s Peter Hammill poem, Shrine, previously not set to music).
The band obviously refuse to use any equipment produced later than, say, 1972, with the end result being a marvellously 'authentic' late-'60s album. Well, nearly. Mellotron choirs didn't exist until 1972, but who's arguing when they sound this good? Their only wholly 'in-house' number, Alice, has some very background 'Tron strings, but the flute melody and strings on Faerie Emerald are right at the front of the mix, with background choirs. More choirs on Christopher's Journey and Shrine, although Interstellar Overdrive is more of a trippy organ jam, different enough from the original to justify the band's collective co-writing credit. Incidentally, the 'Tron (it seems they own one) was played by 'Han Solo', one of several nom-de-plumes used by the band, for reasons best known to themselves.
The band have released a handful of singles, in various formats, all of which consist of covers of obscure psych classics. 1994 brought their version of the West Coast Pop Art Experimental Band's The Smell of Incense (wondered where they'd got their name), backed with HMS Bounty's A Visit With Ashiya ('67 and '69 respectively). As I've heard neither track in its original version, comparisons are not so much pointless as impossible, but they both sound pretty damn' good here, with some 'Tron strings and a smattering of choirs on the 'b'.
Band's Story Here
Smell Of Incense (Norway) - 1994 - A Visit With Ashiya [7'']
01 - The Smell Of Incense
02 - A Visit With Ashiya
Smell Of Incense (Norway) - 1995 - Why Did I Get So High [7'']
01 - Why Did I Get So High
02 - If Not This Time
03 - Coming Down
Get the above 2 Singles
Here !
Crystalagur - 1972 - Terranaut
The story of Crystalaugur is a strange one: the obscure Native American band Crystalaugur recorded this album in Singapore between 1972 and 1973, orginally pressing a mere 200 copies for a private label (Warped Rec) and the ridiculously small pressing made the original album an unbelievable rarity. The fuzz guitar and space rock vocals definitely put this LP in the psychedelic realm with an interesing primitive backdrop. Dodo Rec.-I)
Reissue of recently discovered album, released in 1974 by BMI SINGAPORE of a one-off album done as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. A weird mix of Kaleidoscope / Velvet.
Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album.
01 - terranaut
02 - i'll remembered
03 - cosmic journey
04 - you've got to rap
05 - uppachit creek
06 - easy term pleasure
07 - pams song
08 - number 4
09 - goodbye
Reissue of recently discovered album, released in 1974 by BMI SINGAPORE of a one-off album done as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. A weird mix of Kaleidoscope / Velvet.
Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album.
01 - terranaut
02 - i'll remembered
03 - cosmic journey
04 - you've got to rap
05 - uppachit creek
06 - easy term pleasure
07 - pams song
08 - number 4
09 - goodbye
your download link
Discolor - 2001 - III
Discolor - 2001 - III
Track List:
01 Psychedelic Rain
02 Glass Keys To Open
03 As Light As A Feather
04 When I See You
05 And Wonder
06 Garden Fair
07 What Remains Of Her
08 Sparkle Plenty
09 Solar Bird Fly
10 Sirius
11 El Strings
Discolor is the solo project of Stefan Lienemann alias Limo of Shiny Gnomes and Fit + Limo (supported by friends on moog, cello, violin). Discolor combine new space travelogue with Fit + Limo folk sensibility.
Review:
Released by the Italian label’s Mizmaze and Lizard, III is essentially a solo album by this prolific musician, who for the last 15 years has been producing Psych, Folk, Electro, Dub, Space, Krautrock in the Shiny Gnomes and other projects like Weltraumservice and Fit & Limo.
On this disc he sings, plays guitars, bass, sitar, keyboards and drums, and with the assistance of Harald Streckor (Micromoog), Lotsi Lapislazuli (additional vocals) and The Nereide Neith Trio (strings), he has created a great new work in the already impressive Limo discography. Highlights include the opening Psychedelic Rain, the gentle and hypnotic neo-folk of Sparkle Plenty and the elegiac Solar Bird Fly, which combines haunting piano with the stings of The Nereide Neith Trio. Different parts of the album evoke Yeti-era Amon Duul II, Nick Drake, Sonic Boom and Melodic Energy Commission.
Highly recommended.
Reviewed by Dr. Sandoz - December 2001
Enjoy !
Hoola Bandoola Band - 1972 - Vem Kan Man Lita Pa?
Hoola Bandoola Band - 1972 - Vem Kan Man Lita Pa?01 Herkules
02 Vem Kan Man Lita På?
03 Dansmelodi (T. Wiehe)
04 Keops Pyramid
05 Man Måste Veta Vad Man önskar Sej
06 1789+0
07 Maya
08 Rocksamba (Vi Klara Det)
Hoola Bandoola Band was, together with Nationalteatern, the biggest band of the Swedish progg movement. And where Nationalteatern put social realistic lyrics to rock songs, Hoola Bandoola had more political lyrics and swerved further from traditional rock.
The name is inspired by a fictional language spoken by ants in a Donald Duck short cartoon, most likely "Tea for Two Hundred", directed in 1948 by Jack Hannah, with ant language spoken by Pinto Colvig.
In 1971, they had their first radio hit and were immediately contacted by two record companies, one commercial and one alternative, MNW. In the political climate of the 1970s, the choice of side was crucial, and by choosing the alternative company, Hoola Bandoola came to be the most well-known band on the alternative side in Sweden.
Their debut in 1971, Garanterat individuell, (Guaranteed to be individual) was hailed as the start of a new era for Swedish pop and was elected the album of the year. It was not overly political when it came to lyrics, but on the second album Vem kan man lita på?, (Who can you trust?) released the next year, the socialist message was clearer. It still sold very well and included long-lasting hits like Keops pyramid.
With På Väg, (On the way) recorded with a balalaika orchestra, Hoola Bandoola became one of the best-selling groups in Sweden. In 1975 they released the forth album Fri information (Free information), where the socialist message was more outspoken than ever before. And this time, Afzelius had written half of the songs, where before it had been Wiehe writing almost everything.
In 1975, the alternative moment gathered in opposition to a tennis game played between Sweden and Chile, which at the time was under the military dictatorship of Pinochet, and for that event, Hoola Bandoola released Stoppa matchen (Stop the game) as a single. This was to be their last studio recording. Next year, the band broke up and Wiehe and Afzelius started very successful careers as singer/songwriters, both together and by themselves.
After 20 years' absence, Hoola Bandoola reunited in 1996, playing warmup for Bob Dylan and going on their own nationwide tour. On this tour, the live album För dom som kommer sen (For those who come later) was recorded. But in 1999, Björn Afzelius died, making further reunions more unlikely.
Enjoy !
Unicorn - 1974 - Blue Pine Trees
Unicorn - 1974 - Blue Pine Trees
01. Electric Night (Baker)
02. Sleep Song (Baker)
03. Autumn Wine (Smith, St. John, Waters)
04. Rat Race (Smith, St. John, Waters)
05. Just Wanna Hold You (Baker)
06. Holland (Baker)
07. Nightingale Crescent (Baker)
08. The Farmer (Baker)
09. In The Gym (Baker)
10. Blue Pine Trees (Baker)
11. OOH! Mother (Baker)
Tracks 1, 2, 3, 5, 7 & 8 Feature David Gilmour
Unicorn - Blue Pine Trees (Capitol, 1974)
David Gilmour had a band. A little group, went by the name of Pink Floyd. Anyway, he bought a giant mansion and built a studio inside it and invited unknown UK country rock group Unicorn to record their second album there. The result is a rich, heartfelt song cycle of British folk/country/pop that draws from Fleetwood Mac, Neil Young and (thanks to Gilmour's production) the polish of Pink Floyd. Features the ultimate 70s drum sound: tight, simple, clear, present and warm. Plus, Gilmour plays pedal steel all over it. A revelation.
Enjoy
The Steppes - 1987 - Drop Of The Creature
The Steppes - 1987 - Drop Of The Creature
Voxx Records
01. A Play On Wordsworth
02. Somebody Waits
03. Holding Up Well
04. Sky Is Falling
05. Make Us Bleed
06. Cut In Two
07. See You Around
08. Lazy Ol' Son
09. Bigger Than Life
10. Black Forest Friday
11. More Than This
12. History Hates No Man
John Fallon - Vocals, Guitars
David Fallon - Vocals, Bass Guitar
Tim Gilman - Lead Guitar
James Bailey - Drums, Percussion
Produced by The Steppes.
Engineered by Brett Gurewitz, John Girdler.
Executive producer: Greg Shaw.
Recorded at Westbeach Studio, Los Angeles, USA.
The Steppes were a 1980's Irish Psychedelic Rock band led by the gifted brothers David and John Fallon (whose memorable track Summers End In San Francisco is featured on the Psychedelic Psauna In 4 Parts compilation, which eventually led me to inquire further more about The Steppes). Drop Of The Creature, The Steppes' second musical endeavour, saw their transformation into a darker sound than their first more more acoustic EP.
One slightly overwhelmed critic had this to say,
Can this be for real? Does this record really have a 1987 datestamp? Can some men wear such ruffled shirtfronts and still walk outside? All these questions are blown away by yet another startling psychedelic-timewarp. The Steppes play the most blissful folk-into-psychedelia music, like the moment when Syd Barrett fronted The Byrds and then Jefferson Airplane, or when Roger McGuinn slung 12 strings over Pink Floyd's first album. The Steppes even manage to crystallise the essence of beat-pop. Brilliant poetic-hurt wimp visions scatter a field of tripped melodies, as inspired as Rain Parade's debut: occasionally The Steppes go all dopey but otherwise, they're excessive, outrageous, ecstatic--better this than Sergeant Pepper any day. No more questions. (Martin Aston)
Voxx Records
01. A Play On Wordsworth
02. Somebody Waits
03. Holding Up Well
04. Sky Is Falling
05. Make Us Bleed
06. Cut In Two
07. See You Around
08. Lazy Ol' Son
09. Bigger Than Life
10. Black Forest Friday
11. More Than This
12. History Hates No Man
John Fallon - Vocals, Guitars
David Fallon - Vocals, Bass Guitar
Tim Gilman - Lead Guitar
James Bailey - Drums, Percussion
Produced by The Steppes.
Engineered by Brett Gurewitz, John Girdler.
Executive producer: Greg Shaw.
Recorded at Westbeach Studio, Los Angeles, USA.
The Steppes were a 1980's Irish Psychedelic Rock band led by the gifted brothers David and John Fallon (whose memorable track Summers End In San Francisco is featured on the Psychedelic Psauna In 4 Parts compilation, which eventually led me to inquire further more about The Steppes). Drop Of The Creature, The Steppes' second musical endeavour, saw their transformation into a darker sound than their first more more acoustic EP.
One slightly overwhelmed critic had this to say,
Can this be for real? Does this record really have a 1987 datestamp? Can some men wear such ruffled shirtfronts and still walk outside? All these questions are blown away by yet another startling psychedelic-timewarp. The Steppes play the most blissful folk-into-psychedelia music, like the moment when Syd Barrett fronted The Byrds and then Jefferson Airplane, or when Roger McGuinn slung 12 strings over Pink Floyd's first album. The Steppes even manage to crystallise the essence of beat-pop. Brilliant poetic-hurt wimp visions scatter a field of tripped melodies, as inspired as Rain Parade's debut: occasionally The Steppes go all dopey but otherwise, they're excessive, outrageous, ecstatic--better this than Sergeant Pepper any day. No more questions. (Martin Aston)
posted by Hannah
Labels: S, sonicdeathsound
PREMIATA FORNERIA MARCONI (PFM) - 4 ALBUMS
Outside UK, in the rest of Europe the most important music scenes of 70’s was in German (Kraut Rock) and in Italy (Italian Prog).I think that Italian Prog has some excellent bands and albums a lot of people ignored.
I am really deep in this scene maybe cause the island (Corfu) that i live is so close to Italy and the Italian culture remains in the island from ages and especially in music. But mainly cause i am a progressive rock lover.
I am proud to present the best 4 albums (320 kbps with covers) one of the leaders of Italian Prog.
PFM
Enjoy ! nikos1109
Much has been written and said in Italy about Premiata Forneria Marconi, and they have surely been the most popular band here for many years. No one who was in his teens in Italy during the 70's, doesn't know È festa or Impressioni di settembre. They were also the first (and last, probably) italian band to have some success abroad, playing some good european and american tours, and even playing the popular Reading festival in England.
The band was formed in Milan around 1970 when the ex-Quelli (a popular beat band during the 60's) Mussida, Premoli, Piazza and Di Cioccio met multiinstrumentalist Mauro Pagani from Dalton.
The four Quelli had a change in their musical style near the end of the 60's and even made a single as I Krel, before the new name was adopted.
The new band had a long name, as it was the tendency for the prog-oriented italian bands of the time, and were usually referred to as "La Premiata" and later PFM. Their live beginnings, recently documented in the 10 anni live 71/81 box set, included many covers, especially by the likes of King Crimson and Jethro Tull that were among their strongest influences.
In June 1971 Premiata Forneria Marconi were invited at the first "Festival d’Avanguardia e Nuove Tendenze" in Viareggio, and they won it, along with Osanna and Mia Martini.
But their first single, coupling La carrozza di Hans with Impressioni di settembre, began a highly original musical style, where the foreign influences had been mixed with classical music and some typical mediterranean sounds, creating the distinctive "italianprog" sound that has been later perfectioned by many others.
But their first single, coupling La carrozza di Hans with Impressioni di settembre, began a highly original musical style, where the foreign influences had been mixed with classical music and some typical mediterranean sounds, creating the distinctive "italianprog" sound that has been later perfectioned by many others.
Storia Di Un Minuto 1972 (gatefold cover)premiata_forneria_marconi_-_1972a_-_storia_di_un_minuto.rar
First album, Storia di un minuto in 1972 is a milestone in the genre, the quintessence of the italian prog, and few others can be compared with this that's surely one of the top five italian LP's for its contents and energy. Tracks like the two on the single, È festa and Dove.. quando are still among the finest example of their distinctive sound. The fine playing of Mauro Pagani, Franco Mussida and Flavio Premoli, despite the lack of a good role singer (always one of their limits), create a highly regarding sound that's still valid today.
This album is always in the top 10 of italian prog lists and in the most important of them is in the 3rd place (www.italianprog.com)
Per Un Amico 1972 (gatefold cover)
Download link
The same year saw the release of their second LP, Per un amico, containing the same elements as the previous one with cuts such as the title track, Generale, Il banchetto. Both the albums were very successful and, along with the first Banco del Mutuo Soccorso album, opened the way to a large audience recognition of the new musical style.
Download link
Third album, Photos of ghosts, contained mostly reworkings of old tracks in english version, and represented the first attempt by italian rock bands to break the foreign markets. The LP was released abroad by ELP label Manticore (just like Banco's fourth eponymous album) and gave the band a huge success in the USA.
Download link
In 1974 the fourth album, L'isola di niente, also had an english version released with the same track listing, called The world became the world. A new bass guitarist had joined the band, Patrick Djivas from Area (Giorgio Piazza formed the short-lived Crystals), and english lyrics were by Pete Sinfield. The album was again very successful and the band embarked in their first US tour, documented in their Live in USA album.
The lack of a lead singer in the band had always been marked by the press as PFM's main defect, and for this reason the group enroled Bernardo Lanzetti from Acqua Fragile. Lanzetti had lived in the States and with his distinctive voice could solve the major problems for the band, singing and speaking english! The first (and sadly the only) release by the new six-piece was Chocolate kings, the first album only released with english lyrics (and their least successful so far for this reason in Italy). Containing some very good songs such as the title track and Out of the roundabout, the album had probably lost some of the typical italian feel of their previous works, going closer to the foreign markets' taste. A successful album abroad, it gave the band new chances to play in foreign countries, with new tour in Europe, USA and Japan.
But after the long tour, Pagani, tired of the hard life on the road, decided to quit the band. The band tried to replace him with american violinist Greg Bloch (from Flock and It's a Beautiful Day) but their decline had started. Jet lag, released in 1977 on the new Zoo label, still has very discordant reviews, its sound being very far from past glories, and Passpartù in 1978, with lyrics written by italian songwriter Gianfranco Manfredi, saw a strong turn towards pop music.
In 1979 a successful tour brought PFM all over Italy as backing band to the singer-songwriter Fabrizio De André, and two live albums were released by Ricordi (Fabrizio De André e la PFM In concerto voll. I & II).
The band released the good Suonare suonare in 1980 with new member Lucio Fabbri (on violin and keyboards, from Piazza delle Erbe) but some low level albums followed during the 80's, wit the group still continuing its successful live activity in Italy, and members Mussida and Di Cioccio also released solo albums.
After Miss Baker in 1987 PFM officially split.
www.italianprog.com
More information and full discography :
Official site : http://www.pfmpfm.it/eng/main.htm
http://www.gaudela.net/pfm/index2.html
Revolutionary Army of the Infant Jesus
Revolutionary Army of the Infant Jesus - 1994 - The Gift Of Tears_Mirror
This is a double CD collection of the LPs "The Gift Of Tears" (1987) and "Mirror" (1991). The last two tracks on the second disc are grouped together as "La Liturgie Pour La Fin Du Temps".
Tracklisting:
The Gift Of Tears
1-01 Come Holy Spirit (9:28)
1-02 Tales From Europe (4:07)
1-03 The Miller (4:09)
1-04 De Profundis (3:37)
1-05 The Singing Ringing Tree (2:06)
1-06 Beauty After The Fall (9:17)
1-07 Dreams (Awakening Of A Child's Mind) (4:46)
1-08 Lament (Ashes In The Water) (3:11)
1-09 Transfiguration (5:31)
1-10 Communion (3:11)
Mirror
2-01 Shadowlands (4:24)
2-02 Immaculado (8:19)
2-03 Joy Of The Cross (1:44)
2-04 Hymn To Dionysus (2:53)
2-05 Nostalgia (6:07)
2-06 Theme De "L'Homme Qui Ne Croyait Pas En Lui-Meme" (3:53)
2-07 Psalm (4:32)
2-08 Nativity (5:17)
2-09 Man Of Sorrows (6:03)
2-10 Theme Reprise (2:05)
La Liturgie Pour La Fin Du Temps
2-11 Le Monde Du Silence (5:04)
2-12 Dies Irae (8:13)
This record is easily one of my favorite albums of all time. It's proof of an unjust world that this album has scarcely been available over the past ten years. Except those rare copies offered at prices of an arm and a leg.
Eschewing economics, the beautiful music of RAIJ has bucketloads of passion, mystery, innocence, and is rife with an adventurous spirit of experimentation. You can literally hear the joy in their musical discoveries, from track to track. In it, you'll hear a valid attempt invoking the spirit of Europe: From otherworldly Gregorian-style chants to madrigal acoustic guitars/flutes to echo-chamber percussion and floating electronic soundscapes, even excerpts from Cocteau's movie ORPHEE. That is, a musical journey from medieval times to our electronic era. And it's breathtaking to hear such imaginal leaps through their sound.
It wouldn't be too off the mark to consider their music in the "apocalyptic folk" tradition of, say, Current 93, Death In June, etc. And like this style, it takes acoustic instruments and collides them with electronic manipulations. But this collison is done in a way that is totally singular and without peer.
Only an anarcho-Christian collective like them could have brought all of these elements together: Acoustic-electronic, innocence-wisdom, lucidity-confusion, Christian-pagan.
Reviewer:Michael Thomas Jones (Huntington, WV)
The RAIJ Double CD Collection
part I
part II
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - The RAIJ Double CD Collection / Paradis
(2CD / CD, Apocalyptic Vision, 1994 / 1995)
C.S. Lewis once wrote "Holy places are dark places." If his sentiment could be expressed physically, it would undoubtedly find embodiment in the music of the Revolutionary Army of the Infant Jesus. These English musicians appear well-versed in the western liturgical music tradition which seems to be the basis of their beautifully reverent and dark compositions. In addition to simple chant-like vocals sometimes haunted with an ethereal, childlike female voice, RAIJ incorporates such an array of musical elements it's impossible to name them all. They combine folk, celtic, world beat, tribal percussion, Eastern European, and some Middle Eastern influences into a truly original sound. RAIJ's first album, The Gift of Tears, explores some of these components in notable pieces such as "Come Holy Spirit" and "Beauty after the Fall". The first one begins with a lone classical guitar, soon accompanied by bass and tribal percussion while a simple, chant-like melody and a floating female vocal carry the piece. "Beauty" is just that--a harmony of classical guitar, woodwind melody, and spoken word. The Gift of Tears is very much organic and acoustic, but there is also quite a bit of experimentation in all of RAIJ's music. You'll hear the clanging of cathedral bells, echoing percussion, and spoken word in foreign languages, including samples from the films of Andrei Tarkovsky and Jean Cocteau. "De Profundis" is full of reverberating metallic clanks, layers of feedback, and a swirl of wind instruments. Overall, the second album, "Mirror," is more experimental than the first. Although there is less use of acoustic instruments, the earthy element is still present but is saturated with processed sounds and samples. "Nostalgia" is a beautifully somber and captivating piece composed of a dark orchestral arrangement and a piano interlude while a man's voice drones in the background. Another composition meshing samples and noise with instruments is "Psalm". Unidentifiable whooshes and echoes soar across the clear solemnity of a child-like voice singing the words of Psalm 51. In the new EP Paradis, RAIJ continues to blend organic instruments and experimental sounds into lush masterpieces. "The Parable (of the Singing Ringing Tree)" is an 8-minute rendering of the original found on Gift of Tears, this time made fuller with an accordion-like instrument and guitar. "Mouvement" is a simple but well-crafted piece consisting only of congas. The focus of "Paradis" is the ethereal female voice which swoops and echoes with a semi-operatic quality. Perhaps the highlight of the EP is "She Moved Through the Fair", an atmospheric piece slowly building in percussive speed and intensity reminiscent of the final movement of Ravel's "Bolero".
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - 1995 - Paradis
Tracklisting:
01 Paradis (10:45)
02 The Parable (Of The Singing Ringing Tree) (7:34)
03 She Moved Through The Fair (6:03)
04 Mouvement (3:02)
Paradis
part I
This is a double CD collection of the LPs "The Gift Of Tears" (1987) and "Mirror" (1991). The last two tracks on the second disc are grouped together as "La Liturgie Pour La Fin Du Temps".
Tracklisting:
The Gift Of Tears
1-01 Come Holy Spirit (9:28)
1-02 Tales From Europe (4:07)
1-03 The Miller (4:09)
1-04 De Profundis (3:37)
1-05 The Singing Ringing Tree (2:06)
1-06 Beauty After The Fall (9:17)
1-07 Dreams (Awakening Of A Child's Mind) (4:46)
1-08 Lament (Ashes In The Water) (3:11)
1-09 Transfiguration (5:31)
1-10 Communion (3:11)
Mirror
2-01 Shadowlands (4:24)
2-02 Immaculado (8:19)
2-03 Joy Of The Cross (1:44)
2-04 Hymn To Dionysus (2:53)
2-05 Nostalgia (6:07)
2-06 Theme De "L'Homme Qui Ne Croyait Pas En Lui-Meme" (3:53)
2-07 Psalm (4:32)
2-08 Nativity (5:17)
2-09 Man Of Sorrows (6:03)
2-10 Theme Reprise (2:05)
La Liturgie Pour La Fin Du Temps
2-11 Le Monde Du Silence (5:04)
2-12 Dies Irae (8:13)
This record is easily one of my favorite albums of all time. It's proof of an unjust world that this album has scarcely been available over the past ten years. Except those rare copies offered at prices of an arm and a leg.
Eschewing economics, the beautiful music of RAIJ has bucketloads of passion, mystery, innocence, and is rife with an adventurous spirit of experimentation. You can literally hear the joy in their musical discoveries, from track to track. In it, you'll hear a valid attempt invoking the spirit of Europe: From otherworldly Gregorian-style chants to madrigal acoustic guitars/flutes to echo-chamber percussion and floating electronic soundscapes, even excerpts from Cocteau's movie ORPHEE. That is, a musical journey from medieval times to our electronic era. And it's breathtaking to hear such imaginal leaps through their sound.
It wouldn't be too off the mark to consider their music in the "apocalyptic folk" tradition of, say, Current 93, Death In June, etc. And like this style, it takes acoustic instruments and collides them with electronic manipulations. But this collison is done in a way that is totally singular and without peer.
Only an anarcho-Christian collective like them could have brought all of these elements together: Acoustic-electronic, innocence-wisdom, lucidity-confusion, Christian-pagan.
Reviewer:Michael Thomas Jones (Huntington, WV)
The RAIJ Double CD Collection
part I
part II
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - The RAIJ Double CD Collection / Paradis
(2CD / CD, Apocalyptic Vision, 1994 / 1995)
C.S. Lewis once wrote "Holy places are dark places." If his sentiment could be expressed physically, it would undoubtedly find embodiment in the music of the Revolutionary Army of the Infant Jesus. These English musicians appear well-versed in the western liturgical music tradition which seems to be the basis of their beautifully reverent and dark compositions. In addition to simple chant-like vocals sometimes haunted with an ethereal, childlike female voice, RAIJ incorporates such an array of musical elements it's impossible to name them all. They combine folk, celtic, world beat, tribal percussion, Eastern European, and some Middle Eastern influences into a truly original sound. RAIJ's first album, The Gift of Tears, explores some of these components in notable pieces such as "Come Holy Spirit" and "Beauty after the Fall". The first one begins with a lone classical guitar, soon accompanied by bass and tribal percussion while a simple, chant-like melody and a floating female vocal carry the piece. "Beauty" is just that--a harmony of classical guitar, woodwind melody, and spoken word. The Gift of Tears is very much organic and acoustic, but there is also quite a bit of experimentation in all of RAIJ's music. You'll hear the clanging of cathedral bells, echoing percussion, and spoken word in foreign languages, including samples from the films of Andrei Tarkovsky and Jean Cocteau. "De Profundis" is full of reverberating metallic clanks, layers of feedback, and a swirl of wind instruments. Overall, the second album, "Mirror," is more experimental than the first. Although there is less use of acoustic instruments, the earthy element is still present but is saturated with processed sounds and samples. "Nostalgia" is a beautifully somber and captivating piece composed of a dark orchestral arrangement and a piano interlude while a man's voice drones in the background. Another composition meshing samples and noise with instruments is "Psalm". Unidentifiable whooshes and echoes soar across the clear solemnity of a child-like voice singing the words of Psalm 51. In the new EP Paradis, RAIJ continues to blend organic instruments and experimental sounds into lush masterpieces. "The Parable (of the Singing Ringing Tree)" is an 8-minute rendering of the original found on Gift of Tears, this time made fuller with an accordion-like instrument and guitar. "Mouvement" is a simple but well-crafted piece consisting only of congas. The focus of "Paradis" is the ethereal female voice which swoops and echoes with a semi-operatic quality. Perhaps the highlight of the EP is "She Moved Through the Fair", an atmospheric piece slowly building in percussive speed and intensity reminiscent of the final movement of Ravel's "Bolero".
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - 1995 - Paradis
Tracklisting:
01 Paradis (10:45)
02 The Parable (Of The Singing Ringing Tree) (7:34)
03 She Moved Through The Fair (6:03)
04 Mouvement (3:02)
Paradis
part I
The Easybeats - Friday On My Mind ( 1967 )
Track Listing :
1.Friday On My Mind
2.River Deep,Mountain High
3.Do You Have A Soul
4.Saturday Night
5.You Me,We Love
6.Pretty Girl
7.Happy Is The Man
8.Women ( Make You Feel Alright )
9.Who'll Be The One
10.Made My Bed,Gonna Lie In It
11.Remember Sam
12.See Line Woman
1.Friday On My Mind
2.River Deep,Mountain High
3.Do You Have A Soul
4.Saturday Night
5.You Me,We Love
6.Pretty Girl
7.Happy Is The Man
8.Women ( Make You Feel Alright )
9.Who'll Be The One
10.Made My Bed,Gonna Lie In It
11.Remember Sam
12.See Line Woman
The Easybeats were a garage band in the 1960s from
The band's line-up exemplifies the influence of post-war migration on Australian society. All five founding members were from families who had migrated to Australia from Europe; lead singer Stevie Wright was from London, rhytmic guitarist George Young was from Glasgow, lead guitarist Harry Vanda and bassist Dick Diamonde were from the Netherlands, and drummer Gordon Henry Fleet, in Bootle,Liverpool,England.
Friday on My Mind, produced by Shel Talmy and recorded in England, captures the Easybeats at just about their peak, combining all of the best elements in the evolution of their sound under one cover. The Easybeats were still one of the most energetic outfits in rock music, with a raw, highly animated guitar attack, but they were trying (and largely succeeding with) ever more complex vocal harmony parts and some staccato guitar harmony as well that was pretty impressive, and at this stage they were working with a brace of gorgeous Vanda/Young originals. The ubiquitous title track is in excellent company, surrounded by an array of mid- to late-60's British rock treasures: a killer garage punk rendition of "River Deep, Mountain High," with a superb performance by Wright and what sounds almost like a sitar buried somewhere in the midst of the crisp electric guitars; "Do You Have a Soul," with its abrupt tempo changes, cascading choruses, chiming guitars, and hooks that seem to flow into each other effortless; "Saturday Night," with more sitar-like sounds beneath the radiant choruses and rhythm guitar hooks; the dramatic, angst-ridden "You Me, We Love," on which Vanda's guitar playing becomes as intense as Wright 's wrenching vocal performance; "Pretty Girl," with its crunchy rhythm guitar sound and catchy lyric hooks and choruses; and "Made My Bed Gonna Lie in It," a punk anthem nearly as catchy and well-played as "I'm Not Like Everybody Else." Not everything on this album is as successful as these cuts, but it is all good listening, even the eerie, original album finale, "See Line Woman." In fact, only the rendition of Leiber and Stoller's "Hound Dog" may be out of place, and even it works as a change of pace. The label of "Australia's Beatles" may have proved an overstatement to some, but one can get a good look at its basis on this album — it's loaded with actual and potential hit singles, yet it doesn't come off as lightweight in any way.
Resources :
wikipedia.com
allmusicguide.com
watch Friday On My Mind :
http://www.youtube.com/watch?v=Pjx2AQb0ACE
Download Link :
Labels: E, innocent76
Skeletal Family - 1985 - Futile Combat
Track Listing :
1. Hands On The Clock
2. Move
3. This Time
4. Don't Be Denied
5. Far & Near
6. No Chance
7. Streetlight
8. She Cries Alone
9. What Happened?
10. Promised Land
The Skeletal Family history ::
Formed from the ashes of The Elements (Keighley, West Yorkshire, England). The Skeletal Family began life in December 1982.
The initial line-up consisted of: -
Anne-Marie Hurst (Vocals)
Stan Greenwood (Guitars)
Roger "Trotwood" Nowell (Bass)
Steve Crane (Drums)
Ian "Karl Heinz" Taylor (Keyboards)
Taking their name from a David Bowie track off the Diamond Dogs album, the band quickly gained a sizeable local following, encouraged by this produced a self funded single "Trees"/"Just A Friend" released through the Leeds based Luggage label.
The single quickly gained the attention ofRadio One's John Peel which through regular airings on his late show, saw the single breach the lower regions of the National independent charts.
Due to this radio airplay the band by-passed the usual route of playing the small pub circuit and made their London debut at the Fulham Greyhound to an enthusiastic audience, no doubt bolstered due to the current radio airplay. The gig also received an encouraging reaction from the now defunct national music paper "Sounds", which secured the band other prestigious support slots with Sex Gang Children and Play Dead.
By now with a Radio One session booked for March, the band recorded a second single "The Night"/"Waiting Here". For this release drummer Steve Crane was replaced by Manchester based Howard Daniels. Karl Heinz also departed (occasionally resurfacing on various future projects). Due to disappointing sales the single the single fails to make the impression expected, and the band set about recording their third single "She Cries Alone". Enlisting the services of the recently defunct Southern Death Cult guitarist Ian "Buzz" Burrows as co-producer and roadie, now turned drummer Martin Henderson replacing the increasingly unreliable Howard, "She Cries Alone" gave the band their first major mark in the independent charts, and armed with this success recorded the debut album "Burning Oil".
Around this period the band came close to extinction, whilst returning from a Belgium appearance, the tour van rolled over, and after crawling from the van it was discovered to be teetering on the edge of a 10 ft fall over the canal. Miraculously no one was hurt apart from one passenger who lost half his lower ear!!! Whilst recording the album the band learnt that Sisters Of Mercy front man Andrew Eldridge had specifically asked the band to support the Sisters on their Autumn Black October tour.
Now playing to much larger receptive audiences, the reaction ensured that when released "Burning Oil" reached the top of the UK indie charts, beating The Smiths & New Order in the process. With a now much larger profile and two more Radio One sessions the band played numerous dates around Britain and Europe and proved popular enough to sell out London's then prestigious Marquee club.
Despite previously enduring limited recording budgets, the bands success now enabled them to enlist the services of Cult/Gene Loves Jezebel producer John Brand, relocating to Highland studios Inverness and recording the bands second album "Futile Combat". Aided by Waterboys saxophonist Anthony Thistlewaite and Graham Pleeth on synths, the band achieved a more polished sound, a marked improvement on the previous offering.
Live favourite "Promised Land" was chosen as the first single off the album and on release reached the top three of the National Indie charts. The band topped the year with special guest appearances with Siouxsie & The Banshees at Brixton Academy plus Spear of Destiny London's Lyceum.
By this time tensions within the band were high which culminated in both Anne-Marie and Martin (who joined March Violets vocalist Simon to form The Batfish Boys) leaving.
With a nationwide tour still booked, Anne-Marie rejoined and the band enlisted ex Gene Loves Jezebel drummer Dik on drums. Relationships in the band were still strained and although then tour was a success, Anne-Marie once again departed to form Ghost Dance with Sisters Of Mercy founder Gary Marx, forcing the band to cancel what would have been the band's seventh Radio One session for John Peel.
At this point the band, who were at the height of their success decided to carry on. Additional musicians were drafted in, Kevin Hunter from Hull based band Cold Dance and local Keighley guitarist John Clarke joined the ranks while Trotwood and Stan sifted through numerous replies from a Melody Maker advert, intent on finding a replacement vocalist.
An initial rehearsal with Look Back In Anger vocalist Mitch Ebbling didn't work out, So the band plumped for ex Colourfield, Manchester vocalist Katrina Phillips.
Katrina, who had sang and appeared with Terry Hall (ex Specials lead singer) on The Colourfield single "Thinking Of You" had a different voice and character to Anne-Marie, but had the added advantage of writing her own tunes and lyrics.
A new manager was found in the form of Tony Perrin and the band set about recording the next single "Restless" at Bradford's newly formed Flexible Response studios. The single was originally intended for release on the Red Rhino label, but after shooting a video with Pulp's Jarvis Cocker and Russell Senior directing decided, with the aid of the band's publishing company DJM to try for a major label release.
After offers from various companies the band decided to sign with Chrysalis Records, as they seemed to be the most enthusiastic regarding promoting the band. "Restless" was remixed and partially rerecorded in Island Studios London with Smiths producer Steven Street, who whilst giving a more professional mix, deviated it so much from the original master tapes that it was almost unrecognisable as the Skeletal Family sound.
Nonetheless the single was released in 7" & 12" format gaining plenty of airplay on Radio One's Janice Long's Evening show which resulted in a further two sessions for the station plus a double page feature in Melody Maker.
The second single for Chrysalis "Just a Minute" recaptured the classic Skeletal Family sound and gave the band their highest success in the National charts at the time.
The band completed a highly successful German tour before retuning to Britain to record demo's for their forthcoming album with seventies glam rock Sweet' guitarist Andy Scott at the helm. Again disruptions occurred within the ranks causing the band to split the day before the bands first pre recorded TV performance was aired.
Following a successful gig at the Cockpit Leeds on 5.12.02 the Skels have reformed . And have played several more sucsessful UK gigs with new dates steadily appearing
The Skeletal Family Story continues..................
By association::
John Brand who produced Futile Combat now manages The STEREOPHONICS. The engineer on that session was Brendan Lynch of Paul Weller and OCS fame.
Tony Perrin who managed the band briefly went on to success with The MISSION, and then RIGHT SAID FRED.
Spike who did the early Ghost Dance singles now produces for OASIS.
Shaun from MANIC STREET PREACHERS fame's first single was Promised Land.
Resources :
skeletalfamily.com
Highly Recommended for all dark wave fans and not only...
Watch "Promised Land"
http://www.youtube.com/watch?v=Nof2w1ysUI4
Download Link :
http://rapidshare.com/Skeletal_Family.rar
Labels: innocent76, S
Bob Smith - The Visit - 1970
Bob Smith
Personnel:
LARRY CHAPMAN violin
JAMES CURTIS hand drm
MIKE DEGREVE rhythm gtr
STAN KEISER flute
CAPTAIN KEYBOARD (DARYL DRAGON) keyb'ds, vibes
JOHN LATINI bs A DON PRESTON moog, mellotron
SKIP SCHNEIDER drms A BOB SMITH gtr, vcls A
ALBUM: THE VISIT (dbl) (Kent KST-551) Sept. 1970
NB: (1) some copies issued with colour poster, which significantly increases the value of the LP. (1) counterfeited on CD (Virgo CD1518) 1996. Also legitimately reissued (RD Records RD 6) 2000, digitially remastered from the original 1/2" tapes, as a triple vinyl LP set Stop For A Visit Down Electric Avenue. The box set also contains selections from his Stop (1971) and Electric Avenue (1972) albums. Along with the three LP's, the box set includes a re-issue of "The Visit" poster, and a band history along with several photos.
Another significant collectable from the California rock scene that will interest readers. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. Interesting and a must for fans of psychedelia. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years; as such, the recent reissue is most welcome. It includes a bonus disc of material recorded by Stop, Bob's later band from the early seventies.
Prior to the Kent album, Bob was with Silverskin, and before that, Lid (not to be confused with The Lyd), who recorded an album in 1968 which remains unissued.
Don Preston was a member of Frank Zappa's Mothers Of Invention and Daryl Dragon was with The Dragons. Daryl worked on various projects with his brothers Doug and Dennis (Farm, A Sea For Yourself, et. al.) before finding fame and fortune as the 'Captain' in Captain and Tenille. Bob Smith continues performing locally in Florida and has finished a new recording, The Visit - Destiny 2000 From Bob Smith which he will make available on his own Southern Rose label.
Bob would also appreciate it if the Virgo chaps could contact him about royalties....
For more information, check the Bob Smith website:
http://sites.netscape.net/thevisitbobsmith/homepage
(Vernon Joynson/Clark Faville w/thanks to Bob Smith)
Personnel:
LARRY CHAPMAN violin
JAMES CURTIS hand drm
MIKE DEGREVE rhythm gtr
STAN KEISER flute
CAPTAIN KEYBOARD (DARYL DRAGON) keyb'ds, vibes
JOHN LATINI bs A DON PRESTON moog, mellotron
SKIP SCHNEIDER drms A BOB SMITH gtr, vcls A
ALBUM: THE VISIT (dbl) (Kent KST-551) Sept. 1970
NB: (1) some copies issued with colour poster, which significantly increases the value of the LP. (1) counterfeited on CD (Virgo CD1518) 1996. Also legitimately reissued (RD Records RD 6) 2000, digitially remastered from the original 1/2" tapes, as a triple vinyl LP set Stop For A Visit Down Electric Avenue. The box set also contains selections from his Stop (1971) and Electric Avenue (1972) albums. Along with the three LP's, the box set includes a re-issue of "The Visit" poster, and a band history along with several photos.
Another significant collectable from the California rock scene that will interest readers. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. Interesting and a must for fans of psychedelia. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years; as such, the recent reissue is most welcome. It includes a bonus disc of material recorded by Stop, Bob's later band from the early seventies.
Prior to the Kent album, Bob was with Silverskin, and before that, Lid (not to be confused with The Lyd), who recorded an album in 1968 which remains unissued.
Don Preston was a member of Frank Zappa's Mothers Of Invention and Daryl Dragon was with The Dragons. Daryl worked on various projects with his brothers Doug and Dennis (Farm, A Sea For Yourself, et. al.) before finding fame and fortune as the 'Captain' in Captain and Tenille. Bob Smith continues performing locally in Florida and has finished a new recording, The Visit - Destiny 2000 From Bob Smith which he will make available on his own Southern Rose label.
Bob would also appreciate it if the Virgo chaps could contact him about royalties....
For more information, check the Bob Smith website:
http://sites.netscape.net/thevisitbobsmith/homepage
(Vernon Joynson/Clark Faville w/thanks to Bob Smith)
Friday, November 24, 2006
Dimentia 13 - 1987 - Mirror Mind
Dimentia 13 - 1987 - Mirror Mind
[MIRLP 130]
01 Mezmerized
02 Can You Hear The Walls Melting?
03 20 Years Before My Time
04 Mushroom Season
05 Bug Soup (I Will Miss You)
06 Psychedelic Mushroom Cloud Explosion
07 Twice The Speed Of Time
08 She's Alright
09 Roolz Is A Rule
10 Mirror Mind
11 Naked Truth
Produced By Brad Warner
Engineered By Scott Godwin
Recorded July 1986 @ The Island, North Royalton Studios, Ohio
Cover By Vince Rancid
1st pressing limited edition of 3000 w/ mirror cover (or 2500 as their record company sais?)
A follow up to their debut record, uploaded some time ago, this is the second effort from one of my favourites, Ohio's Dimentia 13. More information about this underlistened band can be found in the Freakbeat interview featured on their 'fan website' (so it seems, anyway).
Happy listening.
The '80s Ohio band Dimentia 13 (named after an early movie by Francis Ford Coppola) fused together garage, psychedelic rock, and acoustic folk, issuing a total of six albums during their six-year-long recording career. Influenced by such artists as the Soft Boys, Kevin Ayers, Syd Barrett, Soft Machine, and the Electric Prunes, the band was secretive about their identities. They issued such albums as 1985's self-titled debut, 1987's Mirror Mind, 1989's Disturb the Air, 1990s T.V. Screen Head, and 1991's Flat Earth Society on the independent New York label Midnight.
~ Greg Prato, All Music Guide
[MIRLP 130]
01 Mezmerized
02 Can You Hear The Walls Melting?
03 20 Years Before My Time
04 Mushroom Season
05 Bug Soup (I Will Miss You)
06 Psychedelic Mushroom Cloud Explosion
07 Twice The Speed Of Time
08 She's Alright
09 Roolz Is A Rule
10 Mirror Mind
11 Naked Truth
Produced By Brad Warner
Engineered By Scott Godwin
Recorded July 1986 @ The Island, North Royalton Studios, Ohio
Cover By Vince Rancid
1st pressing limited edition of 3000 w/ mirror cover (or 2500 as their record company sais?)
A follow up to their debut record, uploaded some time ago, this is the second effort from one of my favourites, Ohio's Dimentia 13. More information about this underlistened band can be found in the Freakbeat interview featured on their 'fan website' (so it seems, anyway).
Happy listening.
The '80s Ohio band Dimentia 13 (named after an early movie by Francis Ford Coppola) fused together garage, psychedelic rock, and acoustic folk, issuing a total of six albums during their six-year-long recording career. Influenced by such artists as the Soft Boys, Kevin Ayers, Syd Barrett, Soft Machine, and the Electric Prunes, the band was secretive about their identities. They issued such albums as 1985's self-titled debut, 1987's Mirror Mind, 1989's Disturb the Air, 1990s T.V. Screen Head, and 1991's Flat Earth Society on the independent New York label Midnight.
~ Greg Prato, All Music Guide
posted by Hannah
Labels: D, sonicdeathsound
Kennelmus - 1971 - Folkstone Prism
Kennelmus - 1971 - Folkstone Prism
01. I Don't Know
02. Patti's Dream
03. Dancing Doris
04. Goodbye Pamela Ann
05. Monologue
06. Black Sunshine
07. Think For Yourself
08. The Bug, The Goat, & The Hearse
09. Shapes Of Sleep
10. Cloud Of Lead
11. Mother Of My Children
12. 1001 Twice
13. Sylvan Shores
14. Bulletin!!!
15. The Raven
Ken Walker (vocals, guitar, zither, melodica, electric piano, organ, effects)
Bob Narloch (vocals, guitar, harmonica, tambourine)
Tom Gilmore (recorder, bass)
Mike Shipp (drums, percussion)
**************************
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow will he leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
NO COMMENTS!
**************************
Biography
This way-obscure Phoenix band released a late-period psychedelic album in 1971 that, by the standards of self-released LPs of the time, was several layers above the usual such offering. Largely (although not wholly) instrumental, their Folkstone Prism was an authentically oddball, occasionally goofy, and sometimes inspired blend of surf music, spaced-out psychedelia, and silly pop. The exotic dabs of melodica, zither, and special effects by multi-instrumentalist and songwriter Ken Walker added a cloud of eeriness; "I Don't Know" has keyboards straight off the Chantays' surf classic "Pipeline, " "Goodbye Pamela Ann" scorching psychedelic guitar that sounds like a mating of the Electric Prunes and Haight-Ashbury, and "Mother of My Children" vocals that sound like a Lee Hazlewood parody. Kennelmus, indeed, can be seen as spiritual forefathers of sorts to several post-punk Arizona bands--Black Sun Ensemble, Friends of Dean Martinez, and Scenic--that have made instrumental rock that can function as a quasi-psychedelic desert movie soundtrack. Of course, it's doubtful that those bands, or many others, were aware of Kennelmus, since their album was released in a pressing of 1000 in 1971, and not even well known among collectors.
Kennelmus evolved from the more standard garage band the Shi-Reeves, who played British Invasion covers and surf music. Ken Walker changed the name to Kennelmus in 1969 (Kennelmus being his full first name), and with singer/guitarist Bob Narloch began recording Folkstone Prism in late 1970, with the help of bassist Tom Gilmore and drummer Mike Shipp. The record was very much the brainchild of Walker, who wrote all but one of the songs. Three of the four band members worked at a pressing plant, making them one of the few, if not the only, group of their sort to literally help press their own recordings. An anomaly of its time (or any other), Folkstone Prism made little impact, and the band broke up around the mid-1970s, although the album was reissued on CD by Sundazed in 1999.
~ Richie Unterberger, All Music Guide
Review
In the early 1970s, Kennelmus was Arizona's only psychedelic surf band. Their lone debut album is one of the true rarities of pyschedelia and is presented in its original form, sans any remixes or extra tracks. The music, just as heralded as the album is rare, is an oddball head on collision of the Chantays, Quicksilver Messenger Service, Lee Hazlewood andEnnio Morricone & the Electric Prunes all rolled up into one gigantic head rush. Listing individual tracks is almost senseless as the album was conceived as one long piece of continuous music, but selections like "I Don't Know," "Dancing Doris," "Shapes of Sleep" and the closing "The Raven" have a hypnotic pull all their own. A true visionary piece or late psychedelic noodling, you be the judge, but definitely a band with a sound and a style all their own.
~ Cub Koda, All Music Guide
01. I Don't Know
02. Patti's Dream
03. Dancing Doris
04. Goodbye Pamela Ann
05. Monologue
06. Black Sunshine
07. Think For Yourself
08. The Bug, The Goat, & The Hearse
09. Shapes Of Sleep
10. Cloud Of Lead
11. Mother Of My Children
12. 1001 Twice
13. Sylvan Shores
14. Bulletin!!!
15. The Raven
Ken Walker (vocals, guitar, zither, melodica, electric piano, organ, effects)
Bob Narloch (vocals, guitar, harmonica, tambourine)
Tom Gilmore (recorder, bass)
Mike Shipp (drums, percussion)
**************************
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow will he leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
NO COMMENTS!
**************************
Biography
This way-obscure Phoenix band released a late-period psychedelic album in 1971 that, by the standards of self-released LPs of the time, was several layers above the usual such offering. Largely (although not wholly) instrumental, their Folkstone Prism was an authentically oddball, occasionally goofy, and sometimes inspired blend of surf music, spaced-out psychedelia, and silly pop. The exotic dabs of melodica, zither, and special effects by multi-instrumentalist and songwriter Ken Walker added a cloud of eeriness; "I Don't Know" has keyboards straight off the Chantays' surf classic "Pipeline, " "Goodbye Pamela Ann" scorching psychedelic guitar that sounds like a mating of the Electric Prunes and Haight-Ashbury, and "Mother of My Children" vocals that sound like a Lee Hazlewood parody. Kennelmus, indeed, can be seen as spiritual forefathers of sorts to several post-punk Arizona bands--Black Sun Ensemble, Friends of Dean Martinez, and Scenic--that have made instrumental rock that can function as a quasi-psychedelic desert movie soundtrack. Of course, it's doubtful that those bands, or many others, were aware of Kennelmus, since their album was released in a pressing of 1000 in 1971, and not even well known among collectors.
Kennelmus evolved from the more standard garage band the Shi-Reeves, who played British Invasion covers and surf music. Ken Walker changed the name to Kennelmus in 1969 (Kennelmus being his full first name), and with singer/guitarist Bob Narloch began recording Folkstone Prism in late 1970, with the help of bassist Tom Gilmore and drummer Mike Shipp. The record was very much the brainchild of Walker, who wrote all but one of the songs. Three of the four band members worked at a pressing plant, making them one of the few, if not the only, group of their sort to literally help press their own recordings. An anomaly of its time (or any other), Folkstone Prism made little impact, and the band broke up around the mid-1970s, although the album was reissued on CD by Sundazed in 1999.
~ Richie Unterberger, All Music Guide
Review
In the early 1970s, Kennelmus was Arizona's only psychedelic surf band. Their lone debut album is one of the true rarities of pyschedelia and is presented in its original form, sans any remixes or extra tracks. The music, just as heralded as the album is rare, is an oddball head on collision of the Chantays, Quicksilver Messenger Service, Lee Hazlewood and
~ Cub Koda, All Music Guide
posted by Screaming Lord Fuzz
Labels: by Friends and Visitors of this Blog, K
The End - 1969 - Introspection
The End - 1969 - Introspection
01 - Dreamworld - 4.16
02 - Under The Rainbow - 3.47
03 - Shades Of Orange - 2.39
04 - Bromley Common - 0.49
05 - Cardboard Watch - 2.54
06 - Introspection (Part One) - 4.05
07 - What Does It Feel - 2.49
08 - Linen Draper - 0.13
09 - Don't Take Me - 3.24
10 - Loving , Sacred Loving - 2.59
11 - She Said Yeah - 2.50
12 - Jacob's Bladder - 0.55
13 - Introspection (Part Two) - 2.46
14 - Shades Of Orange (Mono Single Version) (Bonus Track) - 2.41
15 - Loving, Sacred Loving (Mono Single Version) (Bonus Track) - 3.02
British psych with lots of trippy, dreamy passages.
-Lanchester
01 - Dreamworld - 4.16
02 - Under The Rainbow - 3.47
03 - Shades Of Orange - 2.39
04 - Bromley Common - 0.49
05 - Cardboard Watch - 2.54
06 - Introspection (Part One) - 4.05
07 - What Does It Feel - 2.49
08 - Linen Draper - 0.13
09 - Don't Take Me - 3.24
10 - Loving , Sacred Loving - 2.59
11 - She Said Yeah - 2.50
12 - Jacob's Bladder - 0.55
13 - Introspection (Part Two) - 2.46
14 - Shades Of Orange (Mono Single Version) (Bonus Track) - 2.41
15 - Loving, Sacred Loving (Mono Single Version) (Bonus Track) - 3.02
British psych with lots of trippy, dreamy passages.
-Lanchester
Personnel:
Colin Giffin (guitar, lead vocals)
Dave Brown (bass, vocals)
Nicky Graham (keyboards, vocals)
Terry Taylor (guitar)
Hugh Atwooll (drums)
(Gordie Smith & John Horton - sax, incidently Horton designed the 'Introspection' album cover)
Over the years of their existance, The End enjoyed the active help of Rolling Stone, Bill Wyman. They had been previously introduced to Wyman by producer Glyn Johns who had spotted them backing Elkie Brooks and were amongst the support acts for the Stones September '65 tour following the release of 'Out of Our Heads' along with the Spencer Davis Group; Unit Four Plus Two and The Moody Blues. A debut single 'I Can't Get Any Joy' had duly flopped and any plans Wyman had regarding the band were then thwarted by lack of action on the part of the Stones manager Alan Klein's office. So it wasn't until nearly three years later on signing to Decca (ironically the Stones label) before any further releases kicked off again. In 1968 'Shades of Orange' / 'Loving, Sacred Loving' appeared, both songs were built up during the sessions for the Stones album 'The Satanic Majesties Request' and have appeared over the years on various Stones bootlegs which seems a little odd as apart from Wyman the only other connection is Charlie Watts who plays tabla. 'Shades' was a wonderful song with dreamy atmospheres whilst 'Loving' featured Nicky Hopkins on harpsichord. In the same year, the album 'Introspection' also appeared and is one of the highlights of the English psychedelic scene, no collection should be without it. 1969 gave the band the chance of an appearance in the Spanish underground movie, 'Al Escondite Ingle's' ('To The English Hiding Place') making a playback of 'Cardboard Watch' whilst walking in the street.
Shortly after this, The End's original line-up fragmented as the band mutated into Tucky Buzzard (still under Wyman's management). Colin Griffin left to pursue a solo career and Hugh Atwooll returned to the End's adopted home, Spain, to work with the likes of Miguel Rios. Remaining members - Nicky Graham; Dave Brown and Terry Taylor recruited Paul Francis on drums along with Terry Taylor's former colleague from The Mode, Jim Henderson as lead vocalist. Incidently two points of interest, firstly Jim had also contributed backing vocals on Introspection and The Mode is not the same band who recorded Eastern Music on Rubble Two : Pop Sike, Pipe Dreams. Tucky Buzzard went on to record five Lps before splitting up in the mid-Seventies.
Tenth Planet has served the band well, issuing three albums worth of unreleased recordings. The first volume 'In The Beginning' (TP 025) highlights the earlier recordings; the second 'Retrospection' (TP 033) includes album outtakes and a version of 'Black Is Black' which was inspired by the group's friendship with Los Bravos. The final offering 'The Last Word' (TP 047) looks more at the final line-up with the band going through the transitional period around the end of The End and the beginning of Tucky Buzzard.
'Shades of Orange' can be found Rubble 6 : The Clouds Have Groovy Faces; The Psychededlic Scene and The Great British Psychedelic Scene. Broken Dreams featured two songs, 'Jacob's Bladder' & 'Introspection pt.2' whilst Visions from the Past volume 3 featured 'Why'
posted by Lanchester
Labels: E, Lanchester
Thursday, November 23, 2006
Wednesday, November 22, 2006
Romeo Void - Instincts
Track Listing
1 Out on My Own
2 Just Too Easy
3 Billy's Birthday
4 Going to Neon
5 Six Days and One
6 Girl in Trouble (Is a Temporary Thing)
7 Say No
8 Your Life Is a Lie
9 Instincts
Romeo Void was a New Wave band in San Francisco, California from 1979 to 1985.
They are best known for the songs "Never Say Never" (1982) and "A Girl in Trouble (Is A Temporary Thing)" (1984), which were minor hits, with the latter becoming a Top 40 pop single. Their popularity was primarily in alternative and college radio, and as a dynamic performing act. They recorded for 415/Columbia Records.
The original band members met at the San Francisco Art Institute. Most of the band members were also visual artists and did their own album art. Perhaps in reaction against the more commercial sound of Benefactor, Romeo Void returned to producer David Kahne and the sound of their first album, It's a Condition, on their third, Instincts. Nevertheless, it proved to be their bestselling album. The group's instrumental attack continued to be spearheaded by saxophonist Benjamin Bossi, whose floating lines contrasted with the drive of the rhythm section and guitarist Peter Woods' Morse code leads. And Iyall continued to pour out disappointed reflections on the romantic condition in songs with titles like "Your Life Is a Lie" and "Say No." One of them, "A Girl in Trouble (Is a Temporary Thing)," managed to be both provocative and vague enough to inch into the Top 40, such that the album gained greater exposure and sales. But instead of marking a breakthrough for Romeo Void, Instincts marked their breakup, with Iyall going solo.
After the demise of Romeo Void, Debora Iyall, the lead singer and lyricist, put together and sang in the groups Knife in Water and Lower East Venus. John Haines played drums for Pearl Harbour and the Explosions.
The band was reunited briefly in 2003 for a one-off concert by VH-1's Bands Reunited, although Benjamin Bossi was unable to perform due to hearing loss. The band wrote and recorded four demo tracks in October 1993 (If I Was Your Cat, Stormy Eyes, Two Rivers, and Safe Place), which were sent to Sony Music but never released.
Personnel
Debora Iyall: vocals
Benjamin Bossi: saxophone
Peter Woods: guitar
Frank Zincavage: bass
John Haines: drums (It's a Condition)
Larry Carter: drums (Never Say Never (EP) and Benefactor)
Aaron Smith: drums (Instincts)
Watch "Say No" :
http://www.youtube.com/watch?v=CeYQA1k_7Kw&mode=related&search=
SendSpace :
http://www.sendspace.com/file/rw7uu1
or
RapidShare :
http://rapidshare.com/files/4839854/romeo.rar
Labels: innocent76, R
Bulbous Creation - 1970 - You Won't Remember Dying
Bulbous Creation - 1970 - You Won't Remember Dying
(Rockadelic US 1994)
recorded 1970
01 End Of The Page (4:45)
02 Having A Good Time (4:08)
03 Satan (6:05)
04 Fever Machine Man (6:29)
05 Let's Go To The Sea (8:26)
06 Hooked (4:05)
07 Under The Black Sun (2:55)
08 Stormy Monday (2:51)
1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL]
American psychrock with a doom-metal feel for your enjoyment.
- Lanchester
(Rockadelic US 1994)
recorded 1970
01 End Of The Page (4:45)
02 Having A Good Time (4:08)
03 Satan (6:05)
04 Fever Machine Man (6:29)
05 Let's Go To The Sea (8:26)
06 Hooked (4:05)
07 Under The Black Sun (2:55)
08 Stormy Monday (2:51)
1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL]
American psychrock with a doom-metal feel for your enjoyment.
- Lanchester
posted by Lanchester
Labels: B, Lanchester
Tripod Jimmie - 1982 - Long Walk Off A Short Pier
Tripod Jimmie - 1982 - Long Walk Off A Short Pier
01 Autumn Leaves
02 Thank You Very Much Next Week
03 Mirror On The Wall
04 Empty Seed
05 Bowl Of Cherries
06 Nu Spartans
07 Joe Granville
08 Jimmie Sings
09 Women In Uniform
10 Spike The Dike
11 Franco-America
Tripod Jimmie "Long Walk Off a Short Pier" Do Speak do3, 1982.
*** Terrific debut from the band led by ex- Pere Ubu guitarist, Tom Hermann. Great post-punk/funk stuff: agile drumming, meaty basslines, Hermann's lacerating guitar and his Byrne-like voice. Not dissimilar in places to early Talking Heads, but not as mannered. Excellent live-in-studio recording made "on the shore of Lake Erie." I became aware of this fantastic lp when avid fan, Steve Albini played it on a local radio show. References: Come On, The Fall, Styrenes, Electric Eels, Mirrors, Couch Flambeau. ***
From Wikipedia, the free encyclopedia
Tom Herman is a guitarist and composer.
He was a founding member of Pere Ubu, performing and recording with them from 1975 to 1979. He quit the group, then rejoined in 1995. One of his main reasons for leaving Pere Ubu (one among many) was that the band wasn't as interested in spending time on the road as he was. He left and, ironically, never got back on the road with a band until rejoining Pere Ubu in the nineties.
After leaving Ubu, Tom spent some time working on an oil rig in the south as well as playing bass in a hotel band. Eventually he started working as a mechanical technician, repairing equipment in hospitals and occasionally restaurants.
In 1980 or 1981 he moved to Erie, PA, where he started Tripod Jimmie with bassist Lenny Bove and drummer Roger Prehoda. The band was named after photographer friend Mick Mellen's three-legged dog and/or the tape deck mounted on a tripod that functioned as the fourth member of the band. The tape deck was used to play tape loops which the band would then play "with" rhythmically or "against" (where the loop served more as a textural element) depending upon the demands of a particular song.
While notably different from Pere Ubu, the two bands do have similarities. The band's music bore a relation to R&B, but in a unique sense. "... one of the things I was thinking about at the time was what it would be like if some alien was exposed to all relevant information about R&B except actually hearing it," as Tom put it. This thoughtful and conscious approach to the band as a project shows a similar sensibility to Ubu's.
Some time after recording the album Long Walk Off a Short Pier (which was in fact recorded on a pier), Tripod Jimmie moved from Erie, PA to Oakland, CA in the mid-eighties, swapping Roger Prehoda for Glenn Reynolds on drums. This lineup released the album A Warning to All Strangers. The band broke up in 1988 and Tom dropped out of actively playing music for a few years.
In 2003, Tom recorded an album called "Wait For It", which was issued by Return-to-Sender Records in 2004. Highlights include a cover of Blind Lemon Jefferson's "Jesus" and "Red Haired Girl".
In early 2005, Tom left Pere Ubu again. In August of 2006 he played on stage with Oakland rock band Ovipositor.
One critic has praised Herman's playing, describing it as "postmodern Chuck Berry riffing."
01 Autumn Leaves
02 Thank You Very Much Next Week
03 Mirror On The Wall
04 Empty Seed
05 Bowl Of Cherries
06 Nu Spartans
07 Joe Granville
08 Jimmie Sings
09 Women In Uniform
10 Spike The Dike
11 Franco-America
Tripod Jimmie "Long Walk Off a Short Pier" Do Speak do3, 1982.
*** Terrific debut from the band led by ex- Pere Ubu guitarist, Tom Hermann. Great post-punk/funk stuff: agile drumming, meaty basslines, Hermann's lacerating guitar and his Byrne-like voice. Not dissimilar in places to early Talking Heads, but not as mannered. Excellent live-in-studio recording made "on the shore of Lake Erie." I became aware of this fantastic lp when avid fan, Steve Albini played it on a local radio show. References: Come On, The Fall, Styrenes, Electric Eels, Mirrors, Couch Flambeau. ***
From Wikipedia, the free encyclopedia
Tom Herman is a guitarist and composer.
He was a founding member of Pere Ubu, performing and recording with them from 1975 to 1979. He quit the group, then rejoined in 1995. One of his main reasons for leaving Pere Ubu (one among many) was that the band wasn't as interested in spending time on the road as he was. He left and, ironically, never got back on the road with a band until rejoining Pere Ubu in the nineties.
After leaving Ubu, Tom spent some time working on an oil rig in the south as well as playing bass in a hotel band. Eventually he started working as a mechanical technician, repairing equipment in hospitals and occasionally restaurants.
In 1980 or 1981 he moved to Erie, PA, where he started Tripod Jimmie with bassist Lenny Bove and drummer Roger Prehoda. The band was named after photographer friend Mick Mellen's three-legged dog and/or the tape deck mounted on a tripod that functioned as the fourth member of the band. The tape deck was used to play tape loops which the band would then play "with" rhythmically or "against" (where the loop served more as a textural element) depending upon the demands of a particular song.
While notably different from Pere Ubu, the two bands do have similarities. The band's music bore a relation to R&B, but in a unique sense. "... one of the things I was thinking about at the time was what it would be like if some alien was exposed to all relevant information about R&B except actually hearing it," as Tom put it. This thoughtful and conscious approach to the band as a project shows a similar sensibility to Ubu's.
Some time after recording the album Long Walk Off a Short Pier (which was in fact recorded on a pier), Tripod Jimmie moved from Erie, PA to Oakland, CA in the mid-eighties, swapping Roger Prehoda for Glenn Reynolds on drums. This lineup released the album A Warning to All Strangers. The band broke up in 1988 and Tom dropped out of actively playing music for a few years.
In 2003, Tom recorded an album called "Wait For It", which was issued by Return-to-Sender Records in 2004. Highlights include a cover of Blind Lemon Jefferson's "Jesus" and "Red Haired Girl".
In early 2005, Tom left Pere Ubu again. In August of 2006 he played on stage with Oakland rock band Ovipositor.
One critic has praised Herman's playing, describing it as "postmodern Chuck Berry riffing."
Tuesday, November 21, 2006
Morgen - 1969 - Morgen
Morgen - 1969 - Morgen
(USA /ABC-Probe /1969)
Steve Morgen - g, vo
Bob Maiman - ds
Rennie Genossa - b
Barry Stock - g
01 Welcome To The Void 4:47
02 Of Dreams 5:38
03 Beggin' Your Pardon (Miss Joan) 4:49
04 Eternity In Between 5:07
05 Purple 4:12
06 She's The Nitetime 3:31
07 Love 10:54
total time: 39:00
Very little is known of the elusive group Morgen, who recorded a one-off album for ABC's psychedelic subsidiary Probe in 1969 and then apparently vanished. The group's namesake leader was Steve Morgen, and while some reference books actually credit the album to him solely, Morgen was indeed a group, consisting of Steve, Rennie Genossa, Bob Maiman, and Barry Stock, all of whom supposedly hailed from Long Island, New York.
Their album made no impact when originally released and has since become rare and sought-after, especially after dealers and collectors began declaring it a "psychedelic classic" in recent years. While the label "classic" might be a bit of a stretch, the album does certainly include a few very good tracks. "Welcome to the Void" is an effective opener that features some nice drumming and lead guitar work, as well as some suitably psychedelic, apocalyptic lyrics. "Of Dreams", probably the strongest song on the album, is a gorgeous, floating psychedelic excursion highlighted by a captivating, fey vocal and some more strong guitar and drum playing. An edited single version of "Of Dreams" was featured on Arf! Arf!'s excellent compilation Beyond the Calico Wall and offers a different mix of the song, but it decidedly sounds best here, in its five-and-a-half-minute, stereo incarnation. "Beggin' Your Pardon (Miss Joan)" had the potential to be a decent, slightly bluesy tune, but its plodding momentum and comparatively simple arrangement make it a bit of a sleeper, especially after the psychedelic splendor of "Of Dreams".
It's likely the album's weakest offering. "Eternity in Between" is more engaging, and it features some guitar work that sounds almost like a tribute to The Who's Pete Townshend, specifically, some chord changes borrowed from Tommy's "Underture", as well as the guitar pickup switch feedback sound that Townshend used liberally on signature Who tunes like "Anyway, Anyhow, Anywhere". "Purple" is a very nice song propelled by a good drumbeat and underscored by droning guitar leads. It's also perhaps the best showcase for Steve Morgen's soft vocals. "She's the Nitetime", a catchy tune with good musicianship all around and more nice vocal contributions from Steve, is another major highlight of the album. The eleven-minute closer "Love" sounds a little reminiscent of The Doors' "When the Music's Over" in its vocal phrases, and is narrowly rescued from tedium by a rather good guitar solo halfway through. Although Morgen's album might not be a 100%-excellent whole, it does include some very satisfactory ingredients.
Word of Life - 1992 - Furthur Ahead
(Hard to find fuzzed-out psych from Sweden!)
Word of Life
Discography:
Furthur Ahead (XMLP-2 1992)
Dust (XMLP-10 1995)
Dust (SUB XMCD-2 1996)
Mans started out with the legendary Crimson Shadows, one of the now most celebrated groups of the mid-80s garage punk wave. Their records are now much sought after and are fetching high sums in the collector circuit. After that he started a Surf group, the Livingstones (pre-Daytonas) pre-dating the current surf trend by 10 years! Then moved in to psychedelic-hardrock territory with the group Zonk together with Stefan Kéry. He contributed to the trance-a-delic sounds of the Entheogens and ventured into innovative metal hard rock with Gone. He created the mind bending musical experience of the Word of Life, taking psychedelic festival trance rock in to the future. He recorded with Swedish indie group Friends and now spends most of his time with the Maggots.Review:
Trance-petaled Mushroom-Jams w/flute 'n fuzz,plenty o' athmo-soother perco rafting in early 70's german Kraut-boiler-manner..quite a trippy venture and the spellin of "furthur"is most notable!Psychedelic sleeve to boot,insert and totally home-made label-designs..from Sweden with love! – k-fox
"Furthur Ahead" personnel:
Måns Månsson: Vocals, Guitar, FX
Mats Ståhl: Bass, Maraccas
Daniel Ståhl: Electric Piano
Anna Nyström: Flute
Janne: Drums, Percussion
Recorded at the Sleeping Room and Lace Land studios, Sweden.
"Dust" personnel:
Måns Månsson: Vocals, Guitar, Synthesizers, FX, Percussion, Pump Organ, Marty‚s Bag, Sitar
Anna Nyström: Electric Piano, Hammond Organ, Vocoder, Vocals
Anders Paulsson: Bass
Adam Axelzon: Percussion
Stefan Kälfors: Drums, Percussion
Martin Rössel: Cello
Tom Hayes 18-Jul-2006 Overview
For a short period in the early to mid 1990's, a collective of Swedish musicians decided to relive the past and create improvisational psychedelic rock music similar to the early 70's masters such as International Harvester and Algarnas Tradgard. Acts such as S.T. Mikael, Adam, Stefan and the Entheogens all recorded for the low budget label Xotic Mind. The primary difference between the modern day copiers and the 1970's masters is the one-dimensional nature of the recordings. This trait can be attributed to most of the albums being solo projects with only guest musicians.
One of the better bands on the label were The Word of Life, a band lead by Mans P. Mansson, a multi-instrumentalist who plays guitar, sitar, synthesizers, percussion and sings. He is joined by many guests, though most important is the fine flute work provided by Anna Nystom. On the debut, Further Ahead, Mansson manages a varied improvisational psychedelic album. Long burning jams such as "Space Fu?king" and "Can You Feel it - Flowing Free" are offset by calm flute and hand percussion ragas like "The Devil". What one notices in repeated listens is the need for an editor (a problem for many of these kind of solo ventures). Most of the jams meander on for too long and the inclusion of a couple of Earthy country-bumpkin vocal tracks with Louisiana-front-porch harmonica are in complete contrast to the hazy heady cosmic aspirations the album pretends to be. Still, the album works on many levels, most notably the trance-like jams, which can get quite intense. The guitar tone is super fuzz loud and the percussion is particularly active. Recommended for all Krautrock, space rock and early Swedish pioneer groups. The original LP contained a paste-on cover and is now quite rare. Better to find the CD on Satori.
The sophomore effort, Dust, is quite a bit different from the predecessor. More variety and less jam oriented, this album tries to please on a number of fronts. "When I Was in Space" opens promisingly enough with oscillator-emulated synth runs and heavy percussion. But, alas, this goes on too long and becomes redundant, and one wishes for the sage advice of a wily producer. The songs on this album have a sort of "retro lounge" naïve melody line motif which I find oddly appealing. No doubt there are plenty of sizzling guitar jams to bang your head to, just less of them than the ambitious debut. I find both of their albums to be good fun if you don't take them too seriously. And a few tracks are just devastating, especially on the debut
For a short period in the early to mid 1990's, a collective of Swedish musicians decided to relive the past and create improvisational psychedelic rock music similar to the early 70's masters such as International Harvester and Algarnas Tradgard. Acts such as S.T. Mikael, Adam, Stefan and the Entheogens all recorded for the low budget label Xotic Mind. The primary difference between the modern day copiers and the 1970's masters is the one-dimensional nature of the recordings. This trait can be attributed to most of the albums being solo projects with only guest musicians.
One of the better bands on the label were The Word of Life, a band lead by Mans P. Mansson, a multi-instrumentalist who plays guitar, sitar, synthesizers, percussion and sings. He is joined by many guests, though most important is the fine flute work provided by Anna Nystom. On the debut, Further Ahead, Mansson manages a varied improvisational psychedelic album. Long burning jams such as "Space Fu?king" and "Can You Feel it - Flowing Free" are offset by calm flute and hand percussion ragas like "The Devil". What one notices in repeated listens is the need for an editor (a problem for many of these kind of solo ventures). Most of the jams meander on for too long and the inclusion of a couple of Earthy country-bumpkin vocal tracks with Louisiana-front-porch harmonica are in complete contrast to the hazy heady cosmic aspirations the album pretends to be. Still, the album works on many levels, most notably the trance-like jams, which can get quite intense. The guitar tone is super fuzz loud and the percussion is particularly active. Recommended for all Krautrock, space rock and early Swedish pioneer groups. The original LP contained a paste-on cover and is now quite rare. Better to find the CD on Satori.
The sophomore effort, Dust, is quite a bit different from the predecessor. More variety and less jam oriented, this album tries to please on a number of fronts. "When I Was in Space" opens promisingly enough with oscillator-emulated synth runs and heavy percussion. But, alas, this goes on too long and becomes redundant, and one wishes for the sage advice of a wily producer. The songs on this album have a sort of "retro lounge" naïve melody line motif which I find oddly appealing. No doubt there are plenty of sizzling guitar jams to bang your head to, just less of them than the ambitious debut. I find both of their albums to be good fun if you don't take them too seriously. And a few tracks are just devastating, especially on the debut
Discography:
Furthur Ahead (XMLP-2 1992)
Dust (XMLP-10 1995)
Dust (SUB XMCD-2 1996)
Mans started out with the legendary Crimson Shadows, one of the now most celebrated groups of the mid-80s garage punk wave. Their records are now much sought after and are fetching high sums in the collector circuit. After that he started a Surf group, the Livingstones (pre-Daytonas) pre-dating the current surf trend by 10 years! Then moved in to psychedelic-hardrock territory with the group Zonk together with Stefan Kéry. He contributed to the trance-a-delic sounds of the Entheogens and ventured into innovative metal hard rock with Gone. He created the mind bending musical experience of the Word of Life, taking psychedelic festival trance rock in to the future. He recorded with Swedish indie group Friends and now spends most of his time with the Maggots.Review:
Trance-petaled Mushroom-Jams w/flute 'n fuzz,plenty o' athmo-soother perco rafting in early 70's german Kraut-boiler-manner..quite a trippy venture and the spellin of "furthur"is most notable!Psychedelic sleeve to boot,insert and totally home-made label-designs..from Sweden with love! – k-fox
"Furthur Ahead" personnel:
Måns Månsson: Vocals, Guitar, FX
Mats Ståhl: Bass, Maraccas
Daniel Ståhl: Electric Piano
Anna Nyström: Flute
Janne: Drums, Percussion
Recorded at the Sleeping Room and Lace Land studios, Sweden.
"Dust" personnel:
Måns Månsson: Vocals, Guitar, Synthesizers, FX, Percussion, Pump Organ, Marty‚s Bag, Sitar
Anna Nyström: Electric Piano, Hammond Organ, Vocoder, Vocals
Anders Paulsson: Bass
Adam Axelzon: Percussion
Stefan Kälfors: Drums, Percussion
Martin Rössel: Cello
posted by Lanchester
Labels: Lanchester, W
Monday, November 20, 2006
The Unrelated Segments & The Tidal Waves - Where You Gonna Go ?
Taylor, Michigan-based teen rockers the Unrelated Segments formed in late 1966 around the nucleus of singer Ron Stults and lead guitarist Rory Mack, who together previously teamed in the short-lived Village Beaus. Also including rhythm guitarist John Torok, bassist Barry Van Engelen and drummer Andy Angellotti, the Segments wrote their first original, "The Story of My Life," after just their second rehearsal session; they soon entered the local United Sound studio to record the track, issuing it as their SVR label debut single in early 1967. A massive hit on Detroit radio, the song also gained significant airplay in other pockets of the midwest, and that summer the Unrelated Segments returned to the studio to cut their second single, "Where You Gonna Go?; " another local smash, it helped the group land live dates at the famed Grande Ballroom opening for acts including Spirit and Jeff Beck Group. They also opened for the likes of the Who and the MC5. "Cry, Cry, Cry" followed in the summer of 1968, but failed to match the success of its predecessors; Angellotti was soon dismissed from the line-up, and after Van Engelen was drafted to serve in Vietnam in early 1969 the Segments recruited new guitarist Daryl Gore, with Torock moving to bass. After changing their name to simply the U.S., they recorded a handful of unreleased tracks before disbanding as the decade drew to a close; in 1998, the Cicadelic label released a comprehensive collection of the Segments' music titled Where You Gonna Go ?
~ Jason Ankeny, All Music Guide
DownloadLink:
http://rapidshare.com/files/4148249/segments.rar.html
~ Jason Ankeny, All Music Guide
DownloadLink:
http://rapidshare.com/files/4148249/segments.rar.html
Labels: innocent76, U
Clear Light - 1967 - Black Roses
Formed in 1966 as the Brain Train and managed by Sunset Strip hipster Bud Mathis, Clear Light were signed up by Elektra, and Doors' producer Paul A. Rothchild took over management of the band.
The group included future actor Cliff De Young on vocals and drummer Dallas Taylor (who had played previously with John Sebastian and later with Crosby, Stills and Nash). Rounding out the lineup were Robbie "the Werewolf" Robison, guitar (later replaced by Ralph Schuckett, organ); Bob Seal, guitar and vocals; occasional Doors sideman Doug Lubahn, bass; and Michael Ney, on, most unusually, another set of drums.
The group included future actor Cliff De Young on vocals and drummer Dallas Taylor (who had played previously with John Sebastian and later with Crosby, Stills and Nash). Rounding out the lineup were Robbie "the Werewolf" Robison, guitar (later replaced by Ralph Schuckett, organ); Bob Seal, guitar and vocals; occasional Doors sideman Doug Lubahn, bass; and Michael Ney, on, most unusually, another set of drums.
What has been considered the band's finest hour came when drunken customers in a Park Avenue club heckled them so brutally that Ralph Schuckett, the usually gentle organist, hurled a few choice words back at them. They then walked off the stage, retired to the Albert Hotel, and woke up in the morning to find that they had become underground heroes.
The big hit off their only album, Clear Light, was "Mr. Blue," a psychedelic folk song written by Tom Paxton. Lasting over six minutes, the rather sinister, psychedelic song is considered a classic of the genre. Its lyrics, which alternate between spoken word and song, include verses opening with such lines as, "Good morning, Mister Blue, we've got our eye on you," "Step softly, Mister Blue, we know what's best for you," and "Be careful, Mister Blue, this phase you're going through ...."
The album also included some of guitarist Bob Seal's best psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing." It had some success in England, but less in the U.S. The group disbanded in 1968.
The album also included some of guitarist Bob Seal's best psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing." It had some success in England, but less in the U.S. The group disbanded in 1968.
Resources:
en.wikipedia.org/wiki/Clear_Light
Download Link :
Labels: C, innocent76
Sunday, November 19, 2006
Ellison - 1971 - Ellison
Ellison - 1971 - Ellison
(eerie Canadian psych)
01 - Unchanged World - 3.36
02 - Seal A Beam Bow - 4.26
03 - Satanic - 2.02
04 - Winter Slutch - 4.06
05 - Strawberry Pain - 5.23
06 - Untruth Story - 5.58
07 - Freedom - 3.17.mp3
This heavy psychedelic quartet from Quebec,Canada recorded their only album in 1971. Among collectors it is loved as an early hardrock masterpiece with melancholic moments and intense songs. The lyrics describe drug experiences.
(eerie Canadian psych)
01 - Unchanged World - 3.36
02 - Seal A Beam Bow - 4.26
03 - Satanic - 2.02
04 - Winter Slutch - 4.06
05 - Strawberry Pain - 5.23
06 - Untruth Story - 5.58
07 - Freedom - 3.17.mp3
This heavy psychedelic quartet from Quebec,Canada recorded their only album in 1971. Among collectors it is loved as an early hardrock masterpiece with melancholic moments and intense songs. The lyrics describe drug experiences.
posted by Gathering_Of_The_Tribe [anonymous user]
Labels: by Friends and Visitors of this Blog, E
Unicorn - 1971 - Uphill All The Way
Unicorn - 1971 - Uphill All The Way
01. P. F. Sloan (Webb)
02. 115 Bar Joy (Baker)
01. P. F. Sloan (Webb)
02. 115 Bar Joy (Baker)
03. I've Loved Her So Long (Young)
04. Don't Ever Give Up Trying (Baker)
05. Country Road (Taylor)
06. Something To Say (Cocker)
07. Ain't Got A Lot Of Future (Baker)
08. Never Going Back (Stewart)
09. You, You, You Have (Baker)
10. Please Sing A Song For Us (Rafferty)
Personnel: (up to 1976)
KEN BAKER gtr, vcls, keyb'ds A B C
PAT MARTIN bs, vcls, mandolin A B C
TREVOR MEE gtr, vcls, flute A
PETER PERRIER drms, vcls A B C
KEVIN SMITH gtr B C
CHRIS PIDGEON keyb'ds C
ALBUMS: (up to 1976)
1(A) UPHILL ALL THE WAY (Transatlantic TRA 238) 1971
2(B) BLUE PINE TREES (Charisma CAS 1092) Aug. 1974
3(C) TOO MANY CROOKS (Harvest SHSP 4054) Mar. 1976
NB: (2) and (3) issued on Capitol in US, with (3) under a different title as Unicorn II. There was one further album One More Tomorrow (Harvest ) 1977, recorded with Howie Casey (sax) and Billy Livsey (keyb'ds).
Previously known as The Late, this was a pleasant country/folk band, who gradually became rockier and perhaps less interesting as a result. The Going Home 45 was a private pressing. The first Big T 45, P.F. Sloan, was a tribute to the American songwriter and, like flip side, is excellent. Dave Gilmour (of Pink Floyd) played on some of their albums and produced some of their material. Ferrier later went on to Co-Co and Smith later played in Thumbs.
04. Don't Ever Give Up Trying (Baker)
05. Country Road (Taylor)
06. Something To Say (Cocker)
07. Ain't Got A Lot Of Future (Baker)
08. Never Going Back (Stewart)
09. You, You, You Have (Baker)
10. Please Sing A Song For Us (Rafferty)
Personnel: (up to 1976)
KEN BAKER gtr, vcls, keyb'ds A B C
PAT MARTIN bs, vcls, mandolin A B C
TREVOR MEE gtr, vcls, flute A
PETER PERRIER drms, vcls A B C
KEVIN SMITH gtr B C
CHRIS PIDGEON keyb'ds C
ALBUMS: (up to 1976)
1(A) UPHILL ALL THE WAY (Transatlantic TRA 238) 1971
2(B) BLUE PINE TREES (Charisma CAS 1092) Aug. 1974
3(C) TOO MANY CROOKS (Harvest SHSP 4054) Mar. 1976
NB: (2) and (3) issued on Capitol in US, with (3) under a different title as Unicorn II. There was one further album One More Tomorrow (Harvest ) 1977, recorded with Howie Casey (sax) and Billy Livsey (keyb'ds).
Previously known as The Late, this was a pleasant country/folk band, who gradually became rockier and perhaps less interesting as a result. The Going Home 45 was a private pressing. The first Big T 45, P.F. Sloan, was a tribute to the American songwriter and, like flip side, is excellent. Dave Gilmour (of Pink Floyd) played on some of their albums and produced some of their material. Ferrier later went on to Co-Co and Smith later played in Thumbs.
Mike Warth/Jim McMaster
Originally called: The Late. These fine musicians from UK eventually were the backing group for Billy J.Kramer. But here they perform under the name UNICORN. And this is superb country/folk/prog with splendid vocals and superb vocal-arrangements and music ability to perfectly fit the singing! ”Uphill all the way” are a superb album. No wonder David Gilmour (yes ,he of Pink Floyd fame) liked them and joined them on several of their later albums. Ok, not so much progressive as folksy pop, but still very much an album that shines! In the great vein of Cochise & ronco (remember them?) So when nodding happily to the abowe, you just have to get this fine little period piece of usical history!! My favourite tracks? Well….i kinda love: ”115 bar joy” with its Crosby, Stills And Nash character, beautiful!! Also im very fond of :”I loved her so long”…but friends of mellow, soothing, very excellent soft music.
This album holds beautiful music and very beautiful vocals. So dear friend, this is masterclass of relaxed folk/pop music hhhm…the sheer beauty of the vocal arrangements are worth the price alone for this cd!! Get it now, before your riend can say:”Listen to this!”
UNICORN may be a fantasy figure, but these guys are for real, and everything about them are superb. Do check em´out!! I love this album!!------FROM PROGPLANET
Their Site
http://home.earthlink.net/~tdglenn/unicorn/unicornmain.htm
Enjoy !
Their Site
http://home.earthlink.net/~tdglenn/unicorn/unicornmain.htm
Enjoy !
Modernground Express
with: THE SICK ROSE, THE CAVEMEN + THE SOUND EXPLOSION live!
Athens - GR, Friday 24 November 2006
@ UNDERWORLD club Themistokleous & 5, Gamveta str. (tel.: +30 210 3840965)
Belle Vue in action again! After the “Weekender” of 2006 and the second edition of “The Athenaeum Cave” a brand new club is ‘blooming’, the “Modernground Express”. In its first appearance, in collaboration with Milano Mods, on 24th of November at Underworld club (Themistokleous & 5, Gamveta str. Athens - GR) and on 25th of November at B Live club in Larissa, we proudly present, two bands from our neighboring Italy that have left indelible their traces in the RnR way. The Sick Rose from Turin with more than twenty years in the limelight and The Cavemen from Ravenna for the first time in Greece accompanied with the natives, The Sound Explosion! So many things to say for them!
It was somewhere in the 1984 when, Luca Re and his band for the first time touched the instruments and went up on stage! From the release of their first e.p. “Get Along Girl!” on Electric Eye rec. in 1986 up to our days and the release of “Blasting Out” on Teen Sound rec. with Australian producer Dom Mariani, many years passed, many things have changed (maybe some of them a little bit), but still remains an authentic RnR group, with constant values and principals. When The Sick Rose made their debut in Italy their sound was not familiar to the local music statement. Genuine representatives of sixties American garage scene, without losing their Italian character during the time, thanks to the accent of their leader Luca Re. That season were two superior bands, according to Timothy Gassen’s book “Knights of Fuzz 1980-1995”: The Chesterfield Kings and The Sick Rose!
On the same stage, The Cavemen, intellectual children of Massimo del Pozzo with the well known in our days “Teen Sound”, mixing with their genius way, the sounds of garage punk groups of the other side of Atlantic ocean with the European RnB and Italian beat of the '60s decade!
Also the same night, the Greeks “The Sound Explosion”, almost fifteen years in action with many appearances in n’ out of the borders, need no introduction as they cause delirium to every garage maniac!
The concert follows an all night party with Belle Vue d.j.s behind the decks and special guest, Henry from Milano Mods playing the sounds of the sixties underground on the original labels & hard to find 45’s!
Enjoy the ride in “Modernground Express” by booking your tickets on time, in the limited number of 500 tickets and watch when shadows fall!
More info:
www.bellevuesituation.com
www.myspace.com/belle_vue
www.milanomods.itgo.com
www.underworldclub.gr
The Sick Rose
Get Along Girl (7'') 1986
01 Get Along Girl
02 The Big Sound Goes Down
03 I Want Love
Other Faces -1986
01 Searching For
02 It's a Mystery
03 Nothing to Say
04 Night Comes Falling Down
05 I Don't Care-She Doesn't Care
06 I'm Not Trying to Hurt You
07 Everybody Wants to Know
08 You've Got My Mind
09 About You
10 Black or White
11 Can You Find Me a Place
12 What You Are-Bad Girl
13 Every Night a New Suprise
14 Get Along Girl
15 Big Sound Goes Down
16 Don't Come With Me
The Sound Explosion
Teen Trash 14 [LP] 1994
01- "Inspector Clouseau In Outter Limits" y "State Of My Mind"
02- Send A Message
03- She's One Of A Kind
04- Hopeless Endless Way
05- Don't Turn Away
06- Lost In Tyme
07- No!No!No!No!No!No!
08- It's For You
09- My Baby Went Away With The Midnight Train
10- The Last November
11- In The Past
12- We're The Sound Explosion
Singles
Hangover Baby [7''] 1993
01 - Hangover Baby
02 - Some Other Guy
I'll Shake the Universe [7''] 1994
01 - I'll Shake The Universe
02 - Why Can't You See
Another Lie [7''] 1996
01 - Another Lie
02 - Misirlou The Greek
The Last Recordings [7''] 2000
01 - The S.EX. In Outer Limits
02 - You'd Better Shake Eight Now!
03 - Watch Yourself
04 - She's Sorry
All the above Sound Explosion Singles you could get them in a single folder:
Rapidshare.de Link
or
Rapidshare.com Link
Athens - GR, Friday 24 November 2006
@ UNDERWORLD club Themistokleous & 5, Gamveta str. (tel.: +30 210 3840965)
Belle Vue in action again! After the “Weekender” of 2006 and the second edition of “The Athenaeum Cave” a brand new club is ‘blooming’, the “Modernground Express”. In its first appearance, in collaboration with Milano Mods, on 24th of November at Underworld club (Themistokleous & 5, Gamveta str. Athens - GR) and on 25th of November at B Live club in Larissa, we proudly present, two bands from our neighboring Italy that have left indelible their traces in the RnR way. The Sick Rose from Turin with more than twenty years in the limelight and The Cavemen from Ravenna for the first time in Greece accompanied with the natives, The Sound Explosion! So many things to say for them!
It was somewhere in the 1984 when, Luca Re and his band for the first time touched the instruments and went up on stage! From the release of their first e.p. “Get Along Girl!” on Electric Eye rec. in 1986 up to our days and the release of “Blasting Out” on Teen Sound rec. with Australian producer Dom Mariani, many years passed, many things have changed (maybe some of them a little bit), but still remains an authentic RnR group, with constant values and principals. When The Sick Rose made their debut in Italy their sound was not familiar to the local music statement. Genuine representatives of sixties American garage scene, without losing their Italian character during the time, thanks to the accent of their leader Luca Re. That season were two superior bands, according to Timothy Gassen’s book “Knights of Fuzz 1980-1995”: The Chesterfield Kings and The Sick Rose!
On the same stage, The Cavemen, intellectual children of Massimo del Pozzo with the well known in our days “Teen Sound”, mixing with their genius way, the sounds of garage punk groups of the other side of Atlantic ocean with the European RnB and Italian beat of the '60s decade!
Also the same night, the Greeks “The Sound Explosion”, almost fifteen years in action with many appearances in n’ out of the borders, need no introduction as they cause delirium to every garage maniac!
The concert follows an all night party with Belle Vue d.j.s behind the decks and special guest, Henry from Milano Mods playing the sounds of the sixties underground on the original labels & hard to find 45’s!
Enjoy the ride in “Modernground Express” by booking your tickets on time, in the limited number of 500 tickets and watch when shadows fall!
More info:
www.bellevuesituation.com
www.myspace.com/belle_vue
www.milanomods.itgo.com
www.underworldclub.gr
The Sick Rose
Get Along Girl (7'') 1986
01 Get Along Girl
02 The Big Sound Goes Down
03 I Want Love
Other Faces -1986
01 Searching For
02 It's a Mystery
03 Nothing to Say
04 Night Comes Falling Down
05 I Don't Care-She Doesn't Care
06 I'm Not Trying to Hurt You
07 Everybody Wants to Know
08 You've Got My Mind
09 About You
10 Black or White
11 Can You Find Me a Place
12 What You Are-Bad Girl
13 Every Night a New Suprise
14 Get Along Girl
15 Big Sound Goes Down
16 Don't Come With Me
The Sound Explosion
Teen Trash 14 [LP] 1994
01- "Inspector Clouseau In Outter Limits" y "State Of My Mind"
02- Send A Message
03- She's One Of A Kind
04- Hopeless Endless Way
05- Don't Turn Away
06- Lost In Tyme
07- No!No!No!No!No!No!
08- It's For You
09- My Baby Went Away With The Midnight Train
10- The Last November
11- In The Past
12- We're The Sound Explosion
Singles
Hangover Baby [7''] 1993
01 - Hangover Baby
02 - Some Other Guy
I'll Shake the Universe [7''] 1994
01 - I'll Shake The Universe
02 - Why Can't You See
Another Lie [7''] 1996
01 - Another Lie
02 - Misirlou The Greek
The Last Recordings [7''] 2000
01 - The S.EX. In Outer Limits
02 - You'd Better Shake Eight Now!
03 - Watch Yourself
04 - She's Sorry
All the above Sound Explosion Singles you could get them in a single folder:
Rapidshare.de Link
or
Rapidshare.com Link
Friday, November 17, 2006
Pussy - 1969 - Pussy plays
Pussy - 1969 - Pussy plays
1969 Morgan Blue Town BT 5002
Track listing
1. Come Back June (3:59)
2. All Of My Life (4:08)
3. We Built The Sun (5:00)
4. Comets (4:16)
5. Tragedy In F Minor (5:02)
6. The Open Ground (3:35)
7. Everybody's Song (4:20)
8. G.E.A.B. (5:28)Total 35:37
produced and arranged by Danny Beckerman
The group
Steve Townsend - drums
Barry Clark – guitars
Peter whiteman – keyboards
Dek Boyce – vocals
Jez Turner - bass
One of the rarest albums of the entire British prog-rock scene, Pussy's Plays is undoubtedly also one of the most obscure and beautiful. Their line up has always been a mystery as they never revealed their identity. (I finally found it)
A must for keyboard lovers and psych- prog fans.
“All of my life” is one of my favorite songs of the psych – prog area.
Enjoy! Nikos1109
This band was originally known as Fortes Mentum. Their album is one of the very best of the British progressive rock ultra-rarities. A five-piece band, whose complete personnel remain unknown. The album's a real gem. It kicks off with Come Back June, a keyboard-driven rock number, which is followed by one of their finest, All Of My Life. With its unusual, melodramatic vocals and fine keyboard arrangements it's well worth getting to hear. In contrast, one of the album's other nuggets, We Built The Sun, is characterised by some lovely melodic guitar work and eerie harmonies. The other highlight is The Open Ground, which is again unusual and quite trippy with partly spoken lyrics. Comets is a maze of cosmic theramin-filled sound effects and there are also some instrumental cuts (Tragedy In F. Minor (which features a nice mellotron intro.) and G.E.A.B.) which aren't so good. If progressive rock's your scene, this is definitely an album to check out
(Vernon Joynson – The Tapestry of Delights)
At last, an official version of this mega rare late '60s UK psych with an early Floyd/Caravan/Arzachel feel. Excellent freaky, fuzz n' wah-wah guitar with swirling keyboards and a classic '60s production loaded with all of the studio effects of the era. A bit of a gem....
(The Freak Emporium)
This album is one the 100 greatest psychedelic records according to Record Collector Magazine 2005 special edition
Download link
http://rapidshare.com/files/3627054/Pussy_-_1969_-_Pussy_plays.rar.html
Next to come : Italian Prog masters
Thursday, November 16, 2006
Paul Butterfield Blues Band - In My Own Dream - 1968
Paul Butterfield's Blues Band
Personnel:
JEROME ARNOLD bs A B D E
PAUL BUTTERFIELD hrmnca, gtr, flute, vcls A B C D E F G
SAM LAY drms A
SMOKEY SMOTHERS ld gtr A
ELVIN BISHOP ld gtr B C D
MIKE BLOOMFIELD ld gtr B
BILLY DAVENPORT drms B D E F
MARK NAFTALIN keyb'ds B C D E
CHARLES DINWIDDIE flute, mandarin, sax C (D) G
KEITH JOHNSON trumpet C
BUGSY MAUGH bs C (D)
DAVE SANBORN sax(alto) C
PHIL WILSON drms C (D)
BUZZY FEITEN ld gtr E F
TED HARRIS keyb'ds F G
ROD HICKS bs F G
GEORGE DAVIDSON drms G
TREVOR LAWRENCE sax G
STEVE MADAIO trumpet G
RALPH WALSH ld gtr G
FRED BECKMEIER bs
DENNIS WHITTED drms
NB: Line-up 'D' appear as The Icebag Four along with producer John Court on their In My Own Dream album.
ALBUMS: 1(B) PAUL BUTTERFIELD BLUES BAND (Elektra EKS 7294) 1965 123 2(B) EAST/WEST (Elektra EKS 7315) 1966 65 3(C) RESURRECTION OF PIGBOY CRABSHAW (Elektra EKS 74015) 1968 52 4(D) IN MY OWN DREAM (Elektra EKS 74025) 1968 79 5(E) KEEP ON MOVING (Elektra EKS 74053) 1969 102 6(F) LIVE (Elektra 7E 2001) 1970 72 7(F) SOMETIMES I FEEL LIKE SMILIN' (Elektra EKS 75013) 1971 124 8(-) GOLDEN BUTTER - LIVE DOUBLE (Elektra 7E2005) 1972 136 9(A) AN OFFER YOU CAN'T REFUSE (Red Lightnin' R008) 1972
NB: (1) reissued on LP (Sundazed LP 5095). (2) reissued on CD (Winner 447) 1996. (9) reissued in the UK 1982. There's also a compilation The Paul Butterfield Blues Band (Edsel ED1 50) 1985.
45s: 1 Come On In/I Got A Mind To Give Up Living (Elektra 45609) 1966 2 Run Out Of Time/One More Heartache (Elektra 45620) 1967 3 In My Own Dream/? (Elektra 45643) 1968 4 Where Did My Baby Go/In My Own Dream (Elektra 45658) 1969 5 Love March/? (Elektra 45692) 1970
NB: (3) and (5) credited to Paul Butterfield. There's also an extremely rare French EP with PS: I Got My Mojo Working/Shake Your Money Maker/Born In Chicago/Mystery Train (Vogue INT 18063).
ALBUMS: 1(B) PAUL BUTTERFIELD BLUES BAND (Elektra EKS 7294) 1965 123 2(B) EAST/WEST (Elektra EKS 7315) 1966 65 3(C) RESURRECTION OF PIGBOY CRABSHAW (Elektra EKS 74015) 1968 52 4(D) IN MY OWN DREAM (Elektra EKS 74025) 1968 79 5(E) KEEP ON MOVING (Elektra EKS 74053) 1969 102 6(F) LIVE (Elektra 7E 2001) 1970 72 7(F) SOMETIMES I FEEL LIKE SMILIN' (Elektra EKS 75013) 1971 124 8(-) GOLDEN BUTTER - LIVE DOUBLE (Elektra 7E2005) 1972 136 9(A) AN OFFER YOU CAN'T REFUSE (Red Lightnin' R008) 1972
NB: (1) reissued on LP (Sundazed LP 5095). (2) reissued on CD (Winner 447) 1996. (9) reissued in the UK 1982. There's also a compilation The Paul Butterfield Blues Band (Edsel ED1 50) 1985.
45s: 1 Come On In/I Got A Mind To Give Up Living (Elektra 45609) 1966 2 Run Out Of Time/One More Heartache (Elektra 45620) 1967 3 In My Own Dream/? (Elektra 45643) 1968 4 Where Did My Baby Go/In My Own Dream (Elektra 45658) 1969 5 Love March/? (Elektra 45692) 1970
NB: (3) and (5) credited to Paul Butterfield. There's also an extremely rare French EP with PS: I Got My Mojo Working/Shake Your Money Maker/Born In Chicago/Mystery Train (Vogue INT 18063).
Paul Butterfield was born on 17th December 1942 in Chicago where he later formed his racially integrated R&B band in 1964. The original line-up included Jerome Arnold and Sam Lay who had previously comprised the rhythm section of a band fronted by Howlin' Wolf, but shortly afterwards Butterfield's former University of Chicago classmate Elvin Bishop joined and they signed to Elektra. Mike Bloomfield was brought in on slide guitar and Mark Naftalin joined on keyboards during the recording of their first album. One of their early live gigs was at the July 1965 Newport Folk Festival but it did not go down well with the folk purists among the audience. However, they impressed Bob Dylan who invited them to back him later that day in what was his very first non-acoustic set. The band travelled to New York in January 1966 to record their self-titled debut album which comprised a hard-hitting battery of electric blues numbers. It made No. 123 in the Billboard album charts. In June the same year they contributed five tracks to What's Shakin', an Elektra various artists LP which also featured The Lovin' Spoonful, Eric Clapton, Tom Rush and Al Kooper. East/West followed in December 1966. The title track, which was over 13 minutes long, included many Eastern instrumental influences. The album peaked at No. 65 in the Billboard charts. Mike Bloomfield departed shortly after its release to form Electric Flag. 1967 was a quiet year for the band but Butterfield did cut an EP with John Mayall that was released in the U.K. by Decca. When Butterfield returned with Resurrection Of Pigboy Crabshaw in February 1968 (Pigboy Crabshaw was Bishop's nickname) it was with a fresh rhythm section and a three piece horn section. Climbing to No. 52 in the Billboard charts this was to be Butterfield's most successful album. Although it followed the usual blues format, it had a distinct soul influence. Compositions included Booker T's Born Under A Bad Sign which Albert King had made famous, and One More Heartache, a Smokey Robinson song which had been a hit for Marvin Gaye. However, many of Butterfield's fans and some critics yearned for high-powered, white electric blues and regretted the band's latest soulful direction. When In My Own Dream emerged later in 1968 it was also slated in some sections of the music press. The line-up was basically the same as for the previous album, although producer John Court joined forces with Buggy Maugh, Charles Dinwiddie and Phil Wilson to provide vocal harmonies as The Icebag Four and Al Kooper guested on organ on a couple of tracks (Drunk Again and Just To Be With You). The album was musically diverse ranging from bar-room blues, to folk blues and electric music, and was criticised as being too fragmented. However, if much of it was uneven, the title track was distinctly innovative with the Icebag Four's backing vocals lending a gospel feel to the song. It reached No. 79 in the U.S. album charts. Elvin Bishop left in 1968 to form his own band and was replaced by Buzzy Feiton for Keep On Moving, a heavy album with lots of brass, which could only reach No. 102 in the U.S. album charts. The band appeared at the Woodstock festival in 1969 and one of their songs, Love March was included on the original Woodstock album.
Live recorded with a new line-up live at L.A.'s Troubadour club in 1970, and produced by Todd Rundgren, saw some upturn in their fortunes (albeit temporary) reaching No. 72. It contained a selection of material from their three previous albums, Everything's Going To Be Alright (also featured on the Woodstock 2 LP) and three tracks which do not appear on other Butterfield albums:- The Boxer, Number 9 and Get Together Again. By now Butterfield was tired of touring and he broke up the band in 1971 after a final studio album Sometimes I Feel Like Smilin', which could only manage the 124 spot in the album charts. Golden Butter Live Double, a double retrospective compilation, peaked to No. 136 the following year. 1972 also saw the release of An Offer You Can't Refuse which featured his earliest recordings back in 1963 with Smokey Smothers' band in Chicago, by specialist U.K. blues label Red Lightnin'. They account for one side of the album. The other side features Walter Horton, backed by musicians like Buddy Guy. This album was reissued again in 1982. More recent still is the Edsel 1985 release which is now the most accessible guide to the music of the Butterfield Blues Band. 1995 also saw the release on CD of The Original Lost Elektra Sessions (Rhino RZ 73505), which compiled material from an abandoned 1965 first album, which is largely dominated by powerful blues covers. It contains 19 tracks in all. Bugsy Maugh later recorded two interesting albums for Dot. Paul Butterfield died in the nineties. If you're into high powered white electric blues these guys are essential for you, but if you're garage-punkers or into demented psychedelia give them a miss. Compilation appearances have included: Morning Blues on Kings Of Pop Music Vol. 1 (LP); Born In Chicago on Kings Of Pop Music Vol. 2 (LP); East-West on Elektrock The Sixties (4-LP). (Vernon Joynson/Stephane Rebeschini)
Wednesday, November 15, 2006
Roky Erickson
Roky Erickson - Live Acoustic Radio Performances
01-When You Get Delighted
02-Warning (Social And Political Injustices)
03-I've Never Thought
04-True Love
05-Love Isn't A Part Time Thing
06-The Looking Glass
07-Don't Slander Me
08-Splash1
09-Cold Night For Alligators
10-Bloddy Hammer
11-The Damn Thing
12-Sing For You
13-I Love The Blind Men
14-I've Never Know This Till Now
15-May The Circle Remanin Unbroken
16-Starry Eyes
01-When You Get Delighted
02-Warning (Social And Political Injustices)
03-I've Never Thought
04-True Love
05-Love Isn't A Part Time Thing
06-The Looking Glass
07-Don't Slander Me
08-Splash1
09-Cold Night For Alligators
10-Bloddy Hammer
11-The Damn Thing
12-Sing For You
13-I Love The Blind Men
14-I've Never Know This Till Now
15-May The Circle Remanin Unbroken
16-Starry Eyes
Roky Erickson and the Aliens - 1980 - I Think of Demons
01-Two-Headed Dog (Red Temple Prayer)
02-I Think of Demons
03-I Walked With a Zombie
04-Don't Shake Me Lucifer
05-Night of the Vampire
06-Bloody Hammer
07-White Faces
08-Cold Night for Alligators
09-Creature With the Atom Brain
10-Mine Mine Mind
11-Stand for the Fire Demon
12-Wind and More
BIOGRAPHY
Legendary rock n roll pioneer Roger Kynard "Roky" Erickson hails from Austin, Texas. He is, in the words of music writer Richie Unterberger, one of "the unknown heroes of rock and roll." As singer, songwriter, and guitar player for the legendary Austin, TX band The 13th Floor Elevators, the first rock and roll band to describe their music as "psychedelic", Roky had a profound impact on the San Francisco scene when the group traveled there in 1966. While bands such as The Grateful Dead and The Jefferson Airplane had the their roots in traditional acoustic folk music, the Elevators unique brand of heavy, hard-rocking electric blues pointed to a new direction for the music of the hippie generation. The Elevators only had one chart hit, the Roky-penned You're Gonna Miss Me, but their influence was far reaching. R.E.M., ZZ Top, Poi Dog Pondering, The Judybats, T-Bone Burnett, Julian Cope, The Jesus and Mary Chain, The Cramps, The Minutemen, Television, The Cynics, The Lyres, Teisco Del Rey, The Fuzztones and Radio Birdman have all either recorded or played live versions of Roky's songs. In addition to these performers, Roky is an acknowledged influence on such diverse musicians as Robert Plant, Janis Joplin, Patti Smith, Henry Rollins, Mike Watt, Sonic Youth, The Butthole Surfers, Jon Spencer, The Damned, Red Krayola, Pere Ubu, and current indie hit-makers The White Stripes. His songs have appeared on the soundtracks to the movies High Fidelity, Drugstore Cowboy, Boys Don't Cry, Hamlet (2000), and Return of the Living Dead. While he may not be a household name, Roky has enjoyed the support of a small but fiercely loyal cult following throughout his career.
01-Two-Headed Dog (Red Temple Prayer)
02-I Think of Demons
03-I Walked With a Zombie
04-Don't Shake Me Lucifer
05-Night of the Vampire
06-Bloody Hammer
07-White Faces
08-Cold Night for Alligators
09-Creature With the Atom Brain
10-Mine Mine Mind
11-Stand for the Fire Demon
12-Wind and More
BIOGRAPHY
Legendary rock n roll pioneer Roger Kynard "Roky" Erickson hails from Austin, Texas. He is, in the words of music writer Richie Unterberger, one of "the unknown heroes of rock and roll." As singer, songwriter, and guitar player for the legendary Austin, TX band The 13th Floor Elevators, the first rock and roll band to describe their music as "psychedelic", Roky had a profound impact on the San Francisco scene when the group traveled there in 1966. While bands such as The Grateful Dead and The Jefferson Airplane had the their roots in traditional acoustic folk music, the Elevators unique brand of heavy, hard-rocking electric blues pointed to a new direction for the music of the hippie generation. The Elevators only had one chart hit, the Roky-penned You're Gonna Miss Me, but their influence was far reaching. R.E.M., ZZ Top, Poi Dog Pondering, The Judybats, T-Bone Burnett, Julian Cope, The Jesus and Mary Chain, The Cramps, The Minutemen, Television, The Cynics, The Lyres, Teisco Del Rey, The Fuzztones and Radio Birdman have all either recorded or played live versions of Roky's songs. In addition to these performers, Roky is an acknowledged influence on such diverse musicians as Robert Plant, Janis Joplin, Patti Smith, Henry Rollins, Mike Watt, Sonic Youth, The Butthole Surfers, Jon Spencer, The Damned, Red Krayola, Pere Ubu, and current indie hit-makers The White Stripes. His songs have appeared on the soundtracks to the movies High Fidelity, Drugstore Cowboy, Boys Don't Cry, Hamlet (2000), and Return of the Living Dead. While he may not be a household name, Roky has enjoyed the support of a small but fiercely loyal cult following throughout his career.
Unfortunately, Roky's struggles with drug abuse and mental illness took a serious toll. His 1969 arrest in Texas for possession of a single marijuana cigarette led to his being committed for three years to Rusk State Hospital for the Criminally Insane, where he was reportedly subjected to Thorazine, electroshock therapy, and other experimental treatments. Most agree he was never the same after his release. Roky has had prolific periods of creativity in the intervening years, but unscrupulous managers and record label executives often took advantage of his condition, leaving Roky to live in poverty while others profit from his music.
Happily, today we find Roky in the process of being his own miracle and making an astounding recovery from nearly a two-decade long period of almost total tragedy. His youngest brother, singer/songwriter and former Pittsburgh Symphony Orchestra Principal Tubaist Sumner Erickson, was appointed Roky's legal guardian in June, 2001. Sumner has established The Roger Kynard Erickson Trust to address Roky's living expenses, medical bills, and other financial needs. From June, 2001 until July, 2002, Roky lived with his brother in Pittsburgh, where he finally began to receive the treatment and care he needs. Roky is now back in Austin, where his health continues to improve dramatically. In March, 2005, Roky made his first public performance in 10 years performing 3 songs at the Roky Erickson Psychedelic Ice Cream Social at Threadgills in Austin. He was backed by the Explosives. In September, he is scheduled to play the Austin City Limits Festival (again with the Explosives) which will mark his first full concert appearance in almost two decades! Celebrate as the miracle continues! More information is available at the trust's official web site: http://www.rokyerickson.netThe Devil's Anvil - Hard Rock From The Middle East
Track List :
1. Wala Dai
2. Nahna U Diab
3. Karkadon
4. Selim Alai
5. Isme
6. Besaha
7. Shisheler
8. Kley
9. Hala Laya
10. Treea Pethya
11. Misirlou
12. Teyul Leili
Devil's Anvil were a New York-based psychedelic group of the mid 1960s that released only one album, Hard Rock From the Middle East (1967 - Collectables, 2001), reissued with a Freak Scene album (no relationship between the two bands, though). Their middle-eastern acid-rock was unique and bizarrely modern (it predates the British transglobal-dance bands by about 30 years). The fuzzed-out guitar mingled with oud, bouzouki, tamboura, durbeki. This record is very unusual! It has middle eastern vocal melodies and instramentation mixed with 60's heavy blues/psychedelia. The band features Felix Pappalardi on bass (of Cream & Mountain fame). One thing to note: The lyrics are evidently sung in arabic and sometimes in greek, but this fact does not have an effect to detract from the music's compelling sounds in the least bit. One noteworthy track is the interesting cover of "Miserlou", featuring lead vocals (in english) by Felix Pappalardi
For all the greeks out there ... a few surpises included in this LP
1. Wala Dai
2. Nahna U Diab
3. Karkadon
4. Selim Alai
5. Isme
6. Besaha
7. Shisheler
8. Kley
9. Hala Laya
10. Treea Pethya
11. Misirlou
12. Teyul Leili
Devil's Anvil were a New York-based psychedelic group of the mid 1960s that released only one album, Hard Rock From the Middle East (1967 - Collectables, 2001), reissued with a Freak Scene album (no relationship between the two bands, though). Their middle-eastern acid-rock was unique and bizarrely modern (it predates the British transglobal-dance bands by about 30 years). The fuzzed-out guitar mingled with oud, bouzouki, tamboura, durbeki. This record is very unusual! It has middle eastern vocal melodies and instramentation mixed with 60's heavy blues/psychedelia. The band features Felix Pappalardi on bass (of Cream & Mountain fame). One thing to note: The lyrics are evidently sung in arabic and sometimes in greek, but this fact does not have an effect to detract from the music's compelling sounds in the least bit. One noteworthy track is the interesting cover of "Miserlou", featuring lead vocals (in english) by Felix Pappalardi
For all the greeks out there ... a few surpises included in this LP
A MUST HAVE !
DownloadLink:
Labels: D, innocent76
The Jazz Butcher Conspiracy - Waiting For The Love Bus
The Jazz Butcher Conspiracy - Waiting For The Love Bus
Creation Records
Tracks
Rosemary Davis' World Of Sound
Bakersfield
Kids In The Mall/Kaliningrad
Whaddya?
Sweetwater
Ghosts
Baltic
Killed Out
Ben
Penguins
President Chang
Angel Station
Rosemary Davis' World Of Sound
Everybody's Talking
Do You Wanna Dance
the band
Pat Fish (Fender Telecaster, Fender Jaguar, Yamaha sf-800, 6 & 12 String Acoustic Guitars, Keyboards, Percussion, Programming, Vocals)
Richard Formby (Fender Jaguar, Gibson Firebird, Burns Electric
X11 String, Programming, Tapes)
Dooj Wilkinson (Wal Bass Guitar, Voice)
Nick Burson (Drums)
Peter Crouch (Fender Stratocaster, Fender Jaguar, Yamaha sf-800)
The Jazz Butcher was the vehicle of prolific singer/songwriter Pat Fish, an archetypal British eccentric whose sharp observational wit and melodic gifts navigated the group through over a decade of constant line-up shifts, stylistic mutations and even a series of name changes which found the band performing variously -- and apparently randomly -- under such titles as the Jazz Butcher Conspiracy and the Jazz Butcher & His Sikkorskis From Hell. Fish was born Patrick Huntrods in London in 1957, and raised primarily in Northampton. He first began performing while studying philosophy at Oxford in the late 1970s, fronting the short-lived Nightshift; a subsequent band dubbed the Institution later joined forces with their rivals the Sonic Tonix, establishing the nucleus of players who later formed the core of the Jazz Butcher sphere.
Fish first concocted his Butcher persona in 1982, quickly enlisting his Oxford mates to join him in a band of the same name; even from the outset, the group's roster changed seemingly on a daily basis, although Fish found an early mainstay in guitarist Max Eider. The Jazz Butcher's eclectic 1982 debut A Bath in Bacon -- including early skewed pop gems such as "Love Zombie" and "Sex Engine Thing" -- was essentially a Fish solo record, but by 1984's folky A Scandal in Bohemia the roster had stabilized to include ex-Bauhaus bassist David J. Following The Gift of Music, a 1984 compilation of single sides, the Jazz Butcher resurfaced the following year with Sex and Travel, a marvelously odd set ranging in sound from punk ("Red Pets") to cabaret ("Holiday").
After David J left the band to join Love and Rockets, the remaining quartet -- Fish, Eider, bassist Felix Ray and drummer Mr. O.P. Jones -- rechristened themselves the Jazz Butcher and His Sikkorskis from Hell and recorded the 1985 live set Hamburg, followed the next year by an EP, Hard. Leaving the rhythm section behind, Fish and Eider then recorded 1986's Conspiracy EP, credited to the "Jazz Butcher vs. Max Eider" and foreshadowing the subsequent shift to the Jazz Butcher Conspiracy aegis for Distressed Gentlefolk. Eider soon exited to mount a solo career, leaving Fish to team with guitarist Kizzy O'Callaghan for 1988's Fishcoteque, their first release for the Creation label.
By the time of 1989's Big Planet Scarey Planet, the line-up also included the superb bassist Laurence O'Keefe, saxophonist Alex Green and drummer Paul Mulreany; 1990's Cult of the Basement was recorded with the same roster, but the usual disruptions soon left Fish essentially to his own devices for 1991's Condition Blue and 1993's Waiting for the Love Bus. Upon reuniting with David J, who produced 1995's low-key Illuminate, Fish decided to lay the Jazz Butcher name to rest, and performed a farewell performance in London at the end of the year. He subsequently signed on to play drums with the Stranger Tractors, but in 1999 reunited with Eider for a Jazz Butcher Conspiracy tour of the U.S. The live Glorious and Idiotic appeared the following year and Rotten Soul was issued in fall 2000.
by Jason Ankeny, all music guide.
your Download Links:
Jazz_Butcher_Conspiracy.part1.rar
Jazz_Butcher_Conspiracy.part2.rar
Enjoy!!!
the band
Pat Fish (Fender Telecaster, Fender Jaguar, Yamaha sf-800, 6 & 12 String Acoustic Guitars, Keyboards, Percussion, Programming, Vocals)
Richard Formby (Fender Jaguar, Gibson Firebird, Burns Electric
X11 String, Programming, Tapes)
Dooj Wilkinson (Wal Bass Guitar, Voice)
Nick Burson (Drums)
Peter Crouch (Fender Stratocaster, Fender Jaguar, Yamaha sf-800)
The Jazz Butcher was the vehicle of prolific singer/songwriter Pat Fish, an archetypal British eccentric whose sharp observational wit and melodic gifts navigated the group through over a decade of constant line-up shifts, stylistic mutations and even a series of name changes which found the band performing variously -- and apparently randomly -- under such titles as the Jazz Butcher Conspiracy and the Jazz Butcher & His Sikkorskis From Hell. Fish was born Patrick Huntrods in London in 1957, and raised primarily in Northampton. He first began performing while studying philosophy at Oxford in the late 1970s, fronting the short-lived Nightshift; a subsequent band dubbed the Institution later joined forces with their rivals the Sonic Tonix, establishing the nucleus of players who later formed the core of the Jazz Butcher sphere.
Fish first concocted his Butcher persona in 1982, quickly enlisting his Oxford mates to join him in a band of the same name; even from the outset, the group's roster changed seemingly on a daily basis, although Fish found an early mainstay in guitarist Max Eider. The Jazz Butcher's eclectic 1982 debut A Bath in Bacon -- including early skewed pop gems such as "Love Zombie" and "Sex Engine Thing" -- was essentially a Fish solo record, but by 1984's folky A Scandal in Bohemia the roster had stabilized to include ex-Bauhaus bassist David J. Following The Gift of Music, a 1984 compilation of single sides, the Jazz Butcher resurfaced the following year with Sex and Travel, a marvelously odd set ranging in sound from punk ("Red Pets") to cabaret ("Holiday").
After David J left the band to join Love and Rockets, the remaining quartet -- Fish, Eider, bassist Felix Ray and drummer Mr. O.P. Jones -- rechristened themselves the Jazz Butcher and His Sikkorskis from Hell and recorded the 1985 live set Hamburg, followed the next year by an EP, Hard. Leaving the rhythm section behind, Fish and Eider then recorded 1986's Conspiracy EP, credited to the "Jazz Butcher vs. Max Eider" and foreshadowing the subsequent shift to the Jazz Butcher Conspiracy aegis for Distressed Gentlefolk. Eider soon exited to mount a solo career, leaving Fish to team with guitarist Kizzy O'Callaghan for 1988's Fishcoteque, their first release for the Creation label.
By the time of 1989's Big Planet Scarey Planet, the line-up also included the superb bassist Laurence O'Keefe, saxophonist Alex Green and drummer Paul Mulreany; 1990's Cult of the Basement was recorded with the same roster, but the usual disruptions soon left Fish essentially to his own devices for 1991's Condition Blue and 1993's Waiting for the Love Bus. Upon reuniting with David J, who produced 1995's low-key Illuminate, Fish decided to lay the Jazz Butcher name to rest, and performed a farewell performance in London at the end of the year. He subsequently signed on to play drums with the Stranger Tractors, but in 1999 reunited with Eider for a Jazz Butcher Conspiracy tour of the U.S. The live Glorious and Idiotic appeared the following year and Rotten Soul was issued in fall 2000.
by Jason Ankeny, all music guide.
Jazz_Butcher_Conspiracy.part1.rar
Jazz_Butcher_Conspiracy.part2.rar
Enjoy!!!
Still Life - s/t
Track List1. People in black (Howells)
2. Don't go (Howells/Cure)
3. October Whitches (Howells)
4. Love song no.6 (Howells)
5. Dreams (Howells/Cure)
6. Time (Howells/Amos)
Members :
Martin Cure vocals
Terry Howells keyboards
Graham Amos bass
Alan Savage drums
STILL LIFE — Still Life Review by Easy Livin (Bob McBeath)
Sell it….and buy a house with the cash!Still Life were a one album band whose only recordings are contained on this self titled release. There have been suggestions of other unreleased tracks by the band, but according to vocalist Martin Cure, these are spurious. The band arose from the ashes of Coventry outfitThe PEEPS, who became the RAINBOWS. Included in the line up of both those bands was Roy Albrighton, who left before they become STILL LIFE. At the time Albrighton left, the RAINBOWS were playing some dates in Hamburg. He remained behind there, going on to form NEKTAR.The line up of the band, while not stated on the sleeve consists of bass, drums, vocals and keyboards (organ). This gives the band something of a one dimensional sound, similar to EGG. It should be said however that this is where the similarities with EGG end, as the musical direction is decidedly different. In terms of the music, the band bears comparison with DEEP PURPLE's Jon Lord led offerings, BEGGAR's OPERA's earlier work, and PALADIN. In all cases, this is essentially due to the dominant Hammond organ.The tracks vary from reasonable heavy rock, to softer ballad passages. The opening to "Don't go" for example has distinct overtones of PROCOL HARUM's "A whiter shade of pale". There are plenty of uncredited additions to the sound, such as the female vocal backing, and what appears to be flute on "People in Black". This 8 minute opening track is driven by the up front bass, but is effectively some brief verses and plenty of virtuoso organ playing. "Love song no. 6" features what appears to be acoustic guitar, although this soon gives way to the ubiquitous Hammond."Dreams" has some eerie spoken word along the lines of BLACK WIDOW or ARTHUR BROWN, while the closing "Time" opens with a URIAH HEEP like ah-ah over climbing organ.It is easy to forget when listening to the album that it dates from 1971, and thus precedes a number of the bands and albums it bears comparison to. While now very much of its time, and perhaps slightly deficient in the song-writing department, this is nonetheless something of a lost gem.The LP's gatefold sleeve opens vertically, instead of the usual horizontally. This reveals the apparently tasteful array of flowers on the front to be a toupee for a skull!As for the band members, sadly bassist Graham Amos died in 2003. Terry Howells and Alan Savage are no longer involved in the music business. After Still Life, vocalist Martin Cure joined the commercially successful Cupid's Inspiration ("Yesterday has gone"), with whom he still performs from time to time today.Original “Still life” LP records now change hands for grossly inflated amounts due to the fact that there are not that many of them, and also because it was issued on the legendary Vertigo “swirl” label.
Posted Friday, August 04, 2006
resources :
progarchives.com/Progressive_rock_discography_CD.asp?cd_id=5620#reviews
republika.pl/pearlsofrock/stilllifeE.html
Your Download-Link :
Labels: innocent76, S
Prolapse - The Italian Flag
Track List
01 Slash/Oblique 4:56
02 Deanshanger 3:51
03 Cacophony No. A 5:06
04 Killing The Bland 2:29
05 I Hate the Clicking Man 5:15
06 Autocade 3:34
07 Tunguska 4:04
08 Flat Velocity Curve 7:17
09 Return of Shoes 5:42
10 A Day at Death Seaside 3:34
11 Bruxelles 5:54
12 Visa for Violet and Van 5:56
13 Three Wooden Heads 10:36
Prolapse were formed fifteen years ago in the summer of 1991 under a table at Leicester Polytechnic's friday night disco with the aim of being the most depressing band ever. The first recording as a four-piece of Mick Derrick (vocals), Mick Harrison (bass), Tim Pattison (drums) and Pat Marsden (guitar) -still on a cassette somewhere - was an improvised session with a strong Joy Division feel-Ian Curtis sitting next to Scottish Mick doing backing vocals. Vocalist Linda Steelyard and David Jeffreys on guitar soon joined the line-up and early live shows featured flying televisions and puppets being mutilated. The band released singles, including the Crate E.P., and their first album Pointless Walks to Dismal Places on Cherry Red Records in 1994. U.K., European and U.S. touring soon followed aswell as Peel and various other radio sessions. backsaturday was the next album in 1995 - this consists of mostly improvised songs written in Northwich, Cheshire over a weekend. It features a long version of the Krautrock inspired 'Flex'-a song to crop up near the end of many a live set.
The Italian Flag (1997) was produced by former Julian Cope guitarist Donald Ross Skinner, who was now also involved as a keyboard player. This contained more 'finished songs' than backsaturday, including those that had been part of the live set for a while. Singles Killing the Bland, Deanshanger and Autocade were released around the time. Prolapse were receiving favourable reviews in the music press for their live shows and releases and were attracting a cult following. People came to gigs with potatoes for them to sign saying they wanted to be reincarnated as a patch of lichen. In Norwich, Oxford and London gigs would be packed, although in Hanover, Stevenage and Wolverhampton only a couple of ferrets and Elvis impersonators would turn up. Still there were appearances for Slash/Oblique and Autocade in John Peel's Festive 31 (not 50 that year!). The last album Ghosts of Dead Aeroplanes (1999) was based around lots of improvised stuff at Foel Studio in Wales. This has more of a sparse feel than much of the band's earlier music. Metal Box era Public Image Limited was one influence at the time.
resources :
profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=92033787
Your Download-Link :
Labels: innocent76, P
Samlas mammas manna- Same
Swedish music group formed by Lars Hollmer (Keyb,) Hans Bruniusson (Drums) Lars Krantz (Bass) and Bebben Öberg (Perc) 1970.
After Bebben Öberg left the group 1971 Coste Apetrea (Guitar) joined Samla Autumn 1972 and Samla toured a lot in Scandinavia, and made several Lp records.1976 Samla took a break and reformed as Zamla mammaz Manna 1977. Now with Eino Haapala on guitar. Tours in Scandinavia and Europé. Zamla became the swedish member of Rock In Opposition (RIO) in London 1978, and met other independent groups from Europé. (Henry Cow.Univers zero etc,) Zamla exosted until 1980 when both Hans Bruniusson and Lars Krantz left. And after three Lps under the Zamla name.Lars Hollmer and Eino Haapala continued as von Zamla. A bigger group with members from Albert Marcoeur. and Univers Zero. von Zamla toured Scandinavia and Europé from 81-85 and made two Lps. After that the group split up.In 1990 Samla reformed (Hollmer: Bruniusson.Apetrea,Krantz) and this constellation existed during the whole 90ies and played several concerts. 1998 Samla recorded the album KAKA and released it 99. Dec 99 Hans Bruniusson left the band again and after some research for replacement Tatsuya Yoshida joined Samla on Drums 2002.A new live Cd was made for the japanese audience (Dear Mamma) and Samla toured Sweden . Russia and Japan in 2002, plus made a small US-tour 2003 ------from their site.
After Bebben Öberg left the group 1971 Coste Apetrea (Guitar) joined Samla Autumn 1972 and Samla toured a lot in Scandinavia, and made several Lp records.1976 Samla took a break and reformed as Zamla mammaz Manna 1977. Now with Eino Haapala on guitar. Tours in Scandinavia and Europé. Zamla became the swedish member of Rock In Opposition (RIO) in London 1978, and met other independent groups from Europé. (Henry Cow.Univers zero etc,) Zamla exosted until 1980 when both Hans Bruniusson and Lars Krantz left. And after three Lps under the Zamla name.Lars Hollmer and Eino Haapala continued as von Zamla. A bigger group with members from Albert Marcoeur. and Univers Zero. von Zamla toured Scandinavia and Europé from 81-85 and made two Lps. After that the group split up.In 1990 Samla reformed (Hollmer: Bruniusson.Apetrea,Krantz) and this constellation existed during the whole 90ies and played several concerts. 1998 Samla recorded the album KAKA and released it 99. Dec 99 Hans Bruniusson left the band again and after some research for replacement Tatsuya Yoshida joined Samla on Drums 2002.A new live Cd was made for the japanese audience (Dear Mamma) and Samla toured Sweden . Russia and Japan in 2002, plus made a small US-tour 2003 ------from their site.
(sorry for the links but i can't write here all the details---got some problems with blogger)
Five Day Rain - 1970 - Five Day Rain
Tracklist:
1. Marie's a Woman 2.46
2. Leave It At That 4.30
3. Don't Be Misled 2.18
4. Rough Cut Marmalade 11.04
5. Goodyear 4.01
6. Sea Song 4.12
7. Lay Me Down 1.16
8. Reason Why 4.42
9. Fall Out 4.12
Line-up:
Graham Maitland - keyboards /vocals /moog & mellotron
Rick Sharp - lead & rhythm guitar / harmonica and vocals
Clive Burges - bass
Kim Hayworth - drums
John Holbrook - guitar
Sharon Tandy - Backing vocals
All tracks by Graham Maitland.
Produced by Brian Carroll & Damon Lyon-Shaw.
Recorded at "IBC" studios, London, UK.
One of the rarest UK albums. Only 15 copies were put out but soon someone circulated "white label" copies of it so beware of this.
Graham Maitland had earlier been in Scots of St James and Hopscotch. He has also in The Fleur De Lys in ther final days. The album containing some adventurus pop compositions often with a taint of psychedelia but is was eventually as a private pressing in a plane white cover because no label was interested in it. Notable cuts are the 11 minute instrumental Rough Cut Marmalade, which is the albums most psychedelic offering. The catchy Sea Song and keyboard driven Leave It At That. (Vernon Joynson - The Tapestry of Delights)
The sixties ended with a man on the moon and the seventies saw a music business that was leaning more to the sales potential of albums than the not so profitable single. Bands were spending more time creating their music but they all needed good writers. Recording engineers BRIAN CARROLL and DAMON LYON SHAW of HOMEGROWN MUSIC found one in GRAHAM MAITLAND, a talented musician from Scotland who wanted to record his songs with his own band. This was a group of musicians he knew locally and his cottage in the country was a meeting place as they put together enough material for an album.
I got to know GRAHAM through a friend of mine from Haywoods Heath, a town in Sussex England. He has played in numerous bands including SCOTCH OF St JAMES, HOPSCOTCH and GLENCOE but it was with FIVE DAY RAIN that we got to know each other.
FIVE DAY RAIN was basically a studio band. They never toured or did any gigs but spent their time with HOMEGROWN MUSIC writing songs either at GRAHAMS cottage or in the studio. The line up was GRAHAM MAITLAND (keyboards/organ/Mellotron) RICK SHARPE (lead guitar) CLIVE BURGESS (bass) the drummer who’s name was KIM. I have forgotten his name over the years but I do believe that at the time he was going out with a singer called SHARRON TANDY. Added to this line up was JOHN HOLBROOK who was another engineer at IBC at the time of the recordings.
The tracks recorded for the projected album were “TOO MUCH OF NOTHING”, “MARIE'S A WOMAN”, “LEAVE IT AT THAT”, “DON’T BE MISLED”, “ROUGH CUT MARMALADE (aka “OUTRODUCTION”) “GOOD YEAR”, “SEA SONG”, “LAY ME DOWN”, “REASON WHY”, “FALL OUT”. We also recorded two other tracks “WANNA MAKE LOVE TO YOU” and “SUNNY” but these tracks have been lost in time.
GRAHAM wrote most of the tracks and JOHN HOLBROOK played lead guitar on "SEA SONG” and “ROUGHCUT MARMALADE” This track was recorded as a jam after a heavy session at THE DOVER CASTLE, the pub at the back of IBC. JOHN went on to work for BEARSVILLE STUDIOS in Woodstock NY where he engineered on sessions for TODD RUNDGREN and THE ISLEY Brothers. He went on to produce/engineer projects for the in-house BEARSVILLE, including two solo albums under the alias BRIAN BRIGGS.
We had the album finished within a few months and we made up 25 test pressings that we were going to send to various record companies. These test pressings now fetch in the region of £1,000 to record collectors. Only 2 or 3 were sent out before POLYDOR records showed interest.
The man from POLYDOR who wanted the album was running around for weeks as the band settled down for a long wait while negotiation were taking place. No one really knows what happened but the out come was that after 6 months of getting nowhere the band decided to spilt when GRAHAM was offered a chance to become a member of a band called GLENCO. With the deal dead BRIAN and DAMON decided to get into producing their own songs (see ONE WAY TICKET )
There might be some exciting news for those who are interested in the band, as four new tracks have been found on an acetate and we are working on them now, with the possibility of a new album. Watch this space....Brian Carroll
1. Marie's a Woman 2.46
2. Leave It At That 4.30
3. Don't Be Misled 2.18
4. Rough Cut Marmalade 11.04
5. Goodyear 4.01
6. Sea Song 4.12
7. Lay Me Down 1.16
8. Reason Why 4.42
9. Fall Out 4.12
Line-up:
Graham Maitland - keyboards /vocals /moog & mellotron
Rick Sharp - lead & rhythm guitar / harmonica and vocals
Clive Burges - bass
Kim Hayworth - drums
John Holbrook - guitar
Sharon Tandy - Backing vocals
All tracks by Graham Maitland.
Produced by Brian Carroll & Damon Lyon-Shaw.
Recorded at "IBC" studios, London, UK.
One of the rarest UK albums. Only 15 copies were put out but soon someone circulated "white label" copies of it so beware of this.
Graham Maitland had earlier been in Scots of St James and Hopscotch. He has also in The Fleur De Lys in ther final days. The album containing some adventurus pop compositions often with a taint of psychedelia but is was eventually as a private pressing in a plane white cover because no label was interested in it. Notable cuts are the 11 minute instrumental Rough Cut Marmalade, which is the albums most psychedelic offering. The catchy Sea Song and keyboard driven Leave It At That. (Vernon Joynson - The Tapestry of Delights)
The sixties ended with a man on the moon and the seventies saw a music business that was leaning more to the sales potential of albums than the not so profitable single. Bands were spending more time creating their music but they all needed good writers. Recording engineers BRIAN CARROLL and DAMON LYON SHAW of HOMEGROWN MUSIC found one in GRAHAM MAITLAND, a talented musician from Scotland who wanted to record his songs with his own band. This was a group of musicians he knew locally and his cottage in the country was a meeting place as they put together enough material for an album.
I got to know GRAHAM through a friend of mine from Haywoods Heath, a town in Sussex England. He has played in numerous bands including SCOTCH OF St JAMES, HOPSCOTCH and GLENCOE but it was with FIVE DAY RAIN that we got to know each other.
FIVE DAY RAIN was basically a studio band. They never toured or did any gigs but spent their time with HOMEGROWN MUSIC writing songs either at GRAHAMS cottage or in the studio. The line up was GRAHAM MAITLAND (keyboards/organ/Mellotron) RICK SHARPE (lead guitar) CLIVE BURGESS (bass) the drummer who’s name was KIM. I have forgotten his name over the years but I do believe that at the time he was going out with a singer called SHARRON TANDY. Added to this line up was JOHN HOLBROOK who was another engineer at IBC at the time of the recordings.
The tracks recorded for the projected album were “TOO MUCH OF NOTHING”, “MARIE'S A WOMAN”, “LEAVE IT AT THAT”, “DON’T BE MISLED”, “ROUGH CUT MARMALADE (aka “OUTRODUCTION”) “GOOD YEAR”, “SEA SONG”, “LAY ME DOWN”, “REASON WHY”, “FALL OUT”. We also recorded two other tracks “WANNA MAKE LOVE TO YOU” and “SUNNY” but these tracks have been lost in time.
GRAHAM wrote most of the tracks and JOHN HOLBROOK played lead guitar on "SEA SONG” and “ROUGHCUT MARMALADE” This track was recorded as a jam after a heavy session at THE DOVER CASTLE, the pub at the back of IBC. JOHN went on to work for BEARSVILLE STUDIOS in Woodstock NY where he engineered on sessions for TODD RUNDGREN and THE ISLEY Brothers. He went on to produce/engineer projects for the in-house BEARSVILLE, including two solo albums under the alias BRIAN BRIGGS.
We had the album finished within a few months and we made up 25 test pressings that we were going to send to various record companies. These test pressings now fetch in the region of £1,000 to record collectors. Only 2 or 3 were sent out before POLYDOR records showed interest.
The man from POLYDOR who wanted the album was running around for weeks as the band settled down for a long wait while negotiation were taking place. No one really knows what happened but the out come was that after 6 months of getting nowhere the band decided to spilt when GRAHAM was offered a chance to become a member of a band called GLENCO. With the deal dead BRIAN and DAMON decided to get into producing their own songs (see ONE WAY TICKET )
There might be some exciting news for those who are interested in the band, as four new tracks have been found on an acetate and we are working on them now, with the possibility of a new album. Watch this space....Brian Carroll
Tuesday, November 14, 2006
Harmonium - 1980 - En Tournee
Harmonium - 1980 - En Tournee
Tracks :
Disc 1:
1. Introduction (1:30)
2. Comme un fou (7:08)
3. Chanson Noire
.. Le bien, Le mal (4:22)
.. Pour une Blanche Cérémonie (4:10)
4. Le premier Ciel (20:52)
Disc 2:
5. L'Exil (11:58)
6. Le Corridor (3:50)
7. Lumière de Vie
.. Lumière de Nuit (4:17)
.. Lumière de Jour (2:38)
.. Lumière de Vie (0:51)
.. Lumière de Vie (2eme Partie) (3:12)
.. Lumière de Vie (3eme Partie) (4:44)
.. Lumière de Vie (Finale) (2:43)
8. Comme un Sage (15:30)
Line-up
- Libert Subirana / flute, saxophone, vocals
- Serge Locat / piano, organ, Mellotron, synthesizers
- Monique Fauteux / Rhodes piano, vocals
- Robert Stanley / electric guitar
- Serge Fiori / acoustic & electric guitar, vocals
- Denis Farmer / drums, percussion
- Louis Valois / electric bass, Taurus (bass pedals)
Bio :
Harmonium is Quebec's most prolific progressive rock group from the 1970's.
The band was formed as a folk trio in 1973 by guitarists/vocalists Serge Fiori and Michel Normandeau, accompanied by Louis Valois on bass. They became very popular playing in cafes and small clubs, and recorded a self-titled all acoustic album in 1974, which featured Réjean Émond on drums on several tracks. The LP spawned a series of hit songs such as "Pour un Instant", "Un Musicien parmi tant d'autres", "Harmonium" and "Aujourd'hui, je dis bonjour à la vie", similar in sound to Beau Dommage, and which have became staples of Quebec musical culture to this day. Harmonium's first album is undoubtedly one of Quebec's masterpieces of folk rock.
Fiori, emerging as the group's driving force, became more ambitious on the next album by recruting keyboardist Serge Locat and Pierre Daigneault (ex-L'Infonie) on flute, sax and clarinet. The group's second LP, entitled "Les Cinq saisons" (a.k.a. "Si On avait besoin d'une cinquieme saison") was released in 1975. While the album's music can best be described as symphonic folk, this second masterpiece features a variety of musical styles with Fiori, Normandeau and Valois testing their abilities on a host of instruments. Female vocalist Judy Richard lends her voice on the 17-minute symphonic epic "Histoires sans paroles". Amazingly, the music is devoid of drums, although one wouldn't know it from the energy and compositional complexity. Marie Bernard Pagé of Et Cetera even makes a brief appearance with her unique sounding « Ondes Martenot ».
After several successful local live shows and a brief hiatus, Fiori's creative juices went into overdrive. Harmonium regrouped in Fiori's home in the countryside to compose a 7-piece suite for a double album called "L'Heptade", based on the seven levels of consiousness. Fiori recruited drummer Denis Farmer and guitarist Robert Stanley, both from Toubabou and Ville Emard Blues Band, as well as flutist/saxophonist Libert Subirana (who replaced Daigneault) and vocalist Monique Fauteux, while Locat was back on keyboards in a more prominent way. The album was arranged by well known pianist/conductor/composeur Neil Chotem (many years Fiori's senior), who added segments with the Montreal Symphony Orchestra. The experience proved to be too much for Normandeau, and he left the group during the recording sessions, although he received many songwriting credits. Several other guest vocalists sang on the album, such as Pierre Bertrand (Beau Dommage), Richard Séguin (Les Séguin) and Estelle Ste-Croix (VEBB).
~~~~~~~~~~~~~~~~~~~~~~~
Released in 1976, "L'Heptade" was no doubt Harmonium's magnum opus and opened the doors for the group to perform outside Quebec. In 1977, the band toured Canada and parts of Europe with Supertramp. The group also performed in California with the encouragement of Quebec's separatist Parti Quebecois government. This performance became the subject of a National Film Board video documentary. Alas, touring proved too physically and emotionally demanding for Fiori, and he decided to call it quits for good later that year. In 1980, in order to raise money to pay the bills from the California tour which the Quebec government had promised to pay, Harmonium released a double album entitled "En Tournée", comprising a flawless live performance of "L'Heptade" in Vancouver in 1977. This incredible live version of "L'Heptade", which even surpasses the studio version, is a testament to the professionalism and talent of this legendary symphonic rock group. After Harmonium disbanded, Fiori went on to make an award winning album with Richard Seguin in 1978 (see Fiori-Seguin), followed much later by a commercial solo LP in 1986. Locat and Normandeau released good solo efforts in 1978 and 1979 respectively. In 1979, Neil Chotem rounded up most of Harmonium's last formation, and recorded a rare live album comprising some beautiful pieces written by Fiori, the last vestiges.
Get It Here :
RapidShare or SendSpace
Labels: H, Lost In Tyme
Gene Estribou & Jean-Paul Pickens - 1965 - Intensifications
Gene Estribou & Jean-Paul Pickens - 1965 - Intensifications
Cut in the mid-1960s, Intensifications is an obscure and illu mina ting slice of Marin county raga folk, a taste of latter day deltadelica that's a must for fans of the acid folk sound old and new. Together, Estribou and Pickens each cut a side of brilliant, meandering unaccompanied instrumentals: Estribou on acoustic guitar and Pickens on banjo. This single document has only ripened with age and should make it clear to anyone who ventures to give it a listen that both Estribou & Pickens deserve their place in the inner sanctum of charismatic acoustic guitar legends. Originally released on Henry Jacobs' MEA label By no means household names, both Jean Paul-Pickens & Gene Estribou levitated around the Bay Area scene and each made a subtle mark along the way: Pickens was one of San Francisco 's legendary 'Diggers' and a knockout banjoist with poet David Meltzer 's folk rock outfit Serpent Power. Gene Estribou famously recorded the Grateful Dead's second studio sessions & released their first 45 single in 1965. Footnotes? Sure. But that should only make the discovery of this lost gem all the more tantalizing.
Jean-Paul Pickens, banjo
Gene Estribou, wooden guitar
01 You Know-The One You Played Saturday Night2 0:53
02 Amalgam 5:15
03 Metathanks 3:44
04 Eeee Minor (mp3) 6:26
05 Coo Coo Bird (mp3) 4:16
06 Shady Grows 4:25
07 G.R. 9:06
By no means household names, both Jean Paul-Pickens & Gene Estribou levitated around the Bay Area scene and each made a subtle mark along the way: Pickens was one of San Francisco's legendary 'Diggers' and a knockout banjoist with poet David Meltzer's folk rock outfit Serpent Power. Gene Estribou famously recorded the Grateful Dead's second studio sessions & released their first 45 single in 1965. Footnotes? Sure. But that should only make the discovery of this lost gem all the more tantalizing. Cut in the mid-1960s, Intensifications is an obscure and illuminating slice of Marin county raga folk, a taste of latter day deltadelica that's a must for fans of the acid folk sound old and new. Together, Estribou and Pickens each cut a side of brilliant, meandering unaccompanied instrumentals: Estribou on acoustic guitar and Pickens on banjo. This single document has only ripened with age and should make it clear to anyone who ventures to give it a listen that both Estribou & Pickens deserve their place in the inner sanctum of charismatic acoustic guitar legends. Originally released on Henry Jacobs' MEA label.
NO LINK HERE !!!
but you can buy it here:
http://www.locustmusic.com/index.php?option=com_artists&task=view&Itemid=6&cid=22
Cut in the mid-1960s, Intensifications is an obscure and illu mina ting slice of Marin county raga folk, a taste of latter day deltadelica that's a must for fans of the acid folk sound old and new. Together, Estribou and Pickens each cut a side of brilliant, meandering unaccompanied instrumentals: Estribou on acoustic guitar and Pickens on banjo. This single document has only ripened with age and should make it clear to anyone who ventures to give it a listen that both Estribou & Pickens deserve their place in the inner sanctum of charismatic acoustic guitar legends. Originally released on Henry Jacobs' MEA label By no means household names, both Jean Paul-Pickens & Gene Estribou levitated around the Bay Area scene and each made a subtle mark along the way: Pickens was one of San Francisco 's legendary 'Diggers' and a knockout banjoist with poet David Meltzer 's folk rock outfit Serpent Power. Gene Estribou famously recorded the Grateful Dead's second studio sessions & released their first 45 single in 1965. Footnotes? Sure. But that should only make the discovery of this lost gem all the more tantalizing.
Jean-Paul Pickens, banjo
Gene Estribou, wooden guitar
01 You Know-The One You Played Saturday Night2 0:53
02 Amalgam 5:15
03 Metathanks 3:44
04 Eeee Minor (mp3) 6:26
05 Coo Coo Bird (mp3) 4:16
06 Shady Grows 4:25
07 G.R. 9:06
By no means household names, both Jean Paul-Pickens & Gene Estribou levitated around the Bay Area scene and each made a subtle mark along the way: Pickens was one of San Francisco's legendary 'Diggers' and a knockout banjoist with poet David Meltzer's folk rock outfit Serpent Power. Gene Estribou famously recorded the Grateful Dead's second studio sessions & released their first 45 single in 1965. Footnotes? Sure. But that should only make the discovery of this lost gem all the more tantalizing. Cut in the mid-1960s, Intensifications is an obscure and illuminating slice of Marin county raga folk, a taste of latter day deltadelica that's a must for fans of the acid folk sound old and new. Together, Estribou and Pickens each cut a side of brilliant, meandering unaccompanied instrumentals: Estribou on acoustic guitar and Pickens on banjo. This single document has only ripened with age and should make it clear to anyone who ventures to give it a listen that both Estribou & Pickens deserve their place in the inner sanctum of charismatic acoustic guitar legends. Originally released on Henry Jacobs' MEA label.
NO LINK HERE !!!
but you can buy it here:
http://www.locustmusic.com/index.php?option=com_artists&task=view&Itemid=6&cid=22
Komar and Melamid with Dave Soldier - The People's Choice Music
The Most Wanted Song
a musical work that will be unavoidably and uncontrollably liked by 72 ± 12% of listeners
The Most Unwanted Song
fewer than 200 individuals of the world's total population will enjoy this
Nick Haeffner - 1987 - The Great Indoors
Nick Haeffner "The Great Indoors" (UK neo-folkpsychedelia 1987)
The Nick Haeffner's story begun at the end of 1979, in St.Albans. Phil Smee, subsequently Bam Caruso founder, was starting Waldo, an obscure independent label oriented on local band singles, with also a pair of punk groups. Then he appeared on a pair of Bam Caruso samplers, till he started
to recording his first (and only) album, "The Great Indoors", then renamed on CD "The Great Outdoors", inspired by XTC, Nick Drake, Robyn Hitchcock and many others. Briefly involved, as many others of the Bam Caruso personnel, on the Paul Roland's "Dance Macabre" album, then projected to record a follow-up, whose name would be "The Revenge Of The Wholesome Rodean Girls" with the Andy Partridge production, but nothing came out of that (little is known if these latest infos are more gossip than reality).
All that said, "The Great Indoors" has a very strong english mood that very few records, also from '70s, have, expecially on the beautiful drakeian "Steel Grey" and "Don't Be Late".
Today Nick Haeffner is a teacher and a photographer and has a nice website here: http://homepage.mac.com/nickhaeffner/My%20Website/index.html
Link: Nick_Haeffner.rar
The Nick Haeffner's story begun at the end of 1979, in St.Albans. Phil Smee, subsequently Bam Caruso founder, was starting Waldo, an obscure independent label oriented on local band singles, with also a pair of punk groups. Then he appeared on a pair of Bam Caruso samplers, till he started
to recording his first (and only) album, "The Great Indoors", then renamed on CD "The Great Outdoors", inspired by XTC, Nick Drake, Robyn Hitchcock and many others. Briefly involved, as many others of the Bam Caruso personnel, on the Paul Roland's "Dance Macabre" album, then projected to record a follow-up, whose name would be "The Revenge Of The Wholesome Rodean Girls" with the Andy Partridge production, but nothing came out of that (little is known if these latest infos are more gossip than reality).
All that said, "The Great Indoors" has a very strong english mood that very few records, also from '70s, have, expecially on the beautiful drakeian "Steel Grey" and "Don't Be Late".
Today Nick Haeffner is a teacher and a photographer and has a nice website here: http://homepage.mac.com/nickhaeffner/My%20Website/index.html
Link: Nick_Haeffner.rar
posted by Gathering_Of_The_Tribe
Labels: by Friends and Visitors of this Blog, H, N
Monday, November 13, 2006
Fantasyy Factoryy - 2000 - Dreams Never Sleep
Fantasyy Factoryy (Germany) - 2000 - Dreams Never Sleep
part I
part II
01 Nova 2:46
02 Journey Inside 2:59
03 Landing11:40
04 Will You 4:46
05 Thy Way 4:36
06 She 6:36
07 Siren 4:00
08 Sun Child 6:35
09 Dragon king 6:09
10 Sadly Waiting 2:39
11 Room Of Chaos15:14
12 Soul Sister 2:14
13 Dreams Never Sleep 2:26
The music of Fantasyy Factoryy is deeply rooted in the sound of the 60s/70s psychedelic Underground scene. It´s handmade – it sounds original – it´s exciting. Fantasyy Factoryy have developped their own style, although it is possible to hear traces of the Jimi Hendrix Experience, Pink Floyd and even Jethro Tull. Genuine, but without denying the history of Rock music. The classical three-piece line up enables the musicians to display as many different atmospheres as possible. Guitar-dominated, but with a lot of improvisational interplay between the members, their soundscapes show that they reached their aim, which is to transfer positive aspects of the music of the past into the present.
So let's move back to their history...
Fantasyy Factoryy was founded in 1994 by guitarist, singer, songwriter Alan Tepper. After some time on the live circuit, he recorded his debut album ''Ode To Life'' with two studio musicians in the prestigious Sun Dial Studios in London (1995). The album was released on both vinyl and CD, as were nearly all Fantasyy Factoryy recordings so far. Drummer Dr Cosmos joined the band in 1996, and the follow-up ''Tales To Tell'' was welcomed by critics and fans alike, as it was also the debut of guest musician Rainer Opiela on flute. ''If I Like It, I Do It'' came out soon after and received equal critical acclaim. In between each album, the band recorded numerous songs for tribute-albums and Various Artists Compilations, as you can check in the discography.
Their best album yet, ''Dreams Never Sleep'', was released in 2000, again with Rainer Opiela on flute. Organ player Markus Dassmann joined the band on two tracks. The record is available on CD and on double vinyl. At the moment, Alan Tepper is finishing the studio work for a double 7“, which will come out on Italy´s Psych Out label. And after that work is done, the band are going to rehearse for the new album, which will feature more musicians than any other Fantasyy Factoryy record.
If you would like to contact the band, feel free to use the old-fashioned way (the postal adress is always nice) or use the crazy cyberspace (e-mail adress). Fantasyy Factoryy are a people´s band, and they like to be in touch with their fans.
-Susan Carter 10/2003-
Buy "Dreams Never Sleep" Here
Louis Tillett- ego tripping at the gates of hell
TRACK LIST
1.Trip To Kalu-Ki-Bar
2.Duet In Blue Minor
3.Swimming In The Mirror
4.Dream Well
5.Voluntary Slavery
6.On Your Way Down
7.Persephone's Dance
8.Dead End Street In The Lu
By IAN McFARLANE(Author of ‘The Encyclopedia of Australian Rock and Pop’)
Throughout the 1980s and 1990s LOUIS TILLETT provided a commanding and distinctive presence on the Australian alternative music scene. He was a softly spoken individual, yet it was his rich baritone singing voice (once described as “burning like a deep wound… like it’s oozing from the cracks of a tomb”), characteristic keyboard technique and exceptional song writing skills that earned him a reputation as an artist of considerable imagination, authority and conviction, and as a sideman of redoubtable stature. In addition to leading groups like the Wet Taxis, Paris Green and the Aspersion Caste, his work as a backing musician with Catfish, Ed Kuepper, the New Christs and Tex Perkins kept him firmly in the public eye.Louis’s first band, the Wet Taxis, commenced life as an experimental outfit in the manner of fellow Sydneysiders Severed Heads and Scattered Order before taking on a tougher 1960s-influenced direction. Their classic debut single on the Hot label, ‘C’mon’ (1984), boasted an authentic garage/R&B sound heavily influenced by such American garage/punk bands as the Moving Sidewalks, We the People and the Chocolate Watchband plus legendary Australian group the Atlantics (who originally issued the song as ‘Come On’ in 1967). Alongside the likes of Died Pretty, the Celibate Rifles, the Lime Spiders, the New Christs, the Hoodoo Gurus and the Eastern Dark, the Wet Taxis came to epitomise the Australian garage rock sound and aesthetic of the 1980s. The band’s only album was the appropriately named From the Archives (Hot, 1984). The 1960s garage rock sound served the Wet Taxis well, yet Louis was constantly in search of new musical terrain to explore. This led him to the acoustic-based No Dance side project with Died Pretty’s Brett Myers and Celibate Rifles’ Damien Lovelock (one EP, ‘Carnival of Souls’ in 1984) and the improvisational jazz/blues-influenced Paris Green ensemble which covered material ranging from Mose Allison and John Coltrane to Ray Charles. Following the release of the Wet Taxis single ‘Sailor’s Dream’ on the Citadel label (1987), Louis folded the band and immediately recorded his debut solo album Ego Tripping at the Gates of Hell with support from a stellar array of local musicians including guitarist Charlie Owen and drummer Louis Burdett. The album relied upon a brooding intensity for its emotional effect, yet there was always a lighter more positive side as displayed on tracks like ‘Trip to Kalu-Ki-Bar’.His next band the Aspersion Caste included Owen, Burdett, ex-Wet Taxis guitarist Penny Ikinger and a powerful horn section and was heard on A Cast of Aspersions (1990) and its astonishing single ‘Condemned to Live’. A Cast of Aspersions was an eclectic and potent exploration of mood and emotions driven by Louis’s booming baritone voice and smouldering organ, jagged guitar lines and the swinging brass arrangements. Louis kept the Aspersion Caste on the road (including performances in Europe and New York) until 1992 when he recorded his next solo album Letters to a Dream. In 1995, he collaborated with Owen on the album Midnight Rain before they joined Ken Gormly and Jim Elliot (from the Cruel Sea) as backing musicians for Tex Perkins, on tour to promote his 1996 solo album Far be it From Me. Louis released his last album, Cry against the Faith, in 1999. As well as travelling overseas and succumbing to bouts of ill-health due to his well-publicised battle with alcoholism, he continued to put in occasional live performances around Sydney (often with help from Gormly and Elliot). An ABC-TV documentary produced a few years ago on the man, A Night at Sea, provided rare insight into his role as a performer and his struggles with personal demons. He has now emerged in 2005 with renewed vigour. All of which brings us to his new album, The Hanged Man, an exemplary return to form and a solo release in the truest sense. Louis recorded The Hanged Man in Bangkok, Thailand in July 2004 with a local engineer called O, and it focuses squarely on his skills as a song writer, producer, singer and multi-instrumentalist par excellence – a remarkable achievement from a remarkable musician. The deep connection to the blues/jazz/swamp rock feel essential to his sound has remained, yet there is so much more. One only has to listen to the nine brilliant tracks to hear the emotional outpouring on offer here. Louis has opened his heart and soul, faced down his demons and overcome his fears in the most cathartic way – song writing and recording as personal therapy. With lyric lines throughout the album as compelling and insightful as the following: “… shows me the journey I must make” (‘Ocean Bound’)“… I now have some hope, this will keep me afloat” (‘Four Walls’)“… the main thing I want is these voices to stop” (‘Through the Dream’)“… I pray for redemption and hope for a sign” (‘Prayer Before Dawn’)“… it all seems to go away with the start of a brand new day” (‘Around You’)“… I’m looking high I’m looking low, now it’s clear what I must do” (‘It’s Alright Now’)and “… a dream fulfilled, a love rebuilt… I’ve returned to a perfect friend, the journey’s end” (‘Teary Eyes’)…this is Louis embracing the very joyousness of a bright future. The Hanged Man features music as vital, beautiful, emotional and uncompromising as any in the history of Australian rock. Take the time to accept this incredible musician and his art.
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Labels: innocent76, L, T
Sunday, November 12, 2006
The Souls of Inspyration - 1970 - The Souls of Inspyration
The Souls of Inspyration (Canada) - 1970 - The Souls of Inspyration
01 Pursuit - 2.44
02 Stranger - 3.02
03 Sun Shines in the Winter - 3.12
04 Dil Kusha (Heart's Happiness) - 6.44
05 Of Lams & Wolves - 6.11
06 Eyes of Nature - 3.29
07 Seasons of Change - 5.22
08 Unknown Bonus-track - 1.58
Souls of Inspyration (SOI) has origins going back to Red Lake, Ontario near the Manitoba border, where Mark Paradis (drums), John Maciejewski (guitar/vocals), and Don Wilson (bass), eventually settled in Sherbrooke, in southern Quebec in September 1968. They were joined by Raymond Cloutier on keyboards. They appeared with Vanilla Fudge, as well as Tommy James and the Shondells, and toured Quebec.
01 Pursuit - 2.44
02 Stranger - 3.02
03 Sun Shines in the Winter - 3.12
04 Dil Kusha (Heart's Happiness) - 6.44
05 Of Lams & Wolves - 6.11
06 Eyes of Nature - 3.29
07 Seasons of Change - 5.22
08 Unknown Bonus-track - 1.58
Souls of Inspyration (SOI) has origins going back to Red Lake, Ontario near the Manitoba border, where Mark Paradis (drums), John Maciejewski (guitar/vocals), and Don Wilson (bass), eventually settled in Sherbrooke, in southern Quebec in September 1968. They were joined by Raymond Cloutier on keyboards. They appeared with Vanilla Fudge, as well as Tommy James and the Shondells, and toured Quebec.
In July 1970, SOI won a competition at Montreal's Man and his World (former site of EXPO '67) and earned a two week engagement at EXPO '70 in Osaka, Japan. Two progressive rock record producers, Chuck Williams and Don Grashey signed SOI's first record, a self-titled LP on the Columbia label which was released the same year.
Considering SOI arose from the late 1960's, its music is naturally in the psychedelic vein, and sung in English. But as musical styles began to change most drastically in Quebec, SOI's sound quickly became dated..
Sugar Cube Blues Band - sugar cube blues band
Folkrock/psych transition duo showcase their unreleased 1967-68 recordings. At best reminiscent of mid-period Beau Brummels or the Blue Things LP, though many tracks have desperate, strained vocals instead of the cool Sal Valentino moves I would have preferred. Others have reported enjoying the vocals in a Sky Saxon way - decide for yourself. I counted 4 good tracks including an alternate version of their sole 45 release "My last impression", the flipside of which unfortunately is not included at all. [PL]
Sugar Cube Blues Band
Personnel:
BUDLEY BAYS acoustic and electric gtrs A
BILL CROWDER vcls, hrmnca A
DANNY LANCASTER bs A
DEVO LANCASTER drms A
TONY PORTERA organ A
ALBUM:
1(A) SUGAR CUBE BLUES BAND (Rockadelic RRLP 21) 1995
45:
1 My Last Impression / Corinna Corinna / A Hard Rain's Gonna Fall (Black Crow 100) 1967
From Grenada, Mississippi, this act recorded an album in 1967 which finally saw the light of day in 1995. There are some good songs included, especially My Last Impression, which is very much in the garage-psych vein. Indeed the band's title is misleading as the songs aren't really bluesy at all. The material, which was all written by Bill Crowder, spans garage, psychedelia and more melodic rock and is well worth seeking out.
My Last Impression can also be heard on the vinyl version of The Psychedelic Experience, Vol. 1, whose liner notes state that some of the band members had recorded a 45 way back in 1959 as the Sundowners.
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Labels: innocent76, S
Lost-In-Tyme
Lost-In-Tyme
Hey guys! Since I've been a regular visitor of your blog I've decided to contribute a... not so famous video by Electric Prunes!
Keep up!!!
Enjoy!!!
Hey guys! Since I've been a regular visitor of your blog I've decided to contribute a... not so famous video by Electric Prunes!
Keep up!!!
Enjoy!!!
posted by Screaming Lord Fuzz
Saturday, November 11, 2006
Music Emporium - 1969 - Music Emporium
Music Emporium - 1969 - Music Emporium
Track listing
01. Nam Myo Renge Kyo (2:35)
02. Velvet Sunsets (2:34)
03. Prelude (2:04)
04. Catatonic Variations (1:56)
05. Times Like This (1:57)
06. Gentle Thursday (3:46)
07. Winds Have Changed (2:11)
08. Cage (5:08)
09. Sun Never Shines (4:00)
10. Day Of Wrath (3:20)
Line-up
- Bill "Casey" Cosby / vocals, keyboards
- Dave Padwin / guitar
- Carolyn Lee / bass, background vocals
- Dora Wahl / drums
MUSIC EMPORIUM biography
Initially called The CAGE, this trippy West Coast psych band from the 60’s were quite sophisticated for their time. They started off in 1968 when keyboardist Bill Cosby joined forces with guitarist Dave Padwin and two female musicians, namely bassist Carolyn Lee and drummer Dora Wahl. All four were either classically trained or seasoned club veterans, Cosby himself being a UCLA music major. Evolving smack in the middle of the flower power era, they played their blistering rockers and wispy melod...Initially called The CAGE, this trippy West Coast psych band from the 60’s were quite sophisticated for their time. They started off in 1968 when keyboardist Bill Cosby joined forces with guitarist Dave Padwin and two female musicians, namely bassist Carolyn Lee and drummer Dora Wahl. All four were either classically trained or seasoned club veterans, Cosby himself being a UCLA music major. Evolving smack in the middle of the flower power era, they played their blistering rockers and wispy melodies quite convincingly, borrowing from jazz, classical music, avant-garde and rock. On the psychedelic side, they were definitely more song oriented than, say, early PINK FLOYD; although they did pour a mean dose of organ on their self-titled LP, released in 1969. Unfortunately, a year later Cosby got drafted and the band broke up.
Their album is a fascinating testimony of a different time and place. Highly organ dominated, it has just about everything one would expect from a late 60’s album: driving rhythms, heavy guitar riffs, trippy Farfisa organ and cool, groovy male/female vocals by Cosby and especially Lee who delivers her druggy, cosmic lyrics with style. Their solos are concise and they know how to lock into a groove without jamming aimlessly, as did so many bands of that era. They also know how to structure songs that best display their strengths although in retrospect, it is their softer tunes that seem to have aged better, especially those with a nice gothic/classical feel.
Track listing
01. Nam Myo Renge Kyo (2:35)
02. Velvet Sunsets (2:34)
03. Prelude (2:04)
04. Catatonic Variations (1:56)
05. Times Like This (1:57)
06. Gentle Thursday (3:46)
07. Winds Have Changed (2:11)
08. Cage (5:08)
09. Sun Never Shines (4:00)
10. Day Of Wrath (3:20)
Line-up
- Bill "Casey" Cosby / vocals, keyboards
- Dave Padwin / guitar
- Carolyn Lee / bass, background vocals
- Dora Wahl / drums
MUSIC EMPORIUM biography
Initially called The CAGE, this trippy West Coast psych band from the 60’s were quite sophisticated for their time. They started off in 1968 when keyboardist Bill Cosby joined forces with guitarist Dave Padwin and two female musicians, namely bassist Carolyn Lee and drummer Dora Wahl. All four were either classically trained or seasoned club veterans, Cosby himself being a UCLA music major. Evolving smack in the middle of the flower power era, they played their blistering rockers and wispy melod...Initially called The CAGE, this trippy West Coast psych band from the 60’s were quite sophisticated for their time. They started off in 1968 when keyboardist Bill Cosby joined forces with guitarist Dave Padwin and two female musicians, namely bassist Carolyn Lee and drummer Dora Wahl. All four were either classically trained or seasoned club veterans, Cosby himself being a UCLA music major. Evolving smack in the middle of the flower power era, they played their blistering rockers and wispy melodies quite convincingly, borrowing from jazz, classical music, avant-garde and rock. On the psychedelic side, they were definitely more song oriented than, say, early PINK FLOYD; although they did pour a mean dose of organ on their self-titled LP, released in 1969. Unfortunately, a year later Cosby got drafted and the band broke up.
Their album is a fascinating testimony of a different time and place. Highly organ dominated, it has just about everything one would expect from a late 60’s album: driving rhythms, heavy guitar riffs, trippy Farfisa organ and cool, groovy male/female vocals by Cosby and especially Lee who delivers her druggy, cosmic lyrics with style. Their solos are concise and they know how to lock into a groove without jamming aimlessly, as did so many bands of that era. They also know how to structure songs that best display their strengths although in retrospect, it is their softer tunes that seem to have aged better, especially those with a nice gothic/classical feel.
Necronomicon - Tips Zum Selbstmord
Track listing
01. Prolog (7.32)
02. Requiem Der Natur (10.49)
03. Tips Zum Selbstmord (4.46)
04. Die Stadt (7.18)
05. In Memoriam (6.57)
06. Requiem Vom Ende (7.46)
Total Time 44:08
Line-up
Walter Sturm / Guitar, Vocals
Norbert Breuer / Guitar, Vocals
Harald Bernhard / Drums
Bernhard Hocks / Bass, Vocals
Fistus Dickmann / Organ, Synth, Vocals
It's always difficult reviewing Krautrock, simply because Krautrock, as a genre, tends not to patch directly into the generally accepted definition of Prog Rock - it's much closer to psychedelia. It also tends to be inconsistent - when it's good, it can be stunning, but when bad, falls into directionless, amateurish noodling that can be plain embarrassing.When approaching this album, I had to rid myself of all the hype surrounding it - much of which, one might suspect, comes from people who own a copy and want to make a fortune selling it on, and take it for what it is. What it is, is a concept album by a group of guys who had been together for little over a year, performed a few gigs and, thanks to the economic backing of a friend, managed to get into a small studio armed with basic recording equipment (a 2-track Reel-to-Reel) and release what would turn out to be one of the most expensive Prog Rock albums ever.So it's with calm ears and a fresh pair of Sennheisers that I dive into this highly prized work which, for those who don't like long reviews, really is very, very good indeed - but probably not worth the £1,000+ price tag of an original. .In summary, so you can skip the tech stuff, it's a Masterpiece for what it is. I hardly ever make this distinction, as I prefer to guage against the "Classic" Prog bands - the justification is in the review below, and no apologies for the length ;0).A highly reverbed and slightly manic voice improvises as if testing the microphone, then vocalises the first riff in "Prolog", which is picked up with a bang by the band, and, surprisingly, dropped in a heartbeat, the guitarist appearing to start it, but then tailing off, as if in shame - or possibly disgust. It could be either, given the subject matter of the lyrics. A deeply reverbed and wah-drenched, partially Hendrix-inspired solo follows, angular and jerky, pained and edgy.A hard series of chords punches through, and a new, tight, heavy riff follows - great headbanging stuff, but you do have to be able to cope with the rough production and knowledge that the band played this entirely live in the studio.A keyboard joins in, and we get flavours of Iron Butterfly before the vocals come in - and these are of a great quality, with good tones on the high notes and reasonable harmony. There's nothing new or particularly interesting about the ensuing guitar solo - what is of more interest are the unfolding and very powerful riffs - there's a whole wonderland of stealable material in here for bands running out of ideas and needing a little-known source...The dark tension and clear layers make for a very emotionally draining landscape, and the sudden ending makes you feel like you've fallen off a cliff."Requiem Der Natur" begins with huge, hollow and sinister keyboards, coloured with sparkly sounds, before a mellow acoustic guitar brings us to an earthy and folky flavoured section of beautiful drifting sound with flavours of Pink Floyd circa 1968- 1970, but also Necronomicon's very own, very dark style. Around 3:30, there is some deep, chanting vocal "Ahhs", joined by mid and top- range voices in a quasi "Monks meet operatics" kind of style, building and building until the recording equipment can't cope. Just as you think the equipment will expire, around 4:45, the music drops into a sort of jazz-fusion style, with the band right at the edges of their abilities, but pushing very hard in order to express the music - you'd hardly believe the band had only been together for a year, as it operates as a very cohesive unit, each member giving each other the necessary space to grow and improvise - successfully and sometimes unsuccessfully - but that's always the case with live improv.A "Big Bottom" style bass solo follows - although, to be fair, the bassist tries really hard to make the improv interesting and exciting - and succeeds to a fair degree, especially when he gives the cue for the keyboard and guitar re-entry - it really isn't apparent, and you have to listen hard several times to get it, it feels so natural.The Choir section returns - and it feels perfectly natural that it should do so - framing the jazz section very nicely - giving a masterclass in how form can be made to feel spontaneous.The title track begins with one of the most original intros I've ever heard - incredibly simple (but the best ideas often are), then kicking into an uptempo rocker with falsetto from hell that makes Matt Bellamy sound like a Contra bass... There are lots of goodies in here, including tempo changes, guitar solos, enthusiastic guitar panning, and a dark groove that would provoke many nuns into dancing around mooonlit fires sans habits... in my twisted imagination, at least. There are one or two "baddies" in here too - but easily overlooked."Die Stadt", apart from having tuning issues in the acoustic guitar, smacks a little of early Kraftwerk, but darker, naturally, and the intro appears to be a proclamation - Hawkwind style. When the big riff kicks in, it reminds me very much of Mountain in texture, but, true to form, Necronomicon break it all down, with a "cat on a hot tin roof" approach that demonstrates exactly how to go off at tangents and really mean it. One or two timing issues (!) do not spoil the infectious grooves that they settle into, with the now familiar dark keyboard washes and walking bass lines - I get a flavour of Hawkwind's "Master of the Universe" in places. I'm assuming that the spare acoustic was used for the outro ;0)"In Memoriam" is so dischordant, it too appears to have tuning issues, but these are soon resolved, and it's apparent that the heavy dischords are totally intentional. Very rough at the edges to start with, this piece dives around, and a mixed bag of good and truly superb ideas are thrown out, with decorative fill/synchronised runs that pre-empt Prog metal. Once the band have got into their groove, this really is a piece that every fan of Krautrock should hear - deeply and highly emotional, yet carefully worked out, with plenty of space for improv. Almost perfect, despite occasional timing issues. The ending is particularly notable, although I have to admit the falsetto annoys me too.Requiem Vom Ende rounds things off consistenly nicely, despite more tuning issues, which we just have to swallow and live with - after all, it's the music that's important. And what we get from the music is more cavernous sounds, thoughtfully meandering bass, then big, crashing chords of chaos, and over-reverbed voices clearly proclaiming rather than singing, carrying an authoritative tone, but dropping back to a wistful, almost mournful air, carrying a strong flavour of Floyd.Now, around 3:00, is the most powerful moment on the album, a throbbing, pulsating orb of music that grows (and might arguably have benefitted from losing the falsetto voice), grows, drops, and recapitulates. It's at this late point in the song I realise that the main riff is a combination of "Pictures of Matchstick Men" and "Hey Joe". An inspired welding together, that results in a spacious riff with a familiar feeling groove.I won't cover the very end - I'll leave that entirely for your discovery ;o)Here's a clue - it's not at all disappointing!All in all, a most excellent addition to any Prog Rock collection - which doesn't mean you're going to like it. My advice is to get familiar with Krautrock before approaching this album, as those unfamiliar with the genre are likely to be highly disturbed by it.It just scrapes into the Masterpiece category, because I'm concentrating on the music alone, and ignoring technical and execution issues simply because of the low budget live recording. A real mind-blower - but be careful, as in the wrong hands it could be mistaken as simply a blower... source : progarchives.com
01. Prolog (7.32)
02. Requiem Der Natur (10.49)
03. Tips Zum Selbstmord (4.46)
04. Die Stadt (7.18)
05. In Memoriam (6.57)
06. Requiem Vom Ende (7.46)
Total Time 44:08
Line-up
Walter Sturm / Guitar, Vocals
Norbert Breuer / Guitar, Vocals
Harald Bernhard / Drums
Bernhard Hocks / Bass, Vocals
Fistus Dickmann / Organ, Synth, Vocals
It's always difficult reviewing Krautrock, simply because Krautrock, as a genre, tends not to patch directly into the generally accepted definition of Prog Rock - it's much closer to psychedelia. It also tends to be inconsistent - when it's good, it can be stunning, but when bad, falls into directionless, amateurish noodling that can be plain embarrassing.When approaching this album, I had to rid myself of all the hype surrounding it - much of which, one might suspect, comes from people who own a copy and want to make a fortune selling it on, and take it for what it is. What it is, is a concept album by a group of guys who had been together for little over a year, performed a few gigs and, thanks to the economic backing of a friend, managed to get into a small studio armed with basic recording equipment (a 2-track Reel-to-Reel) and release what would turn out to be one of the most expensive Prog Rock albums ever.So it's with calm ears and a fresh pair of Sennheisers that I dive into this highly prized work which, for those who don't like long reviews, really is very, very good indeed - but probably not worth the £1,000+ price tag of an original. .In summary, so you can skip the tech stuff, it's a Masterpiece for what it is. I hardly ever make this distinction, as I prefer to guage against the "Classic" Prog bands - the justification is in the review below, and no apologies for the length ;0).A highly reverbed and slightly manic voice improvises as if testing the microphone, then vocalises the first riff in "Prolog", which is picked up with a bang by the band, and, surprisingly, dropped in a heartbeat, the guitarist appearing to start it, but then tailing off, as if in shame - or possibly disgust. It could be either, given the subject matter of the lyrics. A deeply reverbed and wah-drenched, partially Hendrix-inspired solo follows, angular and jerky, pained and edgy.A hard series of chords punches through, and a new, tight, heavy riff follows - great headbanging stuff, but you do have to be able to cope with the rough production and knowledge that the band played this entirely live in the studio.A keyboard joins in, and we get flavours of Iron Butterfly before the vocals come in - and these are of a great quality, with good tones on the high notes and reasonable harmony. There's nothing new or particularly interesting about the ensuing guitar solo - what is of more interest are the unfolding and very powerful riffs - there's a whole wonderland of stealable material in here for bands running out of ideas and needing a little-known source...The dark tension and clear layers make for a very emotionally draining landscape, and the sudden ending makes you feel like you've fallen off a cliff."Requiem Der Natur" begins with huge, hollow and sinister keyboards, coloured with sparkly sounds, before a mellow acoustic guitar brings us to an earthy and folky flavoured section of beautiful drifting sound with flavours of Pink Floyd circa 1968- 1970, but also Necronomicon's very own, very dark style. Around 3:30, there is some deep, chanting vocal "Ahhs", joined by mid and top- range voices in a quasi "Monks meet operatics" kind of style, building and building until the recording equipment can't cope. Just as you think the equipment will expire, around 4:45, the music drops into a sort of jazz-fusion style, with the band right at the edges of their abilities, but pushing very hard in order to express the music - you'd hardly believe the band had only been together for a year, as it operates as a very cohesive unit, each member giving each other the necessary space to grow and improvise - successfully and sometimes unsuccessfully - but that's always the case with live improv.A "Big Bottom" style bass solo follows - although, to be fair, the bassist tries really hard to make the improv interesting and exciting - and succeeds to a fair degree, especially when he gives the cue for the keyboard and guitar re-entry - it really isn't apparent, and you have to listen hard several times to get it, it feels so natural.The Choir section returns - and it feels perfectly natural that it should do so - framing the jazz section very nicely - giving a masterclass in how form can be made to feel spontaneous.The title track begins with one of the most original intros I've ever heard - incredibly simple (but the best ideas often are), then kicking into an uptempo rocker with falsetto from hell that makes Matt Bellamy sound like a Contra bass... There are lots of goodies in here, including tempo changes, guitar solos, enthusiastic guitar panning, and a dark groove that would provoke many nuns into dancing around mooonlit fires sans habits... in my twisted imagination, at least. There are one or two "baddies" in here too - but easily overlooked."Die Stadt", apart from having tuning issues in the acoustic guitar, smacks a little of early Kraftwerk, but darker, naturally, and the intro appears to be a proclamation - Hawkwind style. When the big riff kicks in, it reminds me very much of Mountain in texture, but, true to form, Necronomicon break it all down, with a "cat on a hot tin roof" approach that demonstrates exactly how to go off at tangents and really mean it. One or two timing issues (!) do not spoil the infectious grooves that they settle into, with the now familiar dark keyboard washes and walking bass lines - I get a flavour of Hawkwind's "Master of the Universe" in places. I'm assuming that the spare acoustic was used for the outro ;0)"In Memoriam" is so dischordant, it too appears to have tuning issues, but these are soon resolved, and it's apparent that the heavy dischords are totally intentional. Very rough at the edges to start with, this piece dives around, and a mixed bag of good and truly superb ideas are thrown out, with decorative fill/synchronised runs that pre-empt Prog metal. Once the band have got into their groove, this really is a piece that every fan of Krautrock should hear - deeply and highly emotional, yet carefully worked out, with plenty of space for improv. Almost perfect, despite occasional timing issues. The ending is particularly notable, although I have to admit the falsetto annoys me too.Requiem Vom Ende rounds things off consistenly nicely, despite more tuning issues, which we just have to swallow and live with - after all, it's the music that's important. And what we get from the music is more cavernous sounds, thoughtfully meandering bass, then big, crashing chords of chaos, and over-reverbed voices clearly proclaiming rather than singing, carrying an authoritative tone, but dropping back to a wistful, almost mournful air, carrying a strong flavour of Floyd.Now, around 3:00, is the most powerful moment on the album, a throbbing, pulsating orb of music that grows (and might arguably have benefitted from losing the falsetto voice), grows, drops, and recapitulates. It's at this late point in the song I realise that the main riff is a combination of "Pictures of Matchstick Men" and "Hey Joe". An inspired welding together, that results in a spacious riff with a familiar feeling groove.I won't cover the very end - I'll leave that entirely for your discovery ;o)Here's a clue - it's not at all disappointing!All in all, a most excellent addition to any Prog Rock collection - which doesn't mean you're going to like it. My advice is to get familiar with Krautrock before approaching this album, as those unfamiliar with the genre are likely to be highly disturbed by it.It just scrapes into the Masterpiece category, because I'm concentrating on the music alone, and ignoring technical and execution issues simply because of the low budget live recording. A real mind-blower - but be careful, as in the wrong hands it could be mistaken as simply a blower... source : progarchives.com
Your Download-Link :
Labels: innocent76, N
The Mindbenders - s/t
Remaining together following the departure of frontman Wayne Fontana, the Mindbenders got off to one of the most promising starts any band could enjoy, when their debut single "A Groovy Kind of Love" soared to number two in the U.K. and topped the chart in America. And had the group only succeeded in locating a decent follow-up, they might well have developed into one of the finest British bands of the late '60s. Instead, a series of disastrous choices of 45s condemned them to the ranks of rank also-rans, and it is only later that the sheer quality of their other work — material hitherto lost on two Mindbenders LPs — had been re-evaluated sufficiently to let listeners state that here was one of the greatest of all Britain's post-beat bands. A Groovy Kind of Love album totally failed to capitalize on the success of its title track, floundering to a lowly number 92, while a second song by "Groovy" composers Carole Bayer and Toni Wine, "Ashes to Ashes," scarcely improved on that in the singles' listings. It made number 55, although Fontana did still try to capitalize on it, repressing the Groovy Kind of Love album with "Ashes to Ashes" replacing "Don't Cry No More." (Later in the year, "Ashes to Ashes" hit number 14 in Britain, but only after the vaguely Spector-ish "Can't Live With You (Can't Live Without You)" had struggled to break the Top 30.The Mindbenders made their final American tour in July 1966, kicking off in Atlanta on Independence Day, in front of a capacity 25,000 crowd. It was a shame they were only the opening band. James Brown was the headliner and, while Eric Stewart remembered, "we went down quite well," a more memorable show came when the Mindbenders played the Fillmore West later in the tour. "The liquid light show was great and really worked with our act, which was a lot heavier than on our records." Stewart himself had developed into a very strong songwriter in his own right, contributing one song ("My New Day and Age") to the newly emergent prog rock favorites Family, and coming up with another, "Yellow Brick Road," which has been described as "the best record Traffic never made." For singles, however, the Mindbenders continued looking outside for new material. It was not necessarily a bad decision; their taste, after all, remained impeccable. Their final release of 1966, "I Want Her, She Wants Me," for instance, was written by the Zombies' Rod Argent and was handed to the Mindbenders a full year before it reappeared on the Zombies' own Odyssey & Oracle album. Fighting hard to keep abreast of the changing currents, the Mindbenders next embarked on their most audacious yet strangely prescient move yet, a full-blown concept album. No matter that, several months before Sgt. Pepper and even longer before SF Sorrow and Tommy, nobody had even heard of concept albums, the Mindbenders' With Woman in Mind remains a gem in that genre. And yet, despite the presence of both "I Want Her, She Wants Me" and "Ashes to Ashes," plus a startling new Graham Gouldman song, the lascivious "Schoolgirl" is an undiscovered gem as well. Unreleased in America, it did little anywhere else and disappeared as quickly as the accompanying single, yet another Bayer/Wine composition, "We'll Talk About It Tomorrow." Faltering ratings and drooping self-confidence, of course, were not necessarily an insurmountable hurdle. The group was invited to contribute two songs to the soundtrack of Sidney Poitier's movie To Sir, With Love — "number one hitmakers the Mindbenders" are seen performing live in the school gymnasium, airing "It's Getting Harder All of the Time" and "Off and Running," both sides of their next single. Unfortunately, not even major celluloid exposure could break the group's run of bad luck. Neither could an infusion of new blood, after drummer Ric Rothwell quit to be replaced by Paul Hancox. By the end of the year, the band was reduced to recording covers of current American hits, which could be rush released in Britain in the hope of beating out the original. Art had been reduced to a crapshoot and, even as the first of the Mindbenders' efforts, a version of the Boxtops' "The Letter." ground its way to number 42 in September 1967 (the competition, by the way, reached number five), it was clear that the end was in sight. The Mindbenders made one final stab at reversing their fortunes, re-recording "Schoolgirl" and pulling out every psychedelic rock trick in the book. A BBC ban (that lasciviousness again), however, kept the single a good arm's length from either the radio or the charts and, when a reading of Robert Knight's "Blessed Are the Lonely" followed "Schoolgirl" into the dumper, in March 1968, Bob Lang quit (he would reappear as a member of soft rockers Racing Cars in the mid-'70s). He was replaced by Graham Gouldman, in which form the band cut one final single "Uncle Joe, the Ice Cream Man." The Mindbenders then broke up, calling it a day at the Liverpool Empire on November 20, 1968, the last night of a U.K. tour with the Who, Arthur Brown, and Joe Cocker. Stewart and Gouldman, however, would continue working together, first as partners in the newly launched Strawberry Studios, then as one half of 10cc.
source: allmusic.com
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Labels: innocent76, M
Friday, November 10, 2006
Holy River Family Band - 1996 - Haida Dieties
Holy River Family Band - 1996 - Haida Dieties
01 Fragrance Of Flowers And Herbs
02 Eztetl
03 Green Corn Dance
04 The Vision Quest Of The Sanpoil
3 member band from Sweden including Jens Unosson (The Spacious Mind) mixing eastern world music influences with some pretty tripped-out space like imagery. Tranquil almost mesmerizing in parts with a wonderful array of percussive and string interplay. Background synth landscapes paint continued sonic imagery creating some enormous sounds. Haida Deities would actually make a great sountrack with its highly sculptured landscaped sounds. Of course a full complement of world instruments are used …..drums, congas, tablas, bombo leguero, flutes, pipes, jews harp, electric piano, electirc organ, synthesizers, 12 & 6 string guitars, saz, oud, surna, violin, bass and even hurgy-gurdy. This stunning album will almost cetainly appeal to any fan of space - psych music.....Music for your young mind
Enjoy !
01 Fragrance Of Flowers And Herbs
02 Eztetl
03 Green Corn Dance
04 The Vision Quest Of The Sanpoil
3 member band from Sweden including Jens Unosson (The Spacious Mind) mixing eastern world music influences with some pretty tripped-out space like imagery. Tranquil almost mesmerizing in parts with a wonderful array of percussive and string interplay. Background synth landscapes paint continued sonic imagery creating some enormous sounds. Haida Deities would actually make a great sountrack with its highly sculptured landscaped sounds. Of course a full complement of world instruments are used …..drums, congas, tablas, bombo leguero, flutes, pipes, jews harp, electric piano, electirc organ, synthesizers, 12 & 6 string guitars, saz, oud, surna, violin, bass and even hurgy-gurdy. This stunning album will almost cetainly appeal to any fan of space - psych music.....Music for your young mind
Enjoy !
Thursday, November 09, 2006
Arthur Brown's Kingdom Come - 1971 - Galactic Zoo Dossier
Arthur Brown's Kingdom Come - 1971 - Galactic Zoo DossierTracks :
1. Intro (0:52)*
2. Internal messenger (4:05)
3. Space plucks (2:53)
4. Space plucks (0:51)*
5. Galactic zoo (2:32)
6. Metal monster (1:46)
7. Simple man (3:06)
8. Night of the pigs (1:03)
9. Sunrise (6:49)
10. Trouble (2:01)
11. Begins (1:09)
12. Galactic zoo (continued) (3:05)
13. Space plucks (continued)**
14. Galactic zoo (continued)**
15. Creep (4:06)
16. Creation ~ Gypsy escape (7:20)
17. Noise (0:15)*
18. No time (6:13)
Bonus tracks on cd releases:
19. No STEREO efect (0:02)
20. Metal monster (1:47)
21. Space pucks (including Dem Bones) (5:51)
22. Sunrise (6:32)
Total Time: 62:18
* Not available on LP
** Not available on CD
Line-up
- Arthur Brown / vocals
- Julian Brown / vocals
- Phil Curtis / bass
- Andy Dalby / guitar
- Michael Harris / keyboards
- Phil Shutt / bass
- Martin Steer / drums
Releases information LP Polydor 2310 130 / CD Voiceprint VP 135 (1993) / CD Blueprint BP 135 (1997)
I'm sure a few of you know who Arthur Brown is. He had a hit in 1968 with "Fire". While he might be thought of as a one-hit wonder, all the albums he's done up to 1973 are well worth having. 1971's Galactic Zoo Dossier is that prime example. By this time, The Crazy World of Arthur Brown was history, the psychedelic scene was over, in place of the new, burgeoning prog rock scene, and Brown was in a new band called Kingdom Come (nothing to do with the '80s Led Zep clone band with the same name). This band, as it turns out, was a fixture in the British free festival scene, just like Gong, Hawkwind and (more than a decade later) Ozric Tentacles. I can only imagine how a Kingdom Come show might've been, but judging from the pictures included on the poster that comes with the original LP of Galactic Zoo Dossier, it looked like it was a sight to behold. Believe me when I tell you that Galactic Zoo Dossier is simply one of the most twisted albums you'll ever hear. Forget The Crazy World of Arthur Brown (actually don't, as that 1968 album is actually quite good), this album is WAY more demented, twisted, and out there! Just listen to cuts like "Internal Messenger", "Metal Monster", "Night of the Pigs", "Creep" and "Creation". "Creep" features some spoken dialog that sounds like it came off Hawkwind's Space Ritual. "Creation" is so far out there, it gives many Krautrock bands of the time a run for their money. Other goodies here include the mellow "Simply Man", the instrumental "Gypsy Escape", and "Sunrise". If you own the Supernatural Fairy Tales CD box set that was issued by Rhino Records (the box set is devoted entirely to progressive rock, with artwork by famed Yes, Asia, and Uriah Heep cover artist Roger Dean), you're already familiar with one of the songs off Galactic Zoo Dossier, and that is "Sunrise". The only reject cut on Galactic Zoo is "Trouble". That song was apparently sung by guitarist Andy Dalby, and was definately written by him. Pretty cheesy number with some really badly written lyrics ("I would like to write a song/To tell the world what is wrong with it today/I would like to write a book/If that were all it took, To make its troubles go away"), you can tell right away that Arthur Brown wouldn't dare write anything that bad. Luckily the song doesn't last very long, as the rest of the album is simply incredible. Totally strange to say the least, and if you want music that doesn't play it safe, then this album is for you.
Review by Proghead (Ben Miler)
1. Intro (0:52)*
2. Internal messenger (4:05)
3. Space plucks (2:53)
4. Space plucks (0:51)*
5. Galactic zoo (2:32)
6. Metal monster (1:46)
7. Simple man (3:06)
8. Night of the pigs (1:03)
9. Sunrise (6:49)
10. Trouble (2:01)
11. Begins (1:09)
12. Galactic zoo (continued) (3:05)
13. Space plucks (continued)**
14. Galactic zoo (continued)**
15. Creep (4:06)
16. Creation ~ Gypsy escape (7:20)
17. Noise (0:15)*
18. No time (6:13)
Bonus tracks on cd releases:
19. No STEREO efect (0:02)
20. Metal monster (1:47)
21. Space pucks (including Dem Bones) (5:51)
22. Sunrise (6:32)
Total Time: 62:18
* Not available on LP
** Not available on CD
Line-up
- Arthur Brown / vocals
- Julian Brown / vocals
- Phil Curtis / bass
- Andy Dalby / guitar
- Michael Harris / keyboards
- Phil Shutt / bass
- Martin Steer / drums
Releases information LP Polydor 2310 130 / CD Voiceprint VP 135 (1993) / CD Blueprint BP 135 (1997)
I'm sure a few of you know who Arthur Brown is. He had a hit in 1968 with "Fire". While he might be thought of as a one-hit wonder, all the albums he's done up to 1973 are well worth having. 1971's Galactic Zoo Dossier is that prime example. By this time, The Crazy World of Arthur Brown was history, the psychedelic scene was over, in place of the new, burgeoning prog rock scene, and Brown was in a new band called Kingdom Come (nothing to do with the '80s Led Zep clone band with the same name). This band, as it turns out, was a fixture in the British free festival scene, just like Gong, Hawkwind and (more than a decade later) Ozric Tentacles. I can only imagine how a Kingdom Come show might've been, but judging from the pictures included on the poster that comes with the original LP of Galactic Zoo Dossier, it looked like it was a sight to behold. Believe me when I tell you that Galactic Zoo Dossier is simply one of the most twisted albums you'll ever hear. Forget The Crazy World of Arthur Brown (actually don't, as that 1968 album is actually quite good), this album is WAY more demented, twisted, and out there! Just listen to cuts like "Internal Messenger", "Metal Monster", "Night of the Pigs", "Creep" and "Creation". "Creep" features some spoken dialog that sounds like it came off Hawkwind's Space Ritual. "Creation" is so far out there, it gives many Krautrock bands of the time a run for their money. Other goodies here include the mellow "Simply Man", the instrumental "Gypsy Escape", and "Sunrise". If you own the Supernatural Fairy Tales CD box set that was issued by Rhino Records (the box set is devoted entirely to progressive rock, with artwork by famed Yes, Asia, and Uriah Heep cover artist Roger Dean), you're already familiar with one of the songs off Galactic Zoo Dossier, and that is "Sunrise". The only reject cut on Galactic Zoo is "Trouble". That song was apparently sung by guitarist Andy Dalby, and was definately written by him. Pretty cheesy number with some really badly written lyrics ("I would like to write a song/To tell the world what is wrong with it today/I would like to write a book/If that were all it took, To make its troubles go away"), you can tell right away that Arthur Brown wouldn't dare write anything that bad. Luckily the song doesn't last very long, as the rest of the album is simply incredible. Totally strange to say the least, and if you want music that doesn't play it safe, then this album is for you.
Review by Proghead (Ben Miler)
Labels: A, B, K, Lost In Tyme
Jade Warrior - 1971 - Jade Warrior
Jade Warrior - 1971 - Jade Warrior
01. Traveller (2:40)
02. Prenormal Day At Brighton (2:45)
03. Masai Morning (6:44)
04. Windweaver (3:43)
05. Dragonfly Day (7:45)
06. Petunia (4:46)
07. Telephone Girl (4:54)
08. Psychiatric Sergeant (3:08)
09. Slow Ride (2:36)
10. Sundial Song (5:08)
- Tony Duhig / guitars
- Jon Field / percussion, flutes
- Glyn Havard / bass, vocals
Review
Jade Warrior's first album following Tony Duhig and Jon Field's emergence out of the psychedelic July captures them abandoning the best of that band's whimsical moodiness in favor of a symphonic spirituality epitomized from the outset by the soaring guitars that ecstatically slice through the opening "Traveller." Reminiscent, in places, of a less-precious successor to Quintessence and the Incredible String Band in that moods and esotericism do sometimes get the better of the band's more conventional music impulses, Jade Warrior is nevertheless a remarkable album, all the more so since its makers could readily have given the likes of Jethro Tull and the Moody Blues some serious competition in the mellifluous prog stakes. Glyn Havard's vocals themselves can sound extraordinarily Ian Anderson-ish in places, with Field's wielding of the flute and some distinctly edgy tempos only furthering that impression. Elsewhere, however, the same tools combine to induce emotions that range from trance to terror, an accomplishment that means highlights of the album are difficult to single out. Although the ten tracks are clearly delineated, the song titles are little more than passing impressions of the music's own sensations, rendering Jade Warrior one of those rare albums that is best experienced as a seamless whole.
~Dave Thompson, Allmusicguide
Biography
Jade Warrior was an eclectic group led by Jon Field and Tony Duhig, who met during the 1960s while working in a factory. The two did not immediately but spent several years improving their musical skills, Field on percussion, Duhig on guitar. They finally created a group named July, with Tom Newman, Chris Jackson and Alan James. Newman would later engineer (Mike Oldfield's landmark album Tubular Bells. July released one album of eccentric psychedelic pop in 1968, then folded.
After the demise of July, Duhig traveled to Iran, where he met guitarist and future bandmate Glyn Havard. Field remained in England, learned to play flute and created the Jade Warrior identity while writing music for a friend's dance drama. Jade warriors were the samurai of ancient Japan, cultured killers well schooled in arts ranging from poetry to murder. Duhig and Havard returned from the Middle East and contacted Field. The trio adopted the Jade Warrior name. Duhig and Field created most of the music, with Havard playing bass and contributing lyrics and vocals. This initial formation, supplemented at times by guitarist David Duhig and drummer Alan Price, signed with Vertigo Records and released three albums in three years: Jade Warrior, Released and Last Autumn's Dream. The band's sound combined a straightforward rock style with the sudden tempo changes and experimental instrumentation typical of early '70s art rock bands. Jade Warrior developed a loyal but small following. Vertigo canceled its contract, although the band had recorded nearly two albums worth of followup material. Most of this work was squelched for 25 years. The albums Eclipse and Fifth Element were recorded in 1973 but not released until 1998.
The group was on the verge of breaking up when Island Records offered a three album deal that eventually stretched to four records. But the change in labels reflected a similar shift in the band's sound. Island wanted to emphasize instrumentals. This left little room for Havard, who left the band. Jade Warrior became a duo, as Duhig and Field played numerous instruments to realize their increasingly exotic musical vision. The music became increasingly dreamlike, pushing a lighter jazz sound to the forefront. During the Island period of 1974 through 1978, Jade Warrior albums featured myriad percussive sounds but drum kits were rarely in evidence. The band liked to create a soothing, ethereal feel, then shatter it with gongs and unexpectedly raucous electric guitar, usually from guest David Duhig, Tony's brother. The albums featured occasional celebrity guests such as Steve Winwood, but Jade Warrior had a style of its own. The band's foray into what would later be labeled world and ambient music parallels the excursions of Brian Eno, who described Floating World as an important album.
During the 1980s, Field and Tony Duhig released a pair of albums, Horizon (1984) and At Peace (1989) but couldn't rise beyond cult status. Duhig was under a great deal of stress during much of this period. He opened a recording studio, mortgaging his house for funds. The studio flopped and Duhig's lender foreclosed the house.
Field became a session player, but after meeting bassist Dave Sturt, he took steps to revive Jade Warrior. He recruited guitarist Colin Henson. Tony Duhig was about to rejoin the fold when he died of a heart attack. Field and the others carried on, releasing two albums on Red Hot Records, Breathing the Storm and Distant Echoes, the latter featuring a guest appearance by former King Crimson violinist David Cross. The band began another album in 1996, but it has never been finished. Field, Henson and Sturt scattered to live in different parts of England and showed no inclination to finish the project.
~Casey Elston, Allmusicguide
01. Traveller (2:40)
02. Prenormal Day At Brighton (2:45)
03. Masai Morning (6:44)
04. Windweaver (3:43)
05. Dragonfly Day (7:45)
06. Petunia (4:46)
07. Telephone Girl (4:54)
08. Psychiatric Sergeant (3:08)
09. Slow Ride (2:36)
10. Sundial Song (5:08)
- Tony Duhig / guitars
- Jon Field / percussion, flutes
- Glyn Havard / bass, vocals
Review
Jade Warrior's first album following Tony Duhig and Jon Field's emergence out of the psychedelic July captures them abandoning the best of that band's whimsical moodiness in favor of a symphonic spirituality epitomized from the outset by the soaring guitars that ecstatically slice through the opening "Traveller." Reminiscent, in places, of a less-precious successor to Quintessence and the Incredible String Band in that moods and esotericism do sometimes get the better of the band's more conventional music impulses, Jade Warrior is nevertheless a remarkable album, all the more so since its makers could readily have given the likes of Jethro Tull and the Moody Blues some serious competition in the mellifluous prog stakes. Glyn Havard's vocals themselves can sound extraordinarily Ian Anderson-ish in places, with Field's wielding of the flute and some distinctly edgy tempos only furthering that impression. Elsewhere, however, the same tools combine to induce emotions that range from trance to terror, an accomplishment that means highlights of the album are difficult to single out. Although the ten tracks are clearly delineated, the song titles are little more than passing impressions of the music's own sensations, rendering Jade Warrior one of those rare albums that is best experienced as a seamless whole.
~Dave Thompson, Allmusicguide
Biography
Jade Warrior was an eclectic group led by Jon Field and Tony Duhig, who met during the 1960s while working in a factory. The two did not immediately but spent several years improving their musical skills, Field on percussion, Duhig on guitar. They finally created a group named July, with Tom Newman, Chris Jackson and Alan James. Newman would later engineer (Mike Oldfield's landmark album Tubular Bells. July released one album of eccentric psychedelic pop in 1968, then folded.
After the demise of July, Duhig traveled to Iran, where he met guitarist and future bandmate Glyn Havard. Field remained in England, learned to play flute and created the Jade Warrior identity while writing music for a friend's dance drama. Jade warriors were the samurai of ancient Japan, cultured killers well schooled in arts ranging from poetry to murder. Duhig and Havard returned from the Middle East and contacted Field. The trio adopted the Jade Warrior name. Duhig and Field created most of the music, with Havard playing bass and contributing lyrics and vocals. This initial formation, supplemented at times by guitarist David Duhig and drummer Alan Price, signed with Vertigo Records and released three albums in three years: Jade Warrior, Released and Last Autumn's Dream. The band's sound combined a straightforward rock style with the sudden tempo changes and experimental instrumentation typical of early '70s art rock bands. Jade Warrior developed a loyal but small following. Vertigo canceled its contract, although the band had recorded nearly two albums worth of followup material. Most of this work was squelched for 25 years. The albums Eclipse and Fifth Element were recorded in 1973 but not released until 1998.
The group was on the verge of breaking up when Island Records offered a three album deal that eventually stretched to four records. But the change in labels reflected a similar shift in the band's sound. Island wanted to emphasize instrumentals. This left little room for Havard, who left the band. Jade Warrior became a duo, as Duhig and Field played numerous instruments to realize their increasingly exotic musical vision. The music became increasingly dreamlike, pushing a lighter jazz sound to the forefront. During the Island period of 1974 through 1978, Jade Warrior albums featured myriad percussive sounds but drum kits were rarely in evidence. The band liked to create a soothing, ethereal feel, then shatter it with gongs and unexpectedly raucous electric guitar, usually from guest David Duhig, Tony's brother. The albums featured occasional celebrity guests such as Steve Winwood, but Jade Warrior had a style of its own. The band's foray into what would later be labeled world and ambient music parallels the excursions of Brian Eno, who described Floating World as an important album.
During the 1980s, Field and Tony Duhig released a pair of albums, Horizon (1984) and At Peace (1989) but couldn't rise beyond cult status. Duhig was under a great deal of stress during much of this period. He opened a recording studio, mortgaging his house for funds. The studio flopped and Duhig's lender foreclosed the house.
Field became a session player, but after meeting bassist Dave Sturt, he took steps to revive Jade Warrior. He recruited guitarist Colin Henson. Tony Duhig was about to rejoin the fold when he died of a heart attack. Field and the others carried on, releasing two albums on Red Hot Records, Breathing the Storm and Distant Echoes, the latter featuring a guest appearance by former King Crimson violinist David Cross. The band began another album in 1996, but it has never been finished. Field, Henson and Sturt scattered to live in different parts of England and showed no inclination to finish the project.
~Casey Elston, Allmusicguide
Labels: J, Lost In Tyme
Silver Sunshine
Like a heavy hammer onto anvil down from Ether's starry meadows, the sounds of Silver Sunshine are gradually engulfing this planet Earth. With their heads floating in the mist of Europe's original psychedelic and progressive eras, the boys formed under the winter sun of San Diego, CA in the year 2001. They released their SDMA-nominated, eponymous debut album in 2004 on Empyrean Records, followed by "A Small Pocket of Pure Spirit" - their evolved EP in 2005 on the same label. Since then, they've toured the west coast of the U.S. twice and shared the stage with many friends like: Dungen, Winter Flowers, Earthless, Jennifer Gentle, Jana Hunter, Bigelf, Persephone's Bees, The Black Keys, The Sunshine Fix, All Night Radio, Green Milk From the Planet Orange and DMBQ to name a few.
This San Diego foursome's S/T debut is an audacious introduction to a band who sound as if they'd time-warped from an alternate universe where it's always 1967 (but with better production values). A lot of influences here including The Move, Tomorrow, The Beatles, The Kinks, Pink Floyd, The Zombies and more. Like fellow modern-day lava lamplighters the Green Pajamas and the Soundtrack of Our Lives, Silver Sunshine filter dazzling psych-pop hooks through swirling, vertiginous atmospheres and lysergic ruminations: romantic infatuation as sensory-overload acid trip ("I See the Silver Sunshine"); haunted obsessions with ghostly babes ("Nightmares"); nocturnal strolls through the fields of an overactive imagination ("Greenfield Park"). The best among the many standout tracks here is the bracing, raga-flavored opener, "Velvet Skies," which is obviously influenced by "Tomorrow Never Knows," replete with backwards guitars). Trippy old-school sound effects like phased guitars and vocal harmonies sung from echo chambers plastered with black-light posters of Arthur Lee and Syd Barrett and then soaked in blessed reverb are a big part of the freakout fun. The Floydian cuckoo clocks, chimes, and chirping birds that dot the landscape make you wonder whether Silver Sunshine are winking at a grand, album-length inside joke, but XTC alter egos the Dukes of Stratosphear sounded pretty terrific having a laugh too.
The sound, production, songwriting and performance on their follow up EP "A Small Pocket Of Pure Spirit" has definitley evolved from their first full length and Silver Sunshine seem like they're finding their own sound. Kicking off this CD is "144,000", a freaked-out psych-pop number. I hear a slight Dungen influence but more bouncy with some great tempo changes and some seering wah-wah leads. Next is "Waiting For The Sun" which starts with a dreamy, echoed mellotron flute passage that suddenly bursts into a chugging rythm with a great, sweeping mellotron string melody. There are floaty psychedelic effects all over this song and parts of it remind me of Jeff Lynne's Idle Race. The third song, "She's The Reason" shows their love of the Beatles that was ever so present on their first album. This song sounds like a cross between post Sgt. Pepper/Magical Mystery Tour Beatles, Emitt Rhodes and Jimmy Campbell's Rockin' Horse including some nice wurlitzer electric piano. A great pop rock n' roll tune. Next we move on to "Another Day" a beautiful McCartney-esque ballad with acoustic guitar, mellotron strings and gorgeous harmonies. Finally we have the closer, "Hiroshima Never Again". This song doesn't quite live up to the caliber of the previous songs but still good in it's own right. This is a freaked out instrumental groove jam with delayed wah-wah guitar and more wurlitzer for good measure. My favorite part of this track is the middle percussion break down with the sweeping sound effects including moaning girls, police sirens and fuzzed out guitars. There is a darker sound to these five songs which seems to work well for Silver Sunshine. I'm really looking forward to their next full length but until then, this will do just fine. A Small Pocket Of Pure Spirit indeed.
This Tour EP is a 5 song compilation with songs from their first album and their follow up EP along with an unreleased home demo. This new track, Winter Witch, is a great freaky folk psych tune with Mellotron, flute and leslied acoustic guitar.
So what's on the horizon for Silver Sunshine? Richard Vaughan(guitar/vocals), Conor Riley(guitar/Mellotron/ARP/organ/vocals), Stuart Sclater(bass), and David Hurley(drums/flute/Moog/various noisemakers) are curently working on their next full length album and according to Vaughan: "It seems our inspiration has moved from the green fields into the weird woods." Expect a darker sound on their second album, more progressively psychedelic and organic, similar to their new live experience - sometimes heavy, sometimes gentle, always freaked.
Silver Sunshine Tour EP - Superb Psych/Prog/Folk
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01. 144,000
02. Waiting For The Sun
03. Winter Witch
04. Nightmares
5. Merry Go Round
This San Diego foursome's S/T debut is an audacious introduction to a band who sound as if they'd time-warped from an alternate universe where it's always 1967 (but with better production values). A lot of influences here including The Move, Tomorrow, The Beatles, The Kinks, Pink Floyd, The Zombies and more. Like fellow modern-day lava lamplighters the Green Pajamas and the Soundtrack of Our Lives, Silver Sunshine filter dazzling psych-pop hooks through swirling, vertiginous atmospheres and lysergic ruminations: romantic infatuation as sensory-overload acid trip ("I See the Silver Sunshine"); haunted obsessions with ghostly babes ("Nightmares"); nocturnal strolls through the fields of an overactive imagination ("Greenfield Park"). The best among the many standout tracks here is the bracing, raga-flavored opener, "Velvet Skies," which is obviously influenced by "Tomorrow Never Knows," replete with backwards guitars). Trippy old-school sound effects like phased guitars and vocal harmonies sung from echo chambers plastered with black-light posters of Arthur Lee and Syd Barrett and then soaked in blessed reverb are a big part of the freakout fun. The Floydian cuckoo clocks, chimes, and chirping birds that dot the landscape make you wonder whether Silver Sunshine are winking at a grand, album-length inside joke, but XTC alter egos the Dukes of Stratosphear sounded pretty terrific having a laugh too.
The sound, production, songwriting and performance on their follow up EP "A Small Pocket Of Pure Spirit" has definitley evolved from their first full length and Silver Sunshine seem like they're finding their own sound. Kicking off this CD is "144,000", a freaked-out psych-pop number. I hear a slight Dungen influence but more bouncy with some great tempo changes and some seering wah-wah leads. Next is "Waiting For The Sun" which starts with a dreamy, echoed mellotron flute passage that suddenly bursts into a chugging rythm with a great, sweeping mellotron string melody. There are floaty psychedelic effects all over this song and parts of it remind me of Jeff Lynne's Idle Race. The third song, "She's The Reason" shows their love of the Beatles that was ever so present on their first album. This song sounds like a cross between post Sgt. Pepper/Magical Mystery Tour Beatles, Emitt Rhodes and Jimmy Campbell's Rockin' Horse including some nice wurlitzer electric piano. A great pop rock n' roll tune. Next we move on to "Another Day" a beautiful McCartney-esque ballad with acoustic guitar, mellotron strings and gorgeous harmonies. Finally we have the closer, "Hiroshima Never Again". This song doesn't quite live up to the caliber of the previous songs but still good in it's own right. This is a freaked out instrumental groove jam with delayed wah-wah guitar and more wurlitzer for good measure. My favorite part of this track is the middle percussion break down with the sweeping sound effects including moaning girls, police sirens and fuzzed out guitars. There is a darker sound to these five songs which seems to work well for Silver Sunshine. I'm really looking forward to their next full length but until then, this will do just fine. A Small Pocket Of Pure Spirit indeed.
This Tour EP is a 5 song compilation with songs from their first album and their follow up EP along with an unreleased home demo. This new track, Winter Witch, is a great freaky folk psych tune with Mellotron, flute and leslied acoustic guitar.
So what's on the horizon for Silver Sunshine? Richard Vaughan(guitar/vocals), Conor Riley(guitar/Mellotron/ARP/organ/vocals), Stuart Sclater(bass), and David Hurley(drums/flute/Moog/various noisemakers) are curently working on their next full length album and according to Vaughan: "It seems our inspiration has moved from the green fields into the weird woods." Expect a darker sound on their second album, more progressively psychedelic and organic, similar to their new live experience - sometimes heavy, sometimes gentle, always freaked.
Silver Sunshine Tour EP - Superb Psych/Prog/Folk
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01. 144,000
02. Waiting For The Sun
03. Winter Witch
04. Nightmares
5. Merry Go Round
posted by Gathering_Of_The_Tribe [anonymous user]
Silver Sunshine - A Small Pocket Of Pure Spirit [EP]
01 144,000
02 Waiting For The Sun
03 She's The Reason
04 Another Day
05 Hiroshima Never Again
Silver Sunshine's self-titled debut album was at its best when the group stuck close to its influences -- the tough end of British psychedelia like the Move, the Who, and Pink Floyd. The follow-up EP, A Small Pocket of Pure Spirit, is also heavily influenced by the same era and is just as successful in dragging the past into the present. The album dragged in spots due to a couple of weak songs. No similar problems here as all five songs are quite good and varied. The opening "144,000" sounds like it could have come from the album, and if it had, it would have been among the best songs there with its lighter-waving chorus and electric guitar work. "She's the Reason," a bouncy Zombies-influenced ballad, would have been a standout too. A nice surprise is the lovely "Another Day," which is a pastoral acoustic ballad with gorgeous fake strings and vocal harmonies that shows a new dimension to the band. Only the instrumental throwaway "Hiroshima Never Again" fails to impress. Silver Sunshine don't have the luxury of being on a label like Rainbow Quartz or Not Lame, which seem to be repositories for bands with similar influences. They do have the distinction of being better than most of them, however. Hopefully fans of the style will look outside their narrow boundaries and give the group a chance. They will most likely be quite impressed.
Silver Sunshine - 2004 - Silver Sunshine
01. Velvet Skies
02. I See the Silver Sunshine
03. Trinkets
04. Way Up in the Big Sky
05. Nightmares
06. If I Had the Time
07. Greenfield Park
08. Girl
09. When She Wakes Tomorrow
10. Miranda May
11. Merry Go Round
01 144,000
02 Waiting For The Sun
03 She's The Reason
04 Another Day
05 Hiroshima Never Again
Silver Sunshine's self-titled debut album was at its best when the group stuck close to its influences -- the tough end of British psychedelia like the Move, the Who, and Pink Floyd. The follow-up EP, A Small Pocket of Pure Spirit, is also heavily influenced by the same era and is just as successful in dragging the past into the present. The album dragged in spots due to a couple of weak songs. No similar problems here as all five songs are quite good and varied. The opening "144,000" sounds like it could have come from the album, and if it had, it would have been among the best songs there with its lighter-waving chorus and electric guitar work. "She's the Reason," a bouncy Zombies-influenced ballad, would have been a standout too. A nice surprise is the lovely "Another Day," which is a pastoral acoustic ballad with gorgeous fake strings and vocal harmonies that shows a new dimension to the band. Only the instrumental throwaway "Hiroshima Never Again" fails to impress. Silver Sunshine don't have the luxury of being on a label like Rainbow Quartz or Not Lame, which seem to be repositories for bands with similar influences. They do have the distinction of being better than most of them, however. Hopefully fans of the style will look outside their narrow boundaries and give the group a chance. They will most likely be quite impressed.
posted by sub_commandante_marcos
Silver Sunshine - 2004 - Silver Sunshine
01. Velvet Skies
02. I See the Silver Sunshine
03. Trinkets
04. Way Up in the Big Sky
05. Nightmares
06. If I Had the Time
07. Greenfield Park
08. Girl
09. When She Wakes Tomorrow
10. Miranda May
11. Merry Go Round
posted by Opa-Loka
Labels: by Friends and Visitors of this Blog, S
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