Monday, December 11, 2006
01 Trip Away (10:19)
02 Song of Junk (3:51)
03 Every Time (3:17)
04 Indian Fate (3:55)
05 Hopeless Love (2:50)
06 Too Many Stops (4:24)
07 For Me, For You (4:26)
08 Business Woman (3:47)
09 Lonely Lover (3:57)
10 Clean Survival (4:01)
11 Motorcycle Mama (2:07)
12 Your Lovin' Man (1:47)
The beginning of Sitting Bull is closely linked to the musical history of bandleader Bernd Zamulo. Bernd Zamulo grew up near Bremen where he played with a few local bands. At a Lords concert in 1965 he met the band and they clicked from the start and at another gig Bernd was invited to play bass with them. It was a perfect performance and he sung the classic "Boom Boom". Later on that year the Lords bassist, Lord Knut, had a bad accident and was unable to continue playing so they asked Bernd to take his place for the rest of the tour. In the autumn of 1965 Bernd left his band, Rhythm Brothers, and joined the Lords. With his other talents as a pianist, guitarrist and singer he was quite a find for the Lords. The following years saw the Lords produce many hit singles and albums making a lot of money in the process. Bernd was getting restless though and wanted to leave the mainstream and take a change towards more progressive music. He was in a quandry though as he was good friends with the other band members but could not realise his musical ambitions with them. In the beginning of 1971 he made his decision and left the Lords which in turn led to the break-up of the band who in fact reformed years later. The break-up of the Lords created a furore in press but could not hold Bernd back from his decision and he went looking for new musicians, which didn't take long. Bernd's interest in American Indians led to the group being called Sitting Bull. His past career with the Lords put him in good stead with the music industry making it easier to find a record deal. To avoid record company influence the band decided to produce their record themselves but this was a costly matter and the money had to come from somewhere.
Although Bernd made a lot of money with the Lords he also lived well and his lifestyle had to change. He moved away from the costly Düsseldorf and moved to a hunting cottage in Oldendorf outside Bremen and sold off some of his luxurious possesions that he accumulated with the Lords. With a record company advance from CBS Sitting Bull moved into Hamburg's Windrose studio to record their debut LP. The band were able to use the excellent facilities and were able to emulate their contempories from Britain and America and record whenever they felt like it. They were able to do exactly what they wanted in this top studio and were not bothered about making their music commercial, the love of music was enough. As the sessions were lengthy and costly the band had to move out of their hotel and into an empty house. When the LP finally arrived CBS took two songs for a single and arranged a promotion tour which proved impossible to finish because the band's lifestyle was so chaotic they were not even able to turn up for some of the dates! The record company was not too pleased about this and the band broke up after being together for nearly two years. With a changed line-up they recorded two singles for Philips. Two titles we have chosen as bonus tracks.
Bernd Zamulo decided to take a break and in 1975 joined up with his former colleagues from the newly reformed Lords where he has stayed until today.
Compared with other German bands the Sitting Bull album was a success and entered the LP charts accumulating postive press critique on the way. The atonomy of the music was praised especially the long improvised epic Krautrock songs. The title song of the album, "Trip Away" was over ten minutes long and showed the clear structural and musical abilities of the band. Untypical for German bands of the time Sitting Bull were influenced by West Coast music which when given the German treatment was a special experience.
In addition to his exclusively acoustic instruments Micus also uses his voice, at times – with multitrack recording techniques – creating whole choral pieces by himself. The words he sings usually do not carry any known meaning. However, on Athos he set to music ancient Greek prayers to the Virgin Mary, on Desert Poems he performed two original poems in English and on Life he has set to music an ancient Japanese Koan.
Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas.
He has studied a variety of instruments including guitar, concert-flute, sitar in Benares (India), flamenco guitar in Granada (Spain), shakuhachi (Japanese bamboo flute) and sho (Japanese mouth organ) in Kyoto (Japan), suling (Balinese flute) in Ubud (Bali), Uillean pipes in Carna (Ireland), sinding (African harp) in Gambia, dondon (talking drum) in Accra (Ghana), doussn’ gouni (African harp) in Bamako (Mali), duduki (Georgian oboe) and choral singing in Tbilisi (Georgia), hné (Burmese oboe) in Yangon and Mandalay (Myanmar), duduk (Armenian oboe) in Yerevan (Armenia), bagana (Ethiopian lyre) in Addis Abeba.
In search of musical culture and context Micus has travelled extensively, in particular in India, Japan, Indonesia, Korea, Afghanistan, Morocco, Algeria, Tunisia, Thailand, Egypt, Burma, Sri Lanka, Turkey, USA, Canada, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Peru, Ghana, Mali, Jordan, Georgia, Ethiopia, Pakistan, Yemen, Cuba, Lebanon, Laos, Vietnam, Cambodia, Uzbekistan, Kyrgyzstan, Cabo Verde, Mauretania, Armenia, Karabagh.
Roman Bunka Band - 1980 - Dein Kopf Ist Ein Schlafendes Auto
01 Si Ga Ni Wa Ta (6:28)
02 No More Jogging (4:47)
03 Frag' Mich Night... (6:00)
04 The Heat (5:28)
05 Glowin' (11:14)
06 Heartbeat (10:17)
Roman Bunka (Guitar,Keyboards,Vocals,Oud)
Chilli Baba (Vocals)
Gerald Luciano Hartwig (Bass)
Gerald Luciano Hartwig (Sitar)
Freddie Setz (Piano)
Freddie Setz (Drums)
Sun A. Yoon (Vocals)
In fact, born in 1951, Bunka´s biography may be considered a chapter in contemporary German music history. Working with the pioneering German avant-garde / rock / jazz and world-music group Embryo (portrayed in "Vagabundenkarawane", a documentary by director Werner Penzel) Roman Bunka broke new ground with his Eastern-influenced guitar playing and composing (featured on "Embryo´s Reise", Schneeball Rec.).
In India, in 1976 he performed in concert for the first time with world-renowned percussionist and composer Trilok Gurtu. To pursue his musical development in a microtonal and modal direction, Bunka searched for a second, more suitable stringed instrument. He discovered the Arabic lute or "oud", the fretless mother of the guitar.
His first solo album ("Dein Kopf ist ein schlafendes Auto" recorded in 1980 re-released by ATM-records) presented a blend of avant-garde rock with Oriental melodies. Released in the same period was the more jazz / rock fusion oriented album "Live!", rec. 1979 with the grup Aera. After concerts with Okay Temiz in Turkey, Bunka chose Cairo as his musical refuge in the Arab world during the 1980's.
A guitarist with eclectic influences and tastes, Roman Bunka's recordings include 1980's Dein Kopf ist ein Schlafendes Auto and 1995's Color Me Cairo. ~ Jason Ankeny, All Music Guide
01 Hazy Lady 2:15
02 Magic Potion 3:51
03 Life Child 7:40
04 Mt Olympus 3:28
05 Freak Forever 9:00
06 Thing in E 3:45
07 As it comes to me 6:33
08 Lord Shiva's Dream13:34
"After a little irritation by a somehow failed intro right in the middle of the first tune all of a sudden an unexpectedly great album starts, and it remains great to the end. Basically, the opener "What it is" is an impressive tune that should have deserved a more careful production, but with "Out Of This Room" you take off for a journey into the history of psychedelic music with all the timeless virtues of this genre. Tunes have room to breathe, solos have time to develop, the singer tells a story, and you as a listener have plenty of opportunities to mantra around - mind tripping with no drugs needed, which is also reflected in the lyrics: "Don't forget To Be Real", as in the verse that gives the title to the third tune "To Be Real". Most of the tunes have a West Coast like easiness, and the Sixties US band "It's A Beautiful Day" came into my mind, if you abstract from their kitschy "White Bird" and the dominant violin. "Pink Cloud" shows this best. Here you get a fourteen minute long collection of different "parts" with folk style guitars in the beginning of a "dreamy" performance that leads to improvisations with high density and intensity combined with dramatic tempo changes and a high degree of "togetherness" of the band members. If anybody might have forgotten that the late Sixties Psychedelia was the cradle of almost all later sub-genres of Rock and the beginning of its triumphant advance as the dominating category in popular music for more than thirty years, Liquid Visions reminds you of this with "Moonspell" and "Ebola Monster". "Moonspell" is a showcase for the emergence of progressive music whilst "Ebola Monster" tells you the story of the early Hard Rock, and in both cases the bones are presented together with the flesh (and not separated as it's frequently the case with "pure" Progressive or Hard Rock). Even if they're not really innovative Liquid Visions are quite inventive though in reawakening the old fame of psychedelic music in a very fresh and exciting way. Really outstanding are some most beautiful guitar solos and the use of the theremin scarcely heard in such a tasteful way in a Rock production. Highly recommended to time witnesses of the Sixties and Seventies psychedelic music as well as to "novices". "
02. I Am The Sun
03. She Lives!
04. Celebrity Lifestyle
05. Mother Father
06. Blood Promise
08. My Buried Child
10. Alcohol The Seed
11. Killing For Company
12. Mother's Milk
13. Where Does A Body End?
15. The Great Annihilator
After a three-year break occasioned in part by wrangles with the Sky label, Swans returned in 1995 with a vengeance, as always pursuing their unique muse of dramatic, ever-more textured music. Gira and Jarboe work with a fantastic core band this time out, including returning veteran Westberg, who trades off guitar duties with Steele, at points playing together with him, a magnificent combination. Other returning musicians include Kizys and Parsons, while newer players like drummer Bill Rieflin from the Chicago Wax Trax! circle join as well. As is par for the course by now, Swans seem incapable of producing a bad album, Annihilator being crammed full of astonishing songs to prove it. Everything's a little more stripped-down here, possibly due to having a central band, but it's still all very lushly arranged and created, perfectly balancing force and restraint. Leadoff single "Celebrity Lifestyle" is one of the catchiest things the band has ever done, but it's still uniquely Swans -- a minimal, throbbing song matched with a sharp lyric on starlust and what it might mean. "I Am the Sun" pounds as hard as any early Swans track, but the use of careful space between blasts, Gira's heavily echoed, out-of-nowhere vocal (accentuated by equally vivid background vocals from Jarboe), and tempo shifts clearly demonstrates the constantly evolving nature of Swans music; the band is never content to simply repeat the past. Jarboe's own standout tracks include "Mother/Father," a brawling number showcasing both her and the band at their full-on best, and "My Buried Child," with her softly husked take on a terrifying Gira lyric, which is carried by a roiling rhythm. This is followed immediately by the sweeping, cinematic "Warm," where she contributes wordless vocals. Once again, Swans have created an epic, incredible work of art.
review from AllMusicGuide
One of the few remaining pieces of the digipacked and remastered re-issue puzzle, 1994's "The Great Annihilator" is reclaimed from Invisible Records for Michael Gira's own Young God Records. This was a transitive period for Gira and Jarboe's SWANS, a natural progression from the previous "bunny" artwork themed albums ("White Light From the Mouth of Infinity" and "Love Of Life") and a premonition of what was to come with the conclusive trilogy ("Die Tür Ist Zu", "Soundtracks For The Blind" and "SWANS Are DEAD"). Many of "TGA"'s songs delve into a darker and grittier sound but also maintain melody, mixed moods and brevity. "Celebrity Lifestyle" and "Mother/Father" flirt dangerously with mainstream rock & roll conventions while "Mind/Body/Light/Sound", "My Buried Child" and "Alcohol The Seed" throb with tantric mantras. Tenderness is a distinctive trait of "Blood Promise", "Warm", "Killing For Company" and "Mother's Milk", the last of which features an especially bittersweet vocal by Jarboe. Lyrical themes follow Gira's ever-present obsessions with the eternally entangled dualities of life and death, love and hate, mind and body, man and "God", etc. The title track embraces Stephen Hawking's theory of an omnivorous, universe destroying black hole - science's embodiment of God, perhaps. Near the end Gira invitingly sings "come on in and come inside" in harmony with the title and Jarboe's backing over a spiraling mass of percussion laden rock, perfectly evoking the very nature of said sucker. To my ears the remastering improves overall clarity but is far from drastic and the bonus track, a bootleg quality live rendition of "I Am The Sun", pales in comparison to the version on "SWANS Are DEAD". No matter. "The Great Annihilator" is what nearly all SWANS albums were and remain to be: powerful, evocative and, ultimately for me, indispensable ...
review from www.brainwashed.com
02. Shit Tinted Shades
04. Because You Wanted It
08. Situation Desperate
12. 'Til The End of The World
Michael J. Sheehy: Vocals, guitars, keyboards
Andrew Park: Bass guitar, keyboards, guitars
Laurence Ash: Drums, percussion
Alex Vald, guitar (until 1997)
Info for the band:
Dream City Film Club was one of England's most under-rated bands of the 1990s. Propelled by the bombastic assault of bassist Andrew Park and drummer Laurence Ash, and the sonic intensity of guitarist Alex Vald, guitarist/vocalist Michael John Sheehy, radiated darkness with songs about murder, sex, drugs and violence.A veteran of the singer-songwriter circuit in Northern England, Sheehy formed Dream City Film Club with Vald and Ash, two musicians who supplemented their income by producing shows at Kentish Town nightspot, the Bull & Gate. When Ash's group disbanded, a few months later, Sheehy, Ash and Vald began playing together informally. The group soon became a quartet with the addition of bassist, Andrew Park.Making their debut, at the Bull & Gate, in July 1995, Dream City Film Club continued to perform throughout northern London. Although a recording of several tunes was financed by Epic, in late 1995, the label refused to release it. The group had to settle for sharing a single with Dublin-born and London-based vocalist, Suzanne Rhatigan, on a label affiliated with Sean Worrell's fanzine, The Organ. They later released an EP on Organ.Signing with the slightly larger, Beggars Banquet, label, Dream City Film Club released a single, Perfect Piece Of Trash". Although they began work on their debut album in October 1996, Vald became ill during recording sessions and the project was delayed. With the release of their self-titled debut album, in 1997, Dream City Film Club reached out to a wider audience. Following a recording session for BBC disc jockey/producer, John Peel, in December 1996, they embarked on two years of performances in France, Belgium and nearly every corner of England. They recorded subsequent sessions for Peel in April 1998 and February 1999.Vald's departure, during the pre-production stage of their second album, In The Cold Light Of Morning, resulted in Dream City Film Club recording the album as a trio. Although they went on to release another, EP, Stranger Blues, in early-2000, the group disbanded. Sheehy released a solo album, As If And Also, shortly afterwards.
Info for this particular album:
The band's first album, the one major release featuring the original four-piece lineup, works in the same effective, compelling vein as the later In the Cold Light of Morning. If anything, the presence of Alex Vald here doesn't seem to show any difference in performance or general atmosphere — things for the band, and especially Michael John Sheehy, again inhabit the later, familiar vein of haunted country and blues-tinged music mixing with glam/goth styles. Certainly anyone who prefers life as black as possible will find something to love in the piercing guitar abuse and chilling slow crunch of "Fifth Dealer," which makes as good a claim to be the band's highlight track as anything else. "Perfect Piece of Trash" is another on-the-edge winner, much quicker but no less screwed up, lyrics detailing an already questionable relationship going even worse wedded to a rave-up explosion. A number of efforts suggest a more strung-out but still nervous Gallon Drunk, like the creepy lounge touches on "Shit Tinged Shades," Sheehy's distorted voice sounding as out there as the deep-in-the-background feedback whine. Sheehy himself sticks to a fairly well-worn lyrical vein that won't totally surprise listeners who knows their Birthday Party and related bands, but he doesn't try to specifically sound like any of that crew so much as a side-of-the-mouth talking poet of filth with occasional tendencies to stay perfectly calm. "Porno Paradiso," in particular, lets him demonstrate both his not-bad falsetto and a generally softer approach. The musical balance between noise and dark, twangy restraint holds true pretty much for the whole release, and in the latter mode the foursome is often at its best. Consider the soft chimes and buried semi-Morricone feedback on "Because You Wanted It" or the accordion and minimal keyboard melody on "Mama," a little slice of cabaret in hell.
1. Spacey tracey (D. Abbink) [8:28]
2. Timeless dream (D. Abbink) [3:32]
3. Oranje vrijstaat (D. Abbink, R. van Wageningen) [7:30]
4. Fallen tree (D. Abbink, R. van Wageningen) [9:13]
5. Power (D. Abbink) [6:48]
6. Fantasio (D. Abbink, R. van Wageningen) [5:20]
CD bonus tracks:
7. Vybra stroll (D. Abbink) [1:58]
8. Nosy noise (D. Abbink, R. van Wageningen) [3:06]
9. Huddo jaw (D. Abbink, R. van Wageningen) [1:54]
10. Pushy (D. Abbink, R. van Wageningen) [4:41]
11. Try to forget (D. Abbink) [2:59]
02 - Sunday
04 - Man Without A Name
06 - Cocaine
08 - High On A Mountain
10 - Midday Sun
12 - Felix
Although Andwellas Dream were a versatile psychedelic group, they were nonetheless generic no matter what angle they were taking. On Love and Poetry, you get sustained guitar that walks the line between freakbeat and heaviness; some swirling organ and husky vocals that betray the influence of Traffic and Procol Harum; pastoral acoustic folky tunes in the Donovan style; airy-fairy dabs of phased guitars and storybook lyrics; etc. Eclecticism is to be commended, and since late-1960s British psychedelia is an interesting genre in and of itself, generic music in the sub-genre is more interesting than some other generic music in other styles. Still, generic music is generic music, and being able to do a bunch of different things in an unexceptional manner does not make you exceptional. The fairly tuneful folk-rocker "Midday Sun" is the best cut; it's also interesting to hear a song about "Cocaine" in 1969, before the drug was too well known even in the counterculture.
Drowning Pool - 1989 - Aphonia
Drowning Pool (Adam Elesh, Brett Smith, Andrew Crane, and Jon Thomas) was an avant-rock ensemble that released extraordinary collections of eccentric songs: the double album Satori (Nate Starkman and Son, 1987), the EP Nierika (Viva Records, 1988) and the album Aphonia (Nate Starkman and Son-Fundamental, 1989). Their music straddled the line between new wave, psychedelia, world-music, ambient and industrial. They changed name to Mumbles and disappeared.
Aphonia (the last LP from the Drowning Pool) is a tense struggle between order and chaos. There is a constant regular rhythm, but over it, there are contrasting atmospheres, like the oriental sounds in 'Blackbagdhad', the tribal chants in 'Tap Tap', the jazzy guitar melodies in 'Shimmy', the night rain sounds in 'Water', the actor's voices (from Fellini's Dolce Vita) in 'Italian Pop Song'. In this LP, as its title suggests, there are no vocals, as Andrew Crane had left, and there are obvious similarities with the late 80s period of Savage Republic.
Line-up: Adam Elesh, Brett Smith, Jon Thomas
Producer: Drowning Pool, Vitus Mataré
1 Black Baghdad (4:41)
2 Tap Tap (3:56)
3 Shimmy (4:52)
4 Water (3:08)
5 Din (4:08)
6 Chevalier Macgregor (7:41)
7 The Italian Pop Song (5:24)
8 Trueblood (4:52) (CD only)
9 The Vanishing Prairie (5:13) (CD only)
Edit: Aphonia is available here. For more please see the comments of this post.
Sunday, December 10, 2006
RD 15 Country Weather - Same (Double LP)
part I part II
01 Over and Over (4:42)
02 Boy Without a Home (3:57)
03 Out on the Trail (3:17)
04 Yes That's Right (3:51)
05 Why Time Is Leaving Me Behind (4:02)
06 New York City Blues (4:32)
07 Carry a Spare (5:04)
08 Fly to New York (6:49)
09 Black Mountain Rag (1:24)
10 I Don't Know (4:03)
11 Black Mountain Rag (7:10)
12 Pakistan (Ring Around the Moon) (2:48)
13 Fly to New York (9:17)
14 New York City Blues (4:26)
15 Yes That's Right (3:19)
16 Wake Me Shake Me (15:04)
Long awaited release of the best unsigned San Francisco band of the 60s!
Side 1 is the now legendary 1969 1-sided demo-only LP from the remastered mastertape.
Side 2 are studio recordings from the Church in San Anselmo, CA in 1971.
Side 3 and 4 are live recordings from the Walnut Creek Civic Center, CA in 1970.
The front cover was done by the legendary 60s poster artist Randy Tuten. The booklet includes hitherto unseen photos and the story of the band told by the different musicians.
Pressed on heavy audiophile vinyl; comes with a heavy old style cardboard foldout cover and a multi page insert.
Country Weather was one of the minor bands that were part of the San Francisco music scene of the mid- to late '60s. The group was formed in the San Francisco suburb of Walnut Creek, CA, by high school students Dave Carter (bass and vocals) and Steve Derr (rhythm guitar and vocals) as a cover band called the Virtues in 1966. They were joined by Paul White (lead guitar) and Craig T. Nelson (drums) (not the actor of the same name), who were soon replaced by Greg Douglass and Bill Baron. In 1967, they auditioned for promoter Chet Helms, who suggested they change their name and stop playing covers. Soon after, they became Country Weather. Over the next few years, they played frequently at such San Francisco venues as the Avalon Ballroom, the Fillmore Auditorium, and Winterland, opening for many of the renowned acid rock bands of the day, as well as up and down the West Coast. But they were never signed to a national record contract. In 1969, they recorded their own one-sided, five-song disc, which earned airplay on local radio stations.
Country Weather disbanded at the start of 1973, when Douglass and Baron quit to form a band called Mistress. Douglass later joined the Steve Miller Band and has also played with Van Morrison, among others. Carter played in a version of Quicksilver Messenger Service and in former Moby Grape member Skip Spence's band. Country Weather re-formed in August 2000 to play a benefit concert for a friend in need of a liver transplant. What was intended to be a one-off event led to the full-time reformation of the band with a lineup of Carter, Derr, Graham Cooper (lead guitar and vocals), and Lloyd Ferris (drums and vocals), a former member of Appaloosa. In 2003, the band changed its name to Weather, and Ferris left, replaced by Terry Ratza. In 2005, the Swiss label RD Records, which specializes in unreleased music from the '60s and early '70s, released the band's debut album, Country Weather, as a double vinyl LP. The album contained vintage recordings made between 1969 and 1971.
~ William Ruhlmann, All Music Guide
1 RAINBOW (MGM SE-4557) 1968
2 THE WAY (FIRST BOOK OF EXPERIENCE) (Dble) (Mithra ) 1971
3 LE MUSEE DE L'IMPRESSIONNISME (Philips ) c1972 R1
NB: (1) came with lyric sheets. (1) also reissued on CD with two extra tracks by Big Beat (CDWIKD 179) 1998 (1) reissued as a dble LP (Akarma AK 128/2) 2000.
(2) reissued on CD (Akarma AK 129) and as a dble LP (3 sides music, 1 side engraved with Akarma logos) (Akarma AK 129/2) 2000.
(3) as Robert Callender, it could have been released only in Netherlands.
1 Little Star/Love And Kisses (Roulette 4471) 1963 95
2 You've Really Got A Hold On Me/I Can't Get Over You (Coral 62517) 1967
3 Sweet Song Of Life/Vicissitude(Or A Day At Jaffry's) (Coral 62528) 1967
4 Rainbow/Symphonic Pictures (MGM 13965) Sept. 1968
The second album is a double more conceptual piece. The third is a homage to the 19th century painters and was recorded with a full orchestra, sometimes heading into progressive territory, with good electric guitar work, flutes and organ. Still with Lorber, Robert Callender also co-produced the aural documentary album by The Groupies.
Before Callender embarked on a recording career, he was a radio producer for Murray the K at New York station WINS. Compilation appearances have included: I'm Just High On Life on Journey To A Higher Key Vol. 1 (LP).
(Max Waller/Lloyd Peasley/Stephane Rebeschini)
02. Wasted Time
03. Frustration (cover song)
04. Gypsy Girl
05. So Much (cover song)
06. The Way (cover song)
07. The Philosophy Of Edward Moore
08. It's A Gasout
09. Thinkin' About You (cover song)
10. Wretched Woman
11. Hungarian Pipe Dream
This is the new album by the most talented and 60s inspired young man, Darren McFadden, under the name of McFadden’s Parachute, an album full of colors and images that contains 11 psychedelic punk songs. The six songs are originally composed by Darren himself while the rest are perfectly covered songs by bands such as The Tigerpack, The Checkmates International, The Mystic Tide, The Generation Gap and Little Phil & The Nightshadows. Darren is playing every single instrument (except the trumpet on one song) in this album for once more and he also sings. He is also responsible for the cool artwork, the recording and the production! The ultimate 66 authentic psychedelic punk band!
Thanks Valis for this one
Back in 1973, teenage fanzine writer Ken Highland first traveled from his small-town home in upstate New York to Brooklyn, New York, to jam with pen-pal Solomon Gruberger and his younger brother Jay in their living-room rock band O. Rex. Three years later, in early '76, Ken recorded the first infamous Gizmos EP in Bloomington, Indiana--and then joined the United States Marine Corps! Finding himself stationed in Maryland, near Washington, D.C., he quickly found his way into the burgeoning D.C. punk scene. He became friends with the Slickee Boys, and began writing songs on guard duty. Some of these became later Gizmos tunes, but the main project was a new band with the O. Rex brothers called The Afrika Korps. With help from Slickee Boys Kim Kane and Martha Hull, and the addition of multi-talented drummer Ken Kaiser, they recorded the music on this LP in the first few months of 1977. The recordings became free-for-all punk-rock "super sessions"--with various other Slickee Boys members, D.C. scenesters, rock writers, etc. joining in on the fun. The resulting LP still stands as one of the most spontaneous and least trendy things to come out of the early Amerikan punk scene. This CD includes the classick LP plus eight studio outtakes and four live tracks, and comes with a 16-page booklet featuring mostly unpublished photos and a detailed history of the Afrika Korps.
This merger of The Slickee Boys, The Gizmos, The Look, The Teenage Boys, O. Rex, and The Kaiser's Kittens has thrown up (how punky!) the best album of the year. Twenty-two (yes! 22!) songs about all the things that bother you--your complexion . . . your boys . . . your mental health . . . and your girls. Every gem is short and sweet . . . each one a nursery rhyme that's been sneaking looks at teen magazines . . . pure, unsullied, untouched by recording contract rock and roll. Every verse is a reprise, every song a chrous with a harmonious soundmix nothing like the usual Heavy Metal row most 'punks' employ. Despite their threats about slapping your pretty face and ripping your pretty lace, they're sweet kids. Real innocence always tries to be tough." --Julie Burchill, New Musical Express, 3 December 1977.
You can also check their mLP 'God Its Them Again' here.
From AMG Reviews
A limited edition (1000 copies), unauthorized double album of Michigan rock from the '60s. It's real difficult to find these days, but it's one of the very best garageoriented compilations of the era, and a pretty diverse one. There's hot White soul from the Rationals, a rare single by the Amboy Dukes, fetchingly raw folkrock from the Human Beinzs and the Underdogs, burning garage punk from the Unrelated Segments, and even a castrato Four Seasons imitation by Tim Tam the TurnOns. The heart of the collection, however, are the five early, preElektra sides by the MC5, which are garage rock at its most metallic and furious, and the Dylanesque mid'60s hard rock sides by Bob Seger, a good decade before he broke nationally. The sound is excellent, as are the liner notes; it's worth paying collector prices for.
- Richie Unterberger, All Music Guide
01 The Woolies - Who Do You Love (Lansing, MI, U.S.A.)
02 Bob Seger & The Last Heard - East Side Story (Detroit, MI, U.S.A.)
03 The Rationals - Respect (Detroit, MI, U.S.A.)
04 The MC5 - Looking At You (Detroit, MI, U.S.A.)
05 The Unrelated Segments - Where You Gonna Go? (Detroit, MI, U.S.A.)
06 The Shy Guys - We Gotta Go (MI, U.S.A.)
07 Underdogs - Love's Gone Bad (Detroit, MI, U.S.A.)
08 Terry Knight & The Pack - What's On Your Mind? (Flint, MI, U.S.A.)
09 The Human Beings - Because I Love Her (Detroit, MI, U.S.A.)
10 The MC5 - Borderline (Detroit, MI, U.S.A.)
11 The Tidal Waves - Farmer John (Detroit, MI, U.S.A.)
12 Bob Seger & The Last Heard - Persecution Smith (Detroit, MI, U.S.A.)
13 ? & The Mysterians - Can't Get Enough Of You Baby (Detroit, MI, U.S.A.)
14 Southbound Freeway - Psychedelic Used Car Lot Blues (Detroit, MI, U.S.A.)
15 The Rationals - Sing (Detroit, MI, U.S.A.)
16 The Wanted - In The Midnight Hour (Detroit, MI, U.S.A.)
17 The Rationals - Leavin' Here (Detroit, MI, U.S.A.)
18 The Bob Seger System - Lookin' Back (Detroit, MI, U.S.A.)
19 The MC5 - I Can Only Give You Everything (Detroit, MI, U.S.A.)
20 The Amboy Dukes - You Talk Sunshine, I Breathe Fire (Detroit, MI, U.S.A.)
21 Underdogs - The Man In The Glass (Detroit, MI, U.S.A.)
22 The MC5 - One Of The Guys (Detroit, MI, U.S.A.)
23 Bob Seger & The Last Heard - Chain Smokin' (Detroit, MI, U.S.A.)
24 Dr. Jack Van Impe - An Important Message (U.S.A.)
25 Bob Seger & The Last Heard - Heavy Music, Part 2 (Detroit, MI, U.S.A.)
26 The Rationals - I Need You (Detroit, MI, U.S.A.)
27 The MC5 - I Just Don't Know (Detroit, MI, U.S.A.)
28 Tim Tam & The Turn-Ons - Wait A Minute (Detroit, MI, U.S.A.)
29 Ormandy - Good Day (MI, U.S.A.)
30 The Beach Bums - Ballad Of The Yellow Beret (Detroit, MI, U.S.A.)
31 Bob Seger & The Last Heard - Sock It To Me, Santa (Detroit, MI, U.S.A.)
Saturday, December 09, 2006
With 100 selections, CHILDREN OF NUGGETS captures the "back to the roots" spirit embodied by these artists and features the best of neo-garage, '80s power pop, Paisley Underground psych and other styles from around the world. The set includes The Dream Syndicate, The Three O'Clock, The Rain Parade (Los Angeles), Flamin' Groovies (San Francisco), The Fleshtones (New York), Green On Red (Tucson), Plasticland (Milwaukee), Lyres (Boston), United States Of Existence (Baltimore), Died Pretty, The Hoodoo Gurus, The Lime Spiders (Australia), The Chills (New Zealand), The Creeps, The Nomads (Sweden), The Prisoners, The Barracudas, The Bevis Frond (England) and more.
The collection's coproducer, Alec Palao, says CHILDREN OF NUGGETS provides the missing link between artists on the original Nuggets and the "grandchildren of nuggets" like The White Stripes, The Vines, The Strokes and The Hives. "Despite the negligible commercial impact of most all of the artists on CHILDREN OF NUGGETS, they have had an influence upon successive pop generations," Palao says. "People like The Prisoners, early Primal Scream and the L.A. Paisley Underground bands all influenced the early/mid-'90s Britpop scene; the Milkshakes and Screaming Trees -- in totally different ways -- helped to inspire the Northwest grunge movement; and the recent wave of neo-garage groups have all taken leads from people as disparate as The Cramps, Lyres and Chesterfield Kings. Thanks to the current success of Little Steven's Underground Garage radio show and this collection, these bands will continue to influence a new generation."
A veritable jukebox of rare and hard-to-find recordings, CHILDREN OF NUGGETS includes the first proper release of The Nashville Ramblers' obscure gem "The Trains," The Cramps' 12-inch, B-side "New Kind Of Kick" and the single version of Sun Dial's "Plains Of Nazca." Also included are appearances by The Dukes of Stratosphear (the alter-ego of XTC), Biff, Bang, Pow! (featuring Creation Records founder Alan McGee), The Soft Boys (led by Robyn Hitchcock), The Bangs (later the Bangles) plus early recordings by The Smithereens, The Posies, Teenage Fanclub, and The Church.
03- Inside out
04- You'll know why
05- Another guy
06- Love has no time
07- I'll walk away
10- Already gone
11- Hey little bird
12- Mystery girl
13- One step closer to you
Download Link :
tomorrow is yesterday
no good woman
do like me
she's a cur
night of the phantom
don't tread on me
one ugly child
Τhe Gravedigger V by Alan "Scoop" Stevens
With all the hype these days about garage bands hailing from Sweden or New York, it’s easy to lose sight of the fact that “garage” was actually the sound of young San Diego, circa 1984. We’ve covered a few, and we’ll get to the rest, but near the top of the heap, and easily one of the most influential, was The Gravedigger V.
Formed in the early ’80s by Leighton Koizumi (16, vocals), Chris Gast (15, bass), Ted Friedman (16, guitar), John Hanrattie (17, guitar) and a drummer named Matt (last name lost to the sands of time), the group was originally called The Shamen.
Matt was soon replaced by Dave “The Animal” Anderson, but the group discovered that their chosen name was already taken by another group. After a night of brainstorming at a Bob’s Big Boy, the replacement moniker they chose, The Gravedigger V, was a take-off on the old “Monster Mash” backing group The Cryptkicker V. The band asked a waitress what she thought of the new name, and when she replied that she thought it was “stupid,” they were sold.
Things took off quickly from there, with the group’s over-the-top antics drawing nearly as much attention as their music. But oh, that sound! Their primitive, riff-driven, snarling, snot-nosed take on garage punk became a favorite of area teenagers.
After just a few shows opening for other local heroes, in January of ’84 legendary music impresario Greg Shaw came a-callin’. The band eventually signed with his Voxx/Bomp imprint and released their first album, All Black and Hairy, later that year. All five of the garage rockers slept in their car in an alley next to the studio, while recording the album in LA. Now that’s dedication.
When the group played the Whiskey A Go Go, they had to wait outside between sets, as they were too young to be in the club otherwise. Unfortunately, substance abuse problems soon caught up with the group; Gast was asked to leave the group he had helped found, and he was replaced by Tom Ward.
The group managed a further track on the Voxx compilation Battle Of The Garages Vol. 3, and their final album, The Mirror Cracked was released in 1987. This hodgepodge of demos, live tracks and oddities was hardly a fitting end for such a dynamic group, but it does capture the mayhem of their concert performances.
Friedman and Koizumi went on to form the Morlochs, relocating to the Bay Area, while “The Animal” went on to infamy with Manual Scan, The Trebles, The Answers, The Crawdaddies and Skid Roper. Ward recorded with New York’s Optic Nerve and Manual Scan for a short time, before landing a lifetime gig with Carl Rusk and Ron Silva in a band that has been variously called The Nashville Ramblers, The Blackmores and The Black Diamonds.
The Gravedigger V’s popularity—especially in Europe—never diminished, however, and in 1994 Voxx reissued both albums on a single disc, and included tracks on the Destination Bomp and Be a Caveman compilations. The band, including Gast, reunited for one last show at New York’s annual garage rockathon, Cave Stomp in 1999.
Rumors circulated in the press during the late ’90s that Koizumi had passed away from a drug overdose, but he had in fact gone underground to escape a bad crowd. Sadly, Gast—one of the nicest guys you could hope to meet—passed away at his New York home in in 2000.
The Gravedigger V’s legacy is sizable. Their take on “All Black and Hairy” is still played at clubs worldwide and stands as a cover favorite for many European and Asian bands. Despite their short existence, the band’s music has resonated, their place in music history secure, as long as kids continue to crank up their amps in the spot where their parent’s minivan should be.
HORDE CATALYTIQUE POUR LA FIN
Recorded in Nice, France
Futura Records - Son 03
(Harpe de verre, flute, vibraphone, percussions)
(Contrebasse, guitare, banjo, orgue a bouche)
(Drums et percussions)
Gestation Sonore 1 - 12:48
Gestation Sonore 2 - 3:55
Gestation Sonore 3 - 4:05
Gestation Sonore 4 - 19:24
Free-jazzed skip scatter kip kittle kaboosh bush. This outfit wears feathered plumes in their stockings fling flung full of adverse style big plus on the outre and you say: "..wot the wiggy? Me flipped and nary scat can knish to this strange blitz of lighty pumpernickel wonder to steal my coffee crawling being thunders, oh mother!"
~ Mssr. *M.P.
"Quiet/loud saxophone squealing and squawking, over a background ambience of ominous clatter and drone...piano, percussion, tape hiss... Free jazz fairy tale music from France circa 1971. It's very moody and dark, but then there will be eruptions of Warner Bros cartoon music, almost. You could imagine a cartoon mouse tip-toeing around to some of this. A very scared little mouse. This ultra-rare Futura LP (is on the infamous Nurse With Wound list) and fans of skronky Euro-improv as well as the more cosmic psych soundscapes of, say, Taj Mahal Travellers, should investigate."
"Early French chamber music. Weird and noisy, invading the deepest corners in our minds. Comparable to bands like Art Zoyd and Shub Niggurath."
The Mooseheart Faith Stellar Groove Band, sometimes known as Mooseheart Faith, is (was?) a Los Angeles based rock band blending 1960s folk rock and psychedelia, 1970s space rock and progressive rock and a variety of influences from world music and jazz. The core of the band is autoharp player and sometime bassist Todd Homer, formerly of the punk band, The Angry Samoans and guitarist Larry Robinson, formerly of 1970s teen pop/soul group Apollo, along with a variety of other individuals.
This is their 88 debut release, issued on DeMilo recs (LP, DM-1). Rock n roll psychedelia from their weird and wonderfull cosmos with melodies that will linger in your mind. They released 4 more LPs/CDs and a few 7" (two with Crawlspace), equal or better than 'Golden Light'. They were active untill late 90s. Today on their homepage there's only an announcement that "their 1999 tour was cancelled". All their albums -except this- are available from the September Gurls label.
Todd Homer: vcls, gtr, bs, musette, electronics, bells, etc.
Larry Robinson: vcls, gtr, synth, farfisa, drms, tambourine, toys, etc.
01 Golden Light
03 Love Went Bad
04 I'm Lost In Space
05 I Fade Away
06 Another Time
07 Soul Train Of Thought
08 We Can Conquer The World Today
09 Back From Samoa
10 The Final Veil
11 Aliens From Space
12 Time Has Told On Me
13 Mooseheart Anthem
"....spacey folk pop that will crawl right outta your backpack and drill its way to the center of the earth. And how many records can do that ? (Byron Coley, Spin Magazine '89 - reviewing Mooseheart Faith's 1st LP)
P.S. In case you're wondering about the name, Edwin Mooseheart was exiled from a NY chapter of the Odd-Fellowship in 1865 on charges of child molestation. But Mooseheart denied it all, claiming that the real reason for his exile was his talking on the subject of UFOs visiting Earth.
Friday, December 08, 2006
01. Ozric Tentacles - Rare & Unreleased 1- The Dreaming Cat
01. Ozric Tentacles - Rare & Unreleased 1- Always
03. Ozric Tentacles - Rare & Unreleased 1- Minstrel Carousel
04. Ozric Tentacles - Rare & Unreleased 1- We Are Always Here
05. Ozric Tentacles - Rare & Unreleased 1- Sea Cucumber
06. Ozric Tentacles - Rare & Unreleased 1- The City Made From Sound
07. Ozric Tentacles - Rare & Unreleased 1- See Your Dreams In The Sky
08. Ozric Tentacles - Rare & Unreleased 1- The Shaman Leads The Way
09. Ozric Tentacles - Rare & Unreleased 1- The Beauty Of This Planet
10. Ozric Tentacles - Rare & Unreleased 1- Meeting The Dream King
11. Ozric Tentacles - Rare & Unreleased 1- The Pureity Fountain
12. Ozric Tentacles - Rare & Unreleased 1- Inash Ra Da
13. Ozric Tentacles - Rare & Unreleased 1- Medievil Tangerine
01. Ozric Tentacles - Rare & Unreleased 2- Breaking Eggs
02. Ozric Tentacles - Rare & Unreleased 2- To A Place Unknown
03. Ozric Tentacles - Rare & Unreleased 2- Carol To The Donkey
04. Ozric Tentacles - Rare & Unreleased 2- Floating On Clouds
05. Ozric Tentacles - Rare & Unreleased 2- The Never Ending Seam
06. Ozric Tentacles - Rare & Unreleased 2- Leap Frogs
07. Ozric Tentacles - Rare & Unreleased 2- Ballad Of TThe Bullfrogs
08. Ozric Tentacles - Rare & Unreleased 2- The Parrot Stomp
09. Ozric Tentacles - Rare & Unreleased 2- Up In The Jungle Tops
10. Ozric Tentacles - Rare & Unreleased 2- Cows Can Play The Fiddle
11. Ozric Tentacles - Rare & Unreleased 2- Ride On The Giants Shoulder
12. Ozric Tentacles - Rare & Unreleased 2- Sun's Up
13. Ozric Tentacles - Rare & Unreleased 2- Swim With The Dolphin
14. Ozric Tentacles - Rare & Unreleased 2- Spot The Hole
15. Ozric Tentacles - Rare & Unreleased 2- Oroonie Style
16. Ozric Tentacles - Rare & Unreleased 2- Yaruporoon The Human Beat Box
17. Ozric Tentacles - Rare & Unreleased 2- The Edge Of A Cloud
18. Ozric Tentacles - Rare & Unreleased 2- You Exsist In Space
19. Ozric Tentacles - Rare & Unreleased 2- Moon's up
01. Ozric Tentacles - Rare & Unreleased 3- Indian Tunnels
02. Ozric Tentacles - Rare & Unreleased 3- Bird Dance
03. Ozric Tentacles - Rare & Unreleased 3- Criss Cross Krunch Krunch
04. Ozric Tentacles - Rare & Unreleased 3- Heart & Soul
05. Ozric Tentacles - Rare & Unreleased 3- Chicken Fairs
06. Ozric Tentacles - Rare & Unreleased 3- Tea & Jelly Cakes
07. Ozric Tentacles - Rare & Unreleased 3- Space Neuron
08. Ozric Tentacles - Rare & Unreleased 3- In Summer Paradise
09. Ozric Tentacles - Rare & Unreleased 3- Pazzaz
10. Ozric Tentacles - Rare & Unreleased 3- Carnival Of Them
11. Ozric Tentacles - Rare & Unreleased 3- The Ride Of The Great Moon Snail
12. Ozric Tentacles - Rare & Unreleased 3- The Inflatible Potato
13. Ozric Tentacles - Rare & Unreleased 3- The Knowledge Of Fingers
14. Ozric Tentacles - Rare & Unreleased 3- The Crooked Sticks
15. Ozric Tentacles - Rare & Unreleased 3- Time Chain
16. Ozric Tentacles - Rare & Unreleased 3- Squashy Things
01. Ozric Tentacles - Rare & Unreleased 4- Leaving Spirits
02. Ozric Tentacles - Rare & Unreleased 4- Sky's Alive
03. Ozric Tentacles - Rare & Unreleased 4- As He Understands
04. Ozric Tentacles - Rare & Unreleased 4- Take You To The Medows
05. Ozric Tentacles - Rare & Unreleased 4- Carnival Of Them
06. Ozric Tentacles - Rare & Unreleased 4- The Erp Field
07. Ozric Tentacles - Rare & Unreleased 4- Space Rafting
08. Ozric Tentacles - Rare & Unreleased 4- The Comet Chaser
09. Ozric Tentacles - Rare & Unreleased 4- Sit Your Bum Down
10. Ozric Tentacles - Rare & Unreleased 4- As Sweet As Doves
11. Ozric Tentacles - Rare & Unreleased 4- I Love Your Groovy Shoes
12. Ozric Tentacles - Rare & Unreleased 4- Awaken Children, Vocal
13. Ozric Tentacles - Rare & Unreleased 4- Pan Thang
00. Ozric Tentacles - Rare & Unreleased 5- Intro Burp
01. Ozric Tentacles - Rare & Unreleased 5- Hot Butter Slide
02. Ozric Tentacles - Rare & Unreleased 5- Where
03. Ozric Tentacles - Rare & Unreleased 5- Fair Maiden
04. Ozric Tentacles - Rare & Unreleased 5- The Incoming Of A New Race
05. Ozric Tentacles - Rare & Unreleased 5- Thug Trunk
06. Ozric Tentacles - Rare & Unreleased 5- Octigliss
07. Ozric Tentacles - Rare & Unreleased 5- The Arriving World
08. Ozric Tentacles - Rare & Unreleased 5- Cyclops Passing
09. Ozric Tentacles - Rare & Unreleased 5- The Space Travelers Dream
10. Ozric Tentacles - Rare & Unreleased 5- The Unfolding Cosmic Mist
11. Ozric Tentacles - Rare & Unreleased 5- Cerebal Roundabout
12. Ozric Tentacles - Rare & Unreleased 5- Who Knows
13. Ozric Tentacles - Rare & Unreleased 5- Always A Brighter Day
14. Ozric Tentacles - Rare & Unreleased 5- Bobbing Down Stream
15. Ozric Tentacles - Rare & Unreleased 5- Exotic Fan
16. Ozric Tentacles - Rare & Unreleased 5- The Urban Guru
17. Ozric Tentacles - Rare & Unreleased 5- Flute Poppies
A band from another time, Ozric Tentacles served as the bridge from '70s cosmic rock to the organic dance and festival culture which came back into fashion during the '90s. Formed in 1983 with a debt to jazz fusion as well as space rock, the band originally included guitarist Ed Wynne, drummer Nick Van Gelder, keyboard player Joie Hinton, bassist Roly Wynne and second guitarist Gavin Griffiths (though Griffiths left in 1984). The Ozrics played in clubs around London, meanwhile releasing six cassette-only albums beginning with 1984's Erpsongs. (All six were later collected on the Vitamin Enhanced box set, despite a threatened lawsuit from the Kellogg's cereal company for questionable artwork.) In 1987, Merv Pepler replaced Van Gelder, and synthesizer player Steve Everett was also added.
Ozric Tentacles' first major release, the 1990 album Erpland, foreshadowed the crusty movement, a British parallel to America's hippy movement of the '60s. Crusties borrowed the hippies' organic dress plus the cosmic thinking of new agers, and spent most of their time traveling around England to various festivals and outdoor gatherings. The movement fit in perfectly with bands like Ozric Tentacles and the Levellers, and the Ozrics' 1991 album Strangeitude became their biggest seller yet, occasioning a U.S. contract with Capitol. After the British-only Afterswish and Live Underslunky, 1993's Jurassic Shift hit number 11 on the British charts -- quite a feat for a self-produced album released on the Ozrics' own Dovetail label. The album was released in America by I.R.S. Records, as was 1994's Arborescence. Neither album translated well with American audiences -- despite the band's first U.S. tour in 1994 -- and Ozric Tentacles returned to its Dovetail label for 1995's Become the Other. Waterfall Cities closed out the decade in 1999, and the following summer the group resurfaced with Swirly Termination. Hinton and Pepler also perform in the trance-techno outfit Eat Static, and have released several albums on Planet Dog Records. Ozric Tentacles surfaced in 2000 to release Hidden Step, followed by the EP Pyramidion. In 2002, Live at the Pongmasters Ball came out on both CD and DVD, making it their first venture into the latter.
~AMG by John Bush
The story of Mecano starts with a painting, made in 1977 by founder Dirk Polak after finding an old booklet belonging to a Meccano construction box, as fabricated and sold in the thirties.While scanning the booklet, Dirk was struck by a vision of a world built out of Meccano, in painting, sculpture and even lyrics and music.
In the years before Lego existed, Meccano was very popular amongst parents, as they believed that Meccano was not just a toy, but an educative tool for schoolboys with technical abilities. An average box consisted of iron strips, wheels and plates with holes in it, based upon half an inch distance in between. It was designed “for the engineer of tomorrow” and patented in 1901 by Frank Hornby, who advertised it in the swollen tone that colored the first decades of the century and promised membership of “the Meccano Guild” and “unlimited possibilities as the system itself”.
The examples in the instruction booklet set Dirk to paint his Meccano figures, surrounded by surrealistic landscapes and interiors. In those days punk was booming and Dirk thought it was time to start a band and together with Pieter Kooyman and a few hired guns he recorded Face Cover Face, b/w Fools as Mecano Ltd. for the “No Fun” label. But Dirk wanted a real band and so he asked Ton Lebbink to be the drummer. Ton, who was a bouncer at Paradiso in Amsterdam and thus knowing everbody on the scene, immediately introduced the brothers Tejo and Cor Bolten, who also worked at Paradiso, Tejo as floor-manager and Cor, who was a bouncer too and were standing right next to him as he spoke and the band was formed in the blink of an eye. Before that, Dirk was close with Pieter, who was in the short lived “God's heart attack” and also “The Helmettes” and had a single out that was produced by Dirk and so Mecano showed up with 2 guitarists.
Another advantage of Ton and the Bolten brothers, beside their musical abilities, was that they had unlimited acces to Paradiso, the best rehearsing place a band could think of and they started experimenting and putting the music together, mainly based on the ideas of Dirk and the Bolten brothers
Dirks' lyrics, influenced by such artists as Andre Breton, Paul Eluard and above all Russian poet Maiakovski, are overall cryptic and along the way Dirk added his own grammar like “lack of joie de vivre” or “globeold”.
In the summer of '79 Mecano made their stage debut and began touring the alternative circuit. Later they toured France and their '81 Paris concert had an enthousiastic press in the France Soir, their high intensity performance in Reims left a huge impression on the audience.
Early 1980 newly founded Torso Records had released the mini-lp Untitled and in that same year Subtitled, both nowadays reaching high prices amongst collectors. The next year Torso released two singles, Escape the Human Myth b/w History Landmark and Robespierre's Remarks b/w Room for Two, heading for hunters to collect. After that the band split up, to be reunited in 1982 without Ton Lebbink and Pieter Kooyman and a smaller size Mecano started recording Autoportrait, which came out early ‘83 and on which Pieter Kooyman is present on Suggestive Sleep and To Life's Reunion .
At last the Mecano files have been opened and the recordings were professionally remasterd by Cor and Tejo Bolten, resulting in exellent sound quality. This double cd has all of Mecano's studio-recordings. Also including live recordings who are never been issued before.
A true history landmark.
Leo Schelvis Resources : mecano.ws/
Thanks Mystery Poster and Friends
Download Link :
Completing the transformation from abstract punks to art-rockers, 154 is Wire's most impressive album. The virulance still remains, but with more depth and style than elsewhere. Ever-changing writing partnerships create a new level of tension, pulling the release in often-disparate directions. On the surface this creates a rather disjointed album, but the sheer quality of writing and performance soon banishes such thoughts for good.
Experimentation is still evident—most notably in the harrowing The Other Window that tells the story of a man travelling on a foreign train. From his window, he notices a dying horse fataly trapped in a barbed wire fence. The stressed instrumentation of the backing and out-of-time metronome drumbeat enhance the atmosphere building to the simple finale: 'He turned away/What could he do/The other window had a nicer view'.
Wire's keen sense of observation also appears within the amusing On Returning, emphasising the way British people sometimes travel overseas with a level of nonchalance and arrogance: 'You'll be sorry when the sun has roasted you to lobster red'; 'On arriving with the third language tucked into your briefcase next to your toothbrush'.
The musical high-point arrives halfway through the album in the shape of A Mutual Friend. The arrangement is rather less contemporary than any of the other tracks, combining various guitars with cor anglais passage and evolving drum beats that range from delicate cymbal play to rampaging tom rolls.
The reissue also adds a four track EP with one piece from each member of Wire, and the cutting B-side Go Ahead, which probably says more about the situation with the band's record label at the time than any other piece of prose. If you like Wire then you'll adore 154 and although this is sometimes one of the most painfully disjointed albums you're ever likely to hear it's also one of the best.
Craig Grannell (1998)
Keep them going strong, share, all good stuff here..
(16 albums, 2 EP's):
Mekons - The Quality of Mercy is not Strnen (England 1979)
Wire - 154
Gareth Williams - Flaming Tunes
Mecano - Autoportrait
Uludag "Mau Mau" Germany 1988
Blue Sun - Live 1970
The Hat Shoes - Differently Desperate
Joanna Newsom - (2002)Walnut Whales - EP (2003)Yarn & Glue - EP
Emmanuelle Parrenin - Maison Rose
A Hawk and a Hacksaw (3 albums)
s/t, Darkness at Noon, The Way the Wind Blows
Yesterday's Heroes (Haco & Terre Thaemlitz)
Electrelane - Rock it to the Moon
The Fiery Furnaces - Blueberry Boat
Lord John - 1986 - Six Days of Sound (re-upped)
Bucketfull of Brains:
This album is so good, mere words won't do it justice. Through a dense psychedelic wall of sound emerge melodies and lyrics of intricate beauty, and surprisingly powerful songs with an endearing naivete. Initially, the intensity of sound and extended arrangements are difficult to penetrate, but perseverence pays off. The barrage of effects is not there to conceal any inadequacies, rather they begin with great songs which develop into a compelling electrical confusion.
It's hard to find any bad tracks, but certain ones stand out above the others. "Step Upside Down" at the start of side one is a psychedelic classic, as you'd expect with a title like that. "My World Dies Screaming" is also as good as you'd imagine. But the hidden gem is "All Over Me" which is easy to overlook, with ethereal vocals over a beautifully understated backing. I can't recommend this album highly enough. It's my favourite amongst lots of favourites this year. Well worth a careful listen.
from Underground, 7/87:
If you could wish for the ripest rock psychedelia played like punk for all its psychological worth, then need I say that New Jersey's Lord John are a dream. There's one pair of granny glasses and one paisley shirt on the cover, and there's little advance in the sound to tell you that this record was made in 1987, but SIx Days is still new in its revisionism. It all drips with echo, reverb and voices disappearing up wind-tunnels, as melodies chime hazily or stamp recklessly on duelling colour-guitars. If you wish The Jam had been smitten with Syd Barrett rather than Pete Townshend, then the genie has delivered. Brilliant. --Martin Aston
Occasionally recalling Echo & the Bunnymen, REM, late '60s Prety Things, Dream Syndicate, and even Hawkwind, New Jersey's Lord John have a debut that's more often than not impressive and should help them to win over neo-psychedelic fans.
Much of Lord John's strength lay in lead guitarist Ray Normandy, who shoulders the bulk of the musical end. He's powerful but also aware of melodic structure. Normandy will take things to the edge, but he knows when to pull back, too. Along with solid vocals, which run the gamut of spry pop, acid-tinged psychedelia, and moody post-punk, and rich material, Lord John has a lot to rave about.-- Chip Lamey
These are only a few of the reviews that received this LP (on Bomb! records). Why then there was no follow-up? Why the record never reissued on CD, as many of Voxx/Bomb releases and is out-of-print? I must add that they have a minor success (in certain circles) and the greek label Hitch-Hyke released (or imported - I don't remeber) localy.
Lord John disbanded after that, two of the members formed the Narc Twins who recorded but didn't released anything (they only had a few tapes and some recordings on MP3.com around 2000 - which I could post). Their pages are here: Lord John (with a few tracks of Six Days of Sound LP) and Narc Twins
Ray Normandy gtr, vcls, kbds
John Figler drms
Thomas Gibson vcls, gtr
Thomas Stanton bs
Step Upside Down
Blue and Green
Paint My Eyes
The Final Solution
My World Dies Screaming
West Miniature Abbey
Love's Something Else
All Over Me
I Walk Alone
Things That Have Been
Thursday, December 07, 2006
GARY DAVIS organ A
EDDIE HOH drms A
JOHN KESKI bs A
LEE MICHAELS piano, organ, harpsichord, bs, vcls A B
HAMILTON WESLEY WATT gtr A
JOHN BARBATA drms B
FRANK DAVIS drms B
LARRY KNECHTEL bs B
DRAKE LEVIN gtr B
NB: (2) also issued in Germany (A&M 212054) 1968.
45s:(up to 1969) 1 Hello/Love (A&M ) 1968 2 Sounding The Sleepin/Tomorrow (A&M ) 1968 3 If I Lose You/My Friends (A&M ) 1968 4 Goodbye/The War (A&M ) 1969
Born on the 24th of November, 1945 in Los Angeles, Lee Michaels began in the early sixties with The Sentinals, a surf group from San Luis Obispo. In 1966 he joined the Joel Scott-Hill Trio and then Family Tree.
His first album is an excellent example of California psych pop with inventive keyboards parts. One track, Love was also covered by The Novells, whilst the guitar player is Hamilton Wesley Watt of Euphoria.
Lee Michaels' later albums were commercially successful and more pop oriented. On his second, he was assisted by Drake Levin (ex-Paul Revere and The Raiders), John Barbata (ex-Strangers). Frank Davis also played drums with Cold Blood and Loading Zone but is not the same guy as the Travel Agency leader.
Compilation appearances include: Hello on Nuggets, Vol. 11 (LP).
01. I Can Be Happy
03. Amalynda Guinevere
04. Gimme Your Sweet
05. Guitar Store Song
06. Only For The Momen
07. It's Not The Same
09. Waiting For Mary
10. Mistress De Charmaign
11. Santa Anna Speed Queen
12. Gotta Get Together
Boris - Bass, Vocals
Eve – Keyboards
Lance - Guitar, Vocals
Pete - Drums, Vocals
Vicki – Vocals
Fat Water (MGM SE 4660) 1969
Santa Anna Speed Queen / Amalynda Guinevere (MGM 14101) 12/1969
From Chicago, a mix of psych and heavy rock, with good organ and guitars plus the powerful voice of their singer, who was probably influenced by Janis Joplin. This outfit reportedly evolved out of The One Eyed Jacks from Champaign, Illinois.
Fat Water is the eponymous album from a rock act influenced by the San Francisco/Jefferson Airplane sound of the late '60s and early '70s.
Fat Water probably hail from the west coast of America and fit very nicely into the dual male /female lead vocals of the late 60’s and early ‘70s. The vocals are very much of the west coast San Francisco scene of that time and bring the Airplane’s Grace Slick immediately to mind. Musically, the vocals are matched with acoustic guitars and swirling organ which gives a country rock feel that flows easily from full tilt boogie to slow blues.
The year was 1983 when the Green Pajamas germinated in the minds of Joe Ross and Jeff Kelly after they met at a party and discovered a common interest in 60's psychedelia. With the Los Angeles "paisley underground" music scene of `83 spinning at full tilt, our fab duo decided to start a similar scene in their home town of Seattle. By spring of 1984 they had recorded and released a homemade cassette called Summer of Lust described by one U.K. journalist as "British-style psychedelia similar to Dukes of Stratosphear but moreoff-center and less pastiche". Tom Dyer heard something in Jeff's songs and signed the Pajamas to his Green Monkey record label in their native Seattle, despite the fact that Jeff's fabric of choice, paisley was immediately swallowed up by a sea of flannel. Microscopic quantities of the first four GPJs releases trickled out, some in cassette only versions, giving new meaning to the term "limited edition." After 1989 'Ghosts of Love' the Green Pajamas went on hiatus and Kelly issued the solo LP 'Coffee in Nepal' in 1991. In 1997 the band resurfuced with more success and continues until today.
For most of the last score of the 20th century, Jeff Kelly has been crafting some of the sweetest, most melodious and memorable psychedelic tinged pop music these ears have encountered, mostly arranged and interpreted by his band, The Green Pajamas. Unfortunately, outside of a few pockets of musicologists scattered across the globe, most of these confections have registered about as much impact as that proverbial tree falling in the woods with no one around. Small, independent record labels from such exotic lands as Greece (DiDi), Australia (Camera Obscura, AuGoGo), Germany (Bouncing Records), Sweden (Sound Effects) and England (UBIK, Woronzow) have released his work to the cognoscenti who devour each lyric, chord progression and subtle musical nuance like a junkie scoring his last fix. As soon as the record ends, we start it again, hunting for additional clues to hidden meanings missed the first go round, savoring each note as if it were his last, yet immediately yearning for more: another album, another song....
Twenty-three years later the Green Pajamas are still ahead of the times while remaining lost in time; a quality that keeps the listener haunted yet always craving more.
1986 Line-up: Jeff Kelly, guitar/vocals; Steve Lawrence, bass/vocals/guitar; Karl Wilhelm, drums; Bruce Haedt keys/vocals
01 Ten Thousand Words
02 The First Rains Of September
03 Stand To Reason
04 The Night Miss Sundby Died
05 A Murder Of Crows
06 Ain't So Bad
08 Men In Your Life
09 Stand In The Light
10 Bang Bang You're Dead
11 Higher Than I've Been
12 Time Of Year