Tuesday, January 23, 2007
01-Imitation Situation 1 (Toccata And Fugue).mp3
02-Where Do You Go.mp3
03-San Franciscan Girls (Return Of The Native).mp3
04-Ninety-Nine And One-Half.mp3
05-Man Who Paints The Pictures.mp3
06-Filligree And Shadow.mp3
07-The Sun Also Rises.mp3
08-Day TripperWe Can Work It Out.mp3
09-Nowadays Clancy Can_t Even Sing.mp3
10-Unlock My Door.mp3
11-Come With Me (Rainsong).mp3
From Wikipedia, the free encyclopedia
Fever Tree were an American rock group of the 1960s chiefly known for their anthemic 1968 hit San Francisco Girls (Return of the Native).
The band hailed from Houston, Texas and started in 1966 as folk rock outfit The Bostwick Vines, but changed their name to Fever Tree a year later after the addition of keyboard player Rob Landes. They subsequently moved to San Francisco and got sucked up by the flower power music scene there.
Their fifteen minutes of fame arrived when their anthemic song San Francisco Girls reached #91 in the U.S. charts, somewhen late 1968. Like most of the band's material, it was written by the couple of Scott and Vivian Holtzman who also were their producers. This 4-minute track captured all the band's trademarks: Dennis Keller's incantation-like vocals, the quick shifting between slow parts with an almost sacral feeling and faster, more rock-oriented parts and especially the searing guitar work by Michael Knust.
Fever Tree also released their self-titled debut album in 1968, which charted at #156. A second album, Another Time Another Place followed in 1969. Apart from San Francisco Girls, they never had another hit, although they later also tried writing songs themselves when they had dropped the Holtzmans as producers. The band finally called it a day in 1970 but reformed in 1978 with only guitarist Michael Knust remaining from the original line-up. This new formation made no impact whatsoever, and Fever Tree was not heard of again until 2003 when Michael Knust passed away from an accidental drug overdose.
Fever Tree's first two albums ("Fever Tree" and "Another Time, Another Time") were re-released on October 31, 2006.
* Dennis Keller - vocals
* Michael Stephen Knust (b. March 11, 1949; d. September 15, 2003) - guitar
* Rob Landes - synthesizer, organ, piano
* E.E. "Bud" Wolfe - bass guitar
* John Tuttle - drums
* Fever Tree (Uni Records/MCA) - 1968
* Another Time, Another Time (Uni/MCA) - 1968
* Creation (Uni/MCA) - 1969
* For Sale (Ampex) - 1970
* Live at Lake Charles 1978 (Shroom) - 1998
It is "an independent mixture of psychedelic, progressive rock, classical music, electronics, jazz & blues with highly artistic demands." This was the masterpiece, which was never reached in level by themselves again. The LP got even better critics than Emerson, Lake & Palmer΄s work Tarkus at the time. The original-LP was released in an edition of 1500 copies. Four discs in Hans Pokora's book 1001 Record Collector Dreams and it can hardly be found today. (with bonus tracks)
1. New born Child (7:45)
2. Selfmade Trip (10:29)
3. A New Way (7:04)
4. Indra Elegy (11:43)
5. Irminsul (2:10)
6. Yggdrasil (3:40)
7. Stories (4:39)
8. Cheese (4:38)
Horst Waber / drums
Harald Zuschrader / organ, flute, guitar, sax
Hubert Bognermayer / keyboards
Gerhard English / bass
Heinz Gerstenmair / guitar, organ, vocals
Will Orthofer / vocals, sax
Austria really isn't a hotbed of prog rock, but EELA CRAIG was by and far that country's best known prog rock band, name, for no apparent reason by original guitarist and founder Heinz Gerstmair. This self-entitled album from 1971 is very obscure and known by very few, as it was originally released on a small Austrian label called Pro-Disc and original LPs since commanding around the $500 range. While their later albums tended to be synth-heavy symphonic prog, this one tends to the bluesy/jazzy psych/prog realm, with the Wurlitzer electric piano dominated (and Hammond organ on only two cuts). The bluesy nature of this album has to do with original guitarist Heinz Gerstmair, and vocalist Wil Orthofer, while drummer Horst Waber gave the band that jazzy touch, add that on with the flute, organ, and acoustic guitar of Harald Zuschrader, bass of Gerhard Englisch, and electric piano of Hubert Bognermayr, and you have the original EELA CRAIG lineup.
While their later albums will be in the symphonic-type prog, this debut album is much more experimental somehow close to the Krautrock scene with moments of proto-psych-prog, as their opening track two-part New Born Child (with its primal screams) and jazz-rock (still NBC), but they were sometimes patchy or sloppy (ie: the NBC’s abrupt end of one riff into the final riff break is very clumsy). The self-explanatory Selfmade Trip is an incredible 10-min+ voyage into heavy psychedelic-spacey expansion-minded trip, which will simply ravish early 70’s experimental progheads. Not completely flawless, this track is pure prog. The second side is also made up of two lengthy tracks with the aptly-titled heavily flute-induced A New Way where they share their absolute enthusiasm with us. But the other lengthy (almost 12-min), Indra Elegy, is a keyboard fest mixed with dramatic saturated guitars, heavenly flutes, constant drumming fury, abrupt (but this time well-designed) tempo changes, good bass lines.The bonus tracks on this album are essential to the band’s history and help explain what these guys did for four years between albums.
Personnel incl: ANDY MOBRAY vcls
An English band who recorded in France. They released an album, Live Your Life (French Vogue CLVLX 148) and EP (Suddenly Tomorrow/Letter To Rosetta/Time Of The Season) (French Vogue EPL 8520), both in 1967. Essentially they comprised straight pop material, but Suddenly Tomorrow, was a bit more inventive with some good guitar work and a catchy chorus.
Their French album is now very rare.
Compilation appearances have included: Suddenly Tomorrow on Psychedelia, Vol. 1 (LP) and Hen's Teeth Vol. 1 (CD); Suddenly Tomorrow, Letter To Rosetta, Time Of Season, Live Your Life, Hall Of The Viking, Sunny Cloud, The Train, Childs Song, Willy 'D' Fixer and Jam Around on Sixties Years, Vol. 1 - French 60's EP Collection (CD).
Monday, January 22, 2007
Man feat. John Cipollina - 1975 - Maximum Darkness
(Roundhouse Chalk Farm, London 26-May-1975)
- (UK) United Artists UAG 29872
- (German) Electrola 1C 064-82 936
- (cd) BGO CD 43
- 7171-551 11:07 (Deke Leonard)
- Codine 7:54 (Buffy St. Marie)
- Babe I'm Gonna Leave You 6:19 (Smith)
- Many Are Called, But Few Get Up 13:42 (Ace/John/Jones/Leonard/Williams)
- Bananas 11:11 (Jones/Ryan/Williams/John)
- THE BAND
- Micky Jones--Guitars, Vocals
- Deke Leonard--Guitars, Vocals
- Terry Williams--Drums, Percussion
- Martin Ace--Bass, Vocals
- John Cipollina--Guitars, Vocals
Produced by The Man Band
Recorded live at The Roundhouse, Chalk Farm, 26th May 1975 by Vic Maile with the Manor Mobile.
Mixed at Pye Studios, London by Man and Vic Maile
Front Cover Photography by Keith Morris
Lettering & Logos by Rick Griffin
Inside Photos by Keith Morris & Edmund Shea
Poster photography, Keith Morris
Inside Spread designed by AD (Design Consultants Ltd.)
Stage Lighting by Rick Lefrak, Laughing Whitefish Productions
DEDICATIONS - Special ThanksRon Sanchez & Discount Records, San Jose, Phil Charles & KSAN-FM, San Francisco KSJO-FM, San Jose, Greg & Ria Lewerke, Kathy Sherry & Marty Capune, Danny Alvino, Joe Collins (KMET) Los Angeles, Sherry Grafman, KSHE, St. Louis, Bill Graham & Jerry Pompeli (Winterland), San Francisco, Ed Ward & Edmund Shea, & Aquarius Records, Castro Street, San Francisco, Matthew "King" Kaufman & EarthQuake, of Beserkley, The Sausalito Heliport, Michael Oster, Scott Piering, & Howard Johnson's Motor Lodge, Pete Frame, Andrew "Jake" Jakeman, Ray Williams, John Curd, Tommy Cooper and The people who always get mentioned (thanks again).
Dedicated to the Memory of Ralph J. Gleason, Tom Donahue an d Peter Ham.
MANAGEMENT Barry Marshall, 177 Upper Street, London N1.
CommentaryI was reading through the list of dedications, and noticing that just about everybody is from the San Francisco area (even though the album was recorded in England), and was thinking: 'These are all the people they had to go through in order to meet John Cipollina (just kidding guys).
This is a magnificent live album, three lead guitars, a wall of great hard rock, and an intensity (God, I'm starting to use that word too much) which is not for the faint of heart. I once went over to the house of a friend who claimed to be a fan of great guitar music. He played me some Steely Dan and I played this album, and he was very intimidated by the music. This is loud, it's nasty and its full of delicious licks.
It starts off with Deke's "7171-551" from 'Iceberg' which had been expanded from a perky little single to an 11 minute assault on the senses. Next are "Codine" and "Babe I'm Gonna Leave You", two old standards that Quicksilver had originally recorded for the 'Revolution' soundtrack album (which was somewhat rare at the time, but was later reissued), Deke's vocals on "Codine" are incredible. For the B-side there are two old classics "Many Are Called" and "Bananas" both turned into extended jams with all three guitars getting a chance to stretch out.
Ted Koehorst's commentary on allegations that Mickey Jones went back and rerecorded much of John Cipollina guitar work (see his liner notes for 'Be Good To Yourself') deserve refutation, but since I really don't know any better, all I can say is that if they are true I prefer to live in an alternative reality where Minni-Vanilli can sing, Michael Jackson is innocent, and Mr. Cipollina's guitar work didn't need any studio tampering, and shame on you Mr. Koehorst for spreading vicious allegations about the non-existence of Santa Clause, etc.
But the real highlight of this album is Deke's longest set of liner notes to date (reproduced in glorious HTML for the first time below). It's a classic essay on the history and habits of Man's extended family, with further notes on the philosophy of car theft, police notes in triplicate, the dangers of Argentine Corned Beef and bolas in general. Last night I met and old record critic friend of mine at a concert and he could still quote large sections of the notes, having last read them some 15 years ago. He also wondered why I couldn't, and all I could say was that this was the first time I had read them while not stoned.Deke's Liner Notes from the Back of the Poster That Came With the LP
Kings of Oblivion - Gotta Love Me/Only You To Blame/No Way To Be (Dionysus ID-074510)
For the end here's some wild garage rock from Kings of Oblivion, a band from Los Angeles which appears on Dionysus site as "Detroit '68 meets LA '77". Their sound on this 1990 single reminds me of Jeff Dahl or the Lazy Cowgirls. Kings of Oblivion had some success (in Europe mainly), but now they've sank in oblivion.
The Dispossessed - Moon and Midnight/The Thin Men (Di-Di Music DiDi 155, 1988)
The Dispossessed from Connecticut, appeared in the mid-eighties, released a single and an obscure LP, which sounds to my ears like an american version of the uk post-punk groups, and then (after the suicide of their guiar player Jeremy Guenter), they disbanded, to resurface in the early 2000s! These two tracks appeared on a limited edition 7" included with the European release (on Greek label Di-Di Music) of the band's first and only LP "Sister Mary", from 1988.
Lee Joseph - Four By One EP (Mystery Scene ms 004, recorded 1984)
In the summer of 1984 Lee Joseph recorded four tracks in his home, with the help of Rich Coffee (gtr) and Zebra (handclaps). There are three covers (Stay By My Side (Music Machine), The Special Ones (Shames) and Splash One (R.Erickson)) and a Rich Coffee song (Sounds of Color). He mixed them in 1986 and sometime later (I believe circa 1989) they were released by the German label Mystery Scene. The covers are faithfull, but I think the best track is the Rich Coffee one. One last note: on "Spash One", besides the off-key vocals you may notice that it sounds as if it was mixed in the wrong speed.
Lance Kaufman - Peaceful Amazon Village/They Dug Up Elvis (Dionysus- ID074513)
After years as an obscure lounge pianist in his native Cleveland Ohio, humble Lance Kaufman was bonked on the noggin by a fowl ball at an Indians game and became Karla Pundit, musicologist and keyboard wizard extraordinare! For more than a decade he was hearing mysterious voices and a form of exotic music seemingly from another sphere. Lance saluted the exotica era years before it was fashionable to do so with this Dionysus single. Lance was also behind the Farfisa organ on the early very 60s garage inspired records by Yard Trauma, a band who also included the Dionysus Records Empire head-honcho, Lee Joseph. You have to listen to believe it!
Gorehounds - Necrosis/Voodoo Priest (Alien Cactus Records ACT THORN 002)
Well, don't be scared with this one! The Goreounds from Maine were deep in the creepy side of garage. They put out this single in 1986 and an LP (Halloween Everywhere) again on Alien Cactus in 1987. Except from their LP title , their references to the Elevators exceed to the use of an electric jug.
1313 Mockingbird Lane - Hornet's Nest/My Hearse (Is Double Parked) (Scarab S-001)
This is the first single of this "third generation" garage group, that came out in 1989, in their own Scarab label. They play a straight 60s/Chesterfield Kings garage with a lot of energy. They released several singles and LPs and they're still active.
The Cynics - I'm In Pittsburgh And It's Raining/Smoke Rings (Get Hip GH-106)
No need to tell you 'bout the Cynics, except that this single came out from Get Hip as release #2 of the Cynics fanclub in 1990, and of cource the a-side is about their hometown.
Here they are 7 X 7 is - pt.5
Edit: Jordan Kratz founder of the Gorehounds posted a comment, inviting us all to his webside to download for free all The GoreHounds LP , 7", and unreleased stuff.
Sunday, January 21, 2007
His music said it all !!
Jimi Hendrix - Electric Church
Jimi Hendrix - 51st Anniversary
(8 CD's Boxset)
(click on covers for tracklists)
(click on covers for tracklists)
New set of Links !
Saturday, January 20, 2007
"Psychedelic Shack" – 3:51
"You Make Your Own Heaven and Hell Right Here on Earth" – 2:46
"Hum Along and Dance" – 3:53
"Take a Stroll Thru Your Mind" – 8:37
"It's Summer" – 2:36
War" – 3:11
"You Need Love Like I Do (Don't You)" – 3:58
"Friendship Train" – 7:49
Psychedelic Shack is a 1970 album by The Temptations for the Gordy (Motown) label, which represents the Temptations' full-blown submergence into psychedelia. Completely written by Norman Whitfield and Barrett Strong and produced by Whitfield, Psychedelic Shack almost completely abandoned the "Motown Sound" formula for this LP; hard rock guitars, synthesizer sound effects, multitracked drums, sampling, and stereo-shifting vocals giving most of the album's songs a harder, less traditional feel than the Temptations' previous work.
Psychedelic Shack was the final album completed before the third incarnation of The Temptations (Dennis Edwards, Paul Williams, Eddie Kendricks, Melvin Franklin, and Otis Williams) broke apart.
Psychedelic Shack U.S. Billboard Pop Albums 24
Psychedelic Shack U.S. Top R&B Albums 1
Psychedelic Shack U.S. Billlboard Pop Singles 7
Psychedelic Shack U.S. Billboard R&B Singles 2
Download Link :
this is a compilation from their first albums
"The Readymen tip their derbies toward the coolness that was the Astronauts... these guys just crank and this is teen garage poop at its apex."
1. See the Light
2. Make It Easy
3. Hey Lord
5. Don't Worry, Bill
6. Get Your Mind Made Up
7. Highs and Lows
8. I'm So Happy
10. Another Day Like Heaven
11. See the Light (Reprise)
2. TERRY & THE PIRATES - INLAWS & OUTLAWS featuring NICKY HOPKINS (demo take 2)
3. TERRY DOLAN - DOG MOUNTAIN BLUES (demo version)
4. RON NAGLE W/MICK WALLER, DAVID JENKINS & PETE SEARS - FRANCINE
5. RON NAGLE & JOHN CIPOLLINA - BERBELANG
6. BRUCE STEVENS (BLUE CHEER) - HOLE IN MY SOUL
7. BRUCE STEVENS - DOPE AND MONEY
8. LOOSE GRAVEL - STYROFOAM (demo short version)
9. LOOSE GRAVEL - BAGOFAIR (demo)
10. SOUNDHOLE with JOHN CIPOLLINA - CHINATOWN
11. SOUNDHOLE with JOHN CIPOLLINA - THE WAY THAT YOU ARE
12. SOUNDHOLE with JOHN CIPOLLINA - NIGHT AFTER NIGHT
13. RON NAGLE & THE FAST BUCKS - 61 CLAY (demo version)
I DELETED FROM THE ORIGNAL TAPE THE TRACKS FROM KALEIDOSCOPE, CHARLATANS, TRIPSICHORD, TOUNGUE &GROOVE, STORIES & BEEFETEARS CAUSE THOSE TRACKS WERE NOT DEMOS, BUT WERE TAKEN FROM THE OFFICIALRELEASED LP'S AND CANNOT BE SEEDED OVER HERE.
KSAN SOUNDBOARD PARTIALLY BROADCASTED.
Golden Dawn - 1968 - Golden Dawn
2 This Way Please
4 I'll Be Around
5 Seeing Is Believing
6 My Time
7 A Nice Surprise
8 Every Day
9 Tell Me Why
10 Reaching Out to You
Here's another one of my favorites...
check out the allmusic blurb:
Friday, January 19, 2007
"Seething with poison and apathy, the seven band members (six perform on stage) of the Murder City Devils have supposedly turned rock'n'roll on its own deaf ear and kicked it while it was down. Every netherworld and stygian reference in the book (even the Good one) has been bestowed upon these new darlings of the media by adoring critics, who find Spencer's snarling indifference and silver-tongued, heart-on-his-sleeve lyrics nothing less than beguiling and the gut-wrenching, dirty-secret, darkest-corner-of-your-mind musical accompaniment nothing less than cathartic. Spooks and creeps, these medicine men (& woman) of hurt make snake oil of your worst pain, bottle it and clandestinely sell it back, never hesitating to share a shotglass or five of the stuff with you, huddled in the lonely alleys of your riddled brain. You'll be on your knees, repenting like a tent-revival sinner." By RumbleStripper
"And the second the Devils ascend to the stage and rip into a soul-spearing rocker, onlookers who'd joke about honor-roll-this or math-geek-that bite their tongues. As the other band members--Dann Gallucci (guitar/keyboards), Nate Manny (guitar), Derek Fudesco (bass/keyboards) and Coady Willis (drums)--careen around with kinetic energy, Spencer Moody's unassuming appearance becomes twisted into a spastic mass of flesh, cloth and microphone cords. Suddenly, when he sings that his "heroes have always been flunkies and drunk," it all makes sense. Rock 'n' roll is reborn again, the phoenix rising to torch non-believers with a fiery touch.
When ex-members ofthe Unabombers, Death Wish Kids and Area 51 came together in 1996, they weren't thinking about igniting a stagnant scene. They just wanted to get electric, to plug in and rock out. That's what they did, and Seattle took notice.
Soon they were opening for national acts and gaining notoriety for their furious, ranting performances. If the crowd didn't want
to respond, Moody's anti-apathy maledictions made sure they did. Eventually Sub Pop chose Murder City Devils as the inaugural act on its new offshoot; the band was even allowed to name the label (Die Young Stay Pretty, after a line from Gallucci's favorite Blondie song).
When the self-titled release arrived in '97, it may not have broken new ground historically, but it didn't merely dig up the bodies of old punks and trot around in their skins for a while, either. The influences are obvious--Iggy and the Stooges, Johnny Thunders, Dead Boys--but don't forget, those acts had their own lineage to live up to. Iggy was inspired in part by Jim Morrison, while Thunders' New York Dolls worshiped the Stones.
Moody insists the band is not trying to cop someone else's attitude. "Sometimes, in consciously or unconsciously trying to imitate other people, you come up with something that's yours," he says. He understands that this may lead to some criticism, but adds that the Devils are not capable of simply "imitating any of those people, so it's gonna come out as something new."
It's all cynical bickering anyway. The album is a solid chunk of vintage punk that strays far enough from formula to guarantee an attentive audience. When organs shimmy into earshot, the music almost seems closer to the Animals than anything Stiv Bators might've written. (Listening to the disc's slow, almost ballad-esque closer, "Tell You Brother," one notes similarities to "House of the Rising Sun," not "Sonic Reducer.")
Still, if there's one undeniably punk aspect of the Devils' music, it's their attraction to--and reflection of--the damaged messiahs of music and literature. In addition to Iggy and Stiv, Moody lists Burroughs, Bukowski, Jean Genet and Steven Jesse Bernstein as favorites.
"What's important to me is that the types of people I've always looked up to are the ones who did things outside of the normal way," he explains. "The famous people I've admired in the past, or been influenced by, it seems like they're more the degenerate portion of our society. I believe in the idea that you don't need outside sources to validate what you do. Like rock 'n' roll--in the beginning it wasn't 'valid' because society as a whole didn't think it was a legitimate art form. They did it because it felt natural for them to do. Everything good starts out that way." - John Graham
Vocals: Spencer Moody
Guitar: Dann Galluci
Bass: Derek Fudesco
Drums: Coady Willis
Guitar: Nate Manny
Keyboard: Leslie Hardy
1. Dance Hall Music
2. It's in My Heart
3. Boom Swagger Room
4. Get off the Floor
6. Broken Glass
7. Murder City Riot
8. Sick of Dreaming
9. Make It on My Own
10. Tell You Brother
Download Link (30 Mb)
1. Wade In The Water
2. Lights Out
3. Bradley's Barn
4. You Can't Tell Me
5. Nashville 1 A. M.
6. Cristo Redentor
7. Before Six
8. Lark, The
10. Long Wait
The legendary and indispensable 1968 psych-rock classic. The work of a guitar master so admired that he was auditioned by the Rolling Stones in 1975.
We would like to see some comments. We post music we like and we want your opinion. All the posts have more than 200 downloads and no comments. Don't be shy!!!!!
Now about this......Not much except that has some rare recordings from the Syd's period. Plus the only live recording from Syd. Keep Listening!!!!!!
As promised, this is the first album of this Mexican legend, one of these albums that you must own. Probably the best acid rock album ever made in Latin America, plenty of fuzz guitars and excellent compositions.
La Revolución de Emiliano Zapata, Polydor, 1971, LP
The Group: Javier Martín del Campo (guitarra, flauta, piano), Oscar Rojas Gutiérrez (vocales), Antonio Cruz Carbajal (batería), Francisco Martínez Ornelas (bajo), Carlos Valle Ramos (guitarra)
1. Nasty sex
3. I wanna know (Quiero saber)
4. If you want it (Si tu lo quieres)
5. Shit City (Ciudad perdida)
6. A king's talks (Pláticas de un rey)
7. Still don't, not yet (Todavía nada)
8. At the foot of the mountain (Al pie de la montaña)
9. Under heavens (Bajo los cielos)
Thursday, January 18, 2007
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 02
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 03
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 04
Link : p1 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 05
Link : p1 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 06
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 07
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 08
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 09
Links : p1 p2 ~ tracklist
Covers : F In B
V.A. - Psychedelic Archaeology vol. 10
Link : p1 ~ tracklist
Covers : F In B
Another Great U-Spaces comp...
More Info Here.
Light hippie folkrock with great male/female harmonies, strong tracks and a general uplifting quality about it. Pressed in Canada but the group was from Marin County and had help from David Crosby , who even on coke knew good music when he heard it. Although this album was pressed in Canada and lists no home base for the group on the cover, it is known that they were based in Marin County. The album, which is pop rock with male and female vocals, sounds like a cross between Pablo Cruise and later-day It's A Beautiful Day - which is defined as "psychedelic" by some record dealers in Europe. The group was previously known as RJ Fox, who saw a double CD issue of their early seventies material issued in Summer 1994: RJ Fox: Retrospective Dreams (Black Bamboo).
Shelly Fox was previously in Cookin Mama and Stephen Barncard also worked with Chet Nichols and David Crosby. Kelly Bryan had earlier been in the short-lived Grootna, and later played on a couple of albums by Jesse Colin Young.
Wednesday, January 17, 2007
01 Mercury messenger
09 Dans L'oeil De L'oeil
11 Marion dreams
12 Laser Sunset
13 La Fin De La Vie...
Jean-max Peteau: guitar, voice
Stephan Rossini: drums, voice
Michel Peteau: guitar, voice, sax
I do not have information on this French group, this CD is a first live edition of recordings (repetitions or concert) between 1971 and 1975. Music planing between Gong and The Cosmic Jokers.
Thanks a lot for all your great posts. Since I am downloading/discovering very good material here since few weeks, in my turn here is a modest contribution to your amazing blog.
This is an album of Cheval Fou (psych french obscure rock band of seventies) ripped from my own CD (320k) with full HQ artwork.
So, here is the Links:
Man From Missuri - 1990 - Bwanger Tatalingus Debase
This record asks a post in my friend's Mystery Poster style: just the cover, the title and the link.
But I'm afraid that even if the curius listener search for it, there's nothing to find. You see this LP released in Greece only, on Nate Starkman & Son Greece, in a limited edition of 500 numbered copies, and I don't know if anyone noticed it. The record came with an insert in the Indepented Project Records style (only this was in black with silver letters).
As for the band, the only things I can tell you are these: they were a quartet from California and they may have sort of relation with Indepented Record/Nate Starman & Son chief Bruce Licher. Some of the tracks of this self-produced album released as an EP in the U.S., I presume in equaly limited quantity.
And now the music: how about frenzyfied-fuzzed-out-surf-cow-psyche? The LP starts with an instrumental blast of energy, "Hygiene" which incoroporates tribal drums and surf guitar played with the amps at 10. Side-a continues (a bit calmed-down), then another killer cow-surf track ("Bwanger Tatalingus Debase") till the last track, "Epitaph", which colses this side with an electrified cowboy tale. B-side begins with the bass-driven dark-Brittish-sounding "Cover Tailor", continues with "Eat My Iron", a short track with metallic (not metal) guitar sounds, and then with "American Dogs" one of the best songs Wooden Wand never wrote (yet). The disc closes with "Accident" and the up-beat surf "Six" with fine ringing guitars. Maybe you can call them surf-Caroliner? Maybe not. You decide.
Jon Jarrett - vcls,gtr
Kelly Mason - bs, vcls
Art Byington - gtr
Steve Hadley - drms
PS Google shows a Jon Jarrett DJ in LA, and an Art Byington guitarist of Destroy All Monsters - I don't know if they are the same.
Edit: You can take a look in the comments for more about the band, as one "Man From Missouri" signing as "old man" posted a comment recently
01. Good old rocn'n roll (Michaels/Smith/Equine/Chin/Parker)
a. Sweet little sixteen
b. Long tall Sally
c. Chantilly lace
d. Whole lotta shakin'Goin'on
e. Blue suede shoes
f. part doll
02. Favors (Michaels/Smith/Equine/Chin/Parker)
03. Chalie's Waltz (Charlie Chin)
04. How I spent my Summer (Robert Smith)
05. Marie (Chin/Smith/Parker)
06. Probably won't (Robert Smith)
07. Can you dance to it? (Robert Smith)
08. Bramble Bush (Roy Michaels)
09. Bad news (Chin/Michaels/Equine)
10. Boston Burglar (Michaels/Smith/Equine/Chin/Parker)
11. Track in 'A' (N. Nights/Michaels/Smith/Equine/Chin/Parker)
Cat Mother And The All Night Newsboys
The original line-up of this eclectic quintet included Larry Israel Packer (vocals/guitar/harmonica/mandolin), Charlie Chin (guitar/banjo/vocals), Bob Smith (keyboards/vocals/drums), Roy ‘Bones’ Michaels (bass/guitar/banjo/vocals) and Michael Equine (drums). Packer was a former member of the New York Rock 'N Roll Ensemble, while Michaels had served in the Au Go Go Singers, a clean-cut folk ensemble which also included Stephen Stills and Richie Furay, both of whom would later appear in Buffalo Springfield. Chin, another coffee-house acolyte, coincidentally supplied the distinctive banjo coda on the latter group's exemplary Bluebird. Cat Mother's debut album, which was produced by Jimi Hendrix, reflected contrasting backgrounds. Chin then left the group, which sought a more receptive audience on America's west coast. Their music reflected a good-time, almost communal spirit, but a notorious instability undermined their undoubted potential. A 1973 release, LAST CHANCE DANCE, marked the end of the group's recording career, although they remained a popular live attraction for several years. Late arrival Charlie Harcourt was the only former member to prosper on Cat Mother's demise when he latterly joined Lindisfarne.
Tuesday, January 16, 2007
Rainbow in the Rain
Prelude to Love
Show Me How to Cry
Crying Eyes and an Empty Heart
Come on and Get It
In the Late Afternoon
Keeping Your Love
Love Has Got Me Down
Daniel Derda (Drums)
Eddie Haddad (Organ/Piano/Vocals)
Keith John (Guitar (Bass)
2. What It Is? (4:58)
3.Ungena Za Ulimwengu (Unite the World) Friendship Train (8:54)
4. Superstar (Remember How You Got Where You Are) (3:10)
5. Take Me in Your Arms and Love Me (4:04)
7. What's Going On (9:24)
As another vehicle for the talents of producer Norman Whitfield, soul trio The Undisputed Truth never quite enjoyed the same success as his other notable musical charges, The Temptations. With hits like "Ball of Confusion" and "Cloud Nine" The Temptations pointed the way to soul music's future in the late 1960s and early 70s. Their other great hit of the era, "Papa Was A Rolling Stone", was originally recorded by the lesser known group, before getting its definitive reworking with The Temps.
Released in 1972, the spirit of the age is very evident on this record. The conscious lyrics, the psychedelic riffs and dark and brooding funk rhythms- it's a world away from the assembly line pop of Motown's golden era. Joe Harris's heavy baritone is rich and clear, making "You Make Your Own Heaven And Hell Right Here On Earth" a compelling lesson in the era's political realities.
Like Rotary Connection they may have been a little ahead of their time, and perhaps a little way out for many. That said, most of the tracks have stood up well to the passing of the decades. (Apart from the baffling inclusion of a funk-light cover of "Take Me In Your Arms & Love Me.") There's even an introspective and mellow version of Marvin Gaye's "Whats Going On" that, despite the risks, works well.
The Undisputed Truth offered Norman a space to experiment in, exploring ideas he would later refine with his more mainstream projects. And, although theres nothing quite as good here as the bands earlier hit "Smiling Faces Sometimes", this album offers a fascinating insight into the mind of one of soul's most adventurous producers.
I like Randy Burns, I think he really made emotional albums….i like his voice too…
In all these kind of albums, the minor inside major chords is killing me…what to say..
Actually I think in all these folk guys, the melody is been built with the sudden use of a minor chord between of all major chords (the scale)…
Just my point of view….
RAY CHARRON drms A
BOB DOOR bs A
RALPH MAZZOTTA ld gtr, vcls A
JOHN POLLANO ld vcls, gtr A
This outfit came out of Northern Massachusetts with what some would argue is the ultimate psychedelic album, full of superb Beatles - like vocals and songs with great guitar work.
All the band's members had previously been in an outfit called The Road Runners, who released an acetate single, You Don't Understand/One Light and Charron, Mazzotta, Door and Pollano were helped out on the album by Joe Villanucci, who played electric piano on Sarah Saturday. Original copies of Corridor Of Faces now change hands for hundreds of dollars and are virtually impossible to find in the U.S. let alone elsewhere.
The album was recorded between 22nd June and 13th July 1968 on a budget of $1000 and emphasised the softer, more reflective side of the band, which was apparently a lot heavier live. Although lacking the range of the Beatles, the album perfectly establishes a mood - musing and introspective but not melancholy - with guileless vocals expressing a rapt, unhurried contentment. While not overtly psychedelic, the atmosphere strongly suggests the drug experience in its basking-in-the moment serenity. At times the band sound almost dead-ringers for Kaleidoscope (UK version) on tracks like Salty People, How Was Your Day Last Night and Come With The Day. Under Skies has all the evanescence and permanence of a hazy Summer's day, while Sarah Saturday and How Did You Die sound like parodies of Paul McCartney and John Lennon respectively. A beautiful album that keeps on improving with further acquaintance.
By the time the album was released, the band had split up (Door had left so soon after the album's recording that he wasn't included on the album cover), but Pollano cut one post-album 45 in a trio called The Owl, which is in similar style to the album. The twelve bonus tracks on the excellent Arf! Arf! CD, (which contains a full history of the band including many photos) are mainly acoustic demos recorded in the Autumn of 1967, seven of which are early versions of songs from the album.
Pollano also recorded twelve further songs in Boston in the Winter of 1969 for an intended second album, but only two of them surfaced on a single, You Always Seem To Know/It Happened Again that was included with the vinyl reissue on the Onyx label. Mazzotta later played with Euclid and was playing in a country band in Massachusetts in the early-90s.
Very recently a reunion album was recorded, Pictures In The Smoke.
Compilation appearances include: There Was A Time on Love, Peace And Poetry, Vol. 1 (LP & CD); and All These Years on The Arf! Arf! Blitzkrieg 32 Track Sampler (Dble CD).
(Vernon Joynson / Lloyd Peasley)
CORRIDOR OF FACES 01 All These Years, 02 How Was Your Day Last Night?, 03 Come With The Day, 04 Salty People, 05 Jackie-Marie, 06 Under Skys, 07 Sarah Saturday, 08 There Was A Time, 09 Am I Wrong?, 10 How did You Die?
UNPLUGGED DEMOS 11 I Don't Need The Sun, 12 Changing The Time, 13 I Could Fall Asleep , 14 Wait Till You See, 15 Scarecrow, 16 All These Years, 17 Come With The Day, 18 Salty People, 19 Jackie-Marie, 20 There Was A Time, 21 Sarah Saturday, 22 Am I Wrong?
Monday, January 15, 2007
01 Codine Blues
02 Alabama Bound
03 I Always Wanted A Girl Like You
04 I Saw Her
05 How Can I Miss You When You Won't Go Away
07 We're Not On The Same Trip
09 Sweet Sue, Just You
10 East Virginia
11 The Shadow Knows
12 I Got Mine
13 Steppin' In Society
14 Devil Got My Man
15 By Hook Or By Crook
16 'Long Come A Viper
18 Alabama Bound
19 Number One
20 Baby Won't You Tell Me
21 Jack of Diamonds
22 The Blues Ain't Nothing
23 Groom N' Clean Ad
George Hunter – autoharp, percussion, vocals
Michael Ferguson – piano, vocals
Mike Wilhelm – lead guitar, vocals
Richard Olsen – bass guitar, clarinet, vocals
Dan Hicks – drums, rhythm guitar, vocals
No relation to the British alternative rock band, the Charlatans, this San Francisco group has been widely credited as starting the Haight/Ashbury psychedelic scene. In retrospect, their contribution was more of a social one, planting seeds of a rock counterculture with their unconventional, at times outrageous dress and attitudes. While they occasionally delved into guitar distortion and fractured, stoned songwriting, the Charlatans' music was rooted in good-time jug-band blues, not psychedelic freakouts. That's not to say their records didn't have a low-key, easygoing charm, although they didn't match the innovations of the Jefferson Airplane and other peers. Cutting demos for a couple labels in 1966, most of the material they recorded at this time was unissued, and the commercial explosion of San Francisco rock passed them by. The band eventually did release a nationally distributed album in the late '60s, by which time personnel changes had diluted some of the crazy energy of the original lineup, although the LP has its engaging moments. ~ Richie Unterberger, All Music Guide
Get it Here !!!
(part I ~ part II)
Second album of this Mexican legend, excellent psychedelic acid rock with ripping fuzz lead guitars and quality vocals in English.
Probably one of the best pieces of Latin American psychedelic rock ever made.
La Revolución de Emiliano Zapata, Nada del hombre me es ajeno (La verdadera vocación de Magdalena), tambén se conoce como Hoy
Polydor, 1972, LP
Javier Martín del Campo (guitarra), Oscar Rojas Gutiérrez (vocales), Antonio Cruz Carbajal (batería), Francisco Martínez Ornelas (bajo), Carlos Valle Ramos (guitarra), Patricia Paty Ayala (coros) y Marilú Mairfufa (coros)
1.In the middle of the rain (Enmedio de la lluvia) 7,55
2. Now listen this song (Ahora escucha esta canción) 6,00
3. Petra y sus camaradas 6,02
4.Again (Otra vez) 4,10
5. Preludio a la felicidad 3,03
6. Fatman (El Kuino) 6,10
7. So long ago (Hace mucho tiempo) 4,49
8. I dig it 10,15
Superb late sixties styled trippy psychedelia with male/female vocals and some killer lead guitar make this an essential purchase for anyone investigating this area of collecting.
Impressive hard psych with some fantastic guitar work that could compete with US and European counterparts. With only one song in Spanish, the lyrics are few but not corny. The opening track is amazing with some very powerful guitar work. The next song is a bit more subdued though still awesome. The fifth track is the song with no English. The closing ten minute track closes the album out well with some great instrumental parts. Highly recommended.
Some more heavy-psych for your enjoyment. The guitar playing here is definitely the highlight; Jon Uzonyi's style was certainly ahead of its time. Here's the allmusic review:
1 Sea of Nightmares
2 Angel of Love
3 I Can Never Take Your Dreams Away
4 Carry on Together
5 A Bikers Tune
6 Open Your Mind
7 The Day the War Has Ended
8 Love Shines
9 Keep a Smilin' Cari [*]
10 The Sun Won't Shine Forever [*]
11 Lazy River Blues [*]
Peacepipe were the brainchild of guitarist John Uzonyi. They were a power trio that played Southern California and Arizona in the late '60s. They released a single during their existence, and also cut this album, which remained unreleased until the mid-'90s. Originally released on Rockadelic on vinyl only, Shadoks has now reissued it on compact disc, remastered from the original tapes. If you're into heavy psych guitar, you really need to hear this album. Uzonyi has a monstrous tone on guitar, similar at times to Jimi Hendrix's feedback dive-bombing, but the two have very different playing styles. Uzonyi is aided by drummer Gary Tsuruda and keyboard player Rick Abts, but the show belongs to Uzonyi. There are at least two guitars present most of the time, Uzonyi is the singer, and he most likely plays the bass tracks as well. The material ranges from superheavy guitar insanity to more poppy material. To be honest, Uzonyi's lyrics and vocals are nothing to write home about (especially the awful lyrics to "Angel of Love"), but his guitar playing saves the day. There's no studio trickery to speak of (except for the weird tremolo vocals on the last track), although engineer Eirik Wangberg did a masterful job of capturing what Uzonyi was trying to do, and came up with a great, dynamic mix and fun stereo panning effects. The album sounds of its day, but some of the guitar playing still sounds inventive. Shadoks specializes in releasing unknown, obscure material, and they've dug up a great one here.