Tuesday, October 31, 2006
"The Wylde Mammoths" -a swedish 80s garageband sounding like an original 60s one- released two albums on the American label, Crypt Records. Crypt, had up to that point in time, solely released different compilations with the obscure sixties-bands, for instance "Back from the Grave". When Tim Warren (from Crypt), heard "The Wylde Mammoths" for the first time, he was totally knocked out and realised he had to help out the band. "The Wylde Mammoths" made two LPs and a handful of singles before they called it a day.
Four Wolly Giants EP, Mystery Scene Records, 1986
All The Birds Are Gone/I’ve Been Hurt (And She Don’t Care)/I Got You/You Gonna Need Me When I’m Gone
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Johan Maniette, drums
Help That Girl EP, Crypt Records, CR-45-3, 1987
Help That Girl/Nothing I Can Do/You/In My Lonely Room
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Stellan Wahlstrom, drums
I Can’t Go Without You/Deep Down In Misery, Splendid magazine #3, CH 002, 1988
Before It’s Too Late/I Can’t Win, Unique Records, UNR 45002.3, 1990
Peter Maniette, vocals/guitar
Thomas Sodergran, guitar
Jens Linberg, bass
Patrik Sjorvist, drums
You Gotta Go EP, Misty Lane Records, MISTY 017, 1994
You Gotta Go/Drivin’/Bloodhound/I Can’t Change
Go Baby Go!!, Crypt Records, CRYPT 011, 1987
Hooked/Enough Of your Love/Gone Away/I’m Going Out/Don’t Stop It Baby/Day And Night/Do-Da Do-Da/Pretty Baby/Plane To Chicago/The Night Is Black/Thinkin’ Of Her/I Never Loved Her/Won’t Make Up Her Mind
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Johan Maniette, drums
Things That Matter, Crypt Records, CRYPT 012, 1988
Things That Matter/Run From Her/Ain’t No Use/Have You For My Own/Make Up Your Mind/Good Love/It’s The Same All Over The World/C’mon Little Girl/Someone Like Me/Down And Out/Two Kinds Of People/I Need You/I Cried Like A Child
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Stellan Wahlstrom, drums
Your Download-Link :
45: 1 Gypsy Wedding/Gone Fishin' (Reprise REP 1096) 1972
NB: (1) double headed promos also exist.
Born in December 1942 at Paradise Valley, California, James Robert "Bob" Mosley played bass with the Misfits and The Strangers before joining Moby Grape in 1966. In 1969, Mosley left the group to join the US Marines (one of the very few San Francisco musicians to do this!) but after nine months and a fight with an officer, he had to return to civil life. He rejoined Moby Grape in 1971 for their fifth album and, when the group disbanded again, he went solo and co-produced his first album with Michael O'Connor (a friend of Chris Darrow). The sessions were held in November 1971 in Hollywood with a backing group including Allen Wehr, the former drummer of Morning Glory, and Ed Black (ex-Superfine Dandelion). The Memphis Horns also played on three tracks. The album is interesting overall, with good vocals and strong instrumental parts displayed on various styles: rock, West Coast, country rock and white soul. The best moments are probably The Joker and Gone Fishin. The album included a new version of Gypsy Wedding also recorded on Moby Grape's 20 Granite Creek.
After this, Mosley played for a while with Chris Darrow but nothing was released. In October 1973, he teamed again with the Moby Grape guitarist Jerry Miller to play the Californian bars and clubs circuit under various names (Maby Grope, Original Grape...). The group finally managed to get a contract with Polydor and released a decent album as Fine Wine in 1976. For obscure reasons, the LP was only released in Germany. Miller then left Mosley to play with the other ex-Grape members Lewis and Spence.
In 1977/78, Mosley returned playing the clubs circuit with John Craviotto and Jeff Blackburn (ex-Blackburn and Snow) as The Ducks. During several weeks, they were joined by Neil Young (some tapes and bootlegs exist). Between various Moby Grape reformations, Mosley would later have severe personal problems (he spent several years homeless) and had to wait until the late eighties to release some other solo records: Wine And Roses (Niteshift) 1986, Mosley Grape, Live at Indigo Ranch (San Francisco Sounds) 1989 and Never Dreamed (Taxim) 1999. In recent years, he has played several live dates with Moby Grape.
Sunday, October 29, 2006
The Merseybeats were one of the better quartets to come out of the British Invasion without ever making a dent on the charts in the United States -- along with the Roulettes, the Chants, and the Undertakers, they represent an undeservedly lost chapter in early-'60s British rock & roll. Although they enjoyed a little less than a year of serious chart success, the Merseybeats were unable to pull together the various facets of their sound into a cohesive, coherent whole in the manner of the Beatles or the Hollies, and into something lasting, in part because of a lack of original songwriting ability in their ranks. The group's roots go back to the early '60s in Liverpool, and a band originally known as "the Mavericks," comprised of Tony Crane (lead guitar, vocals), Billy Kinsley (bass, vocals), David Elias (rhythm guitar, vocals), and Frank Sloane (drums). They were doing well but soon found the name to be a drag on their success, making people think that they were a country & western band. They briefly used the name "the Pacifics," and then became the Merseybeats -- evidently their timing was such that they grabbed the name, previously a local music reference, ahead of anyone else in a city boiling over with musical activity.
By the end of 1962, the Merseybeats lineup had solidified around Crane and Kinsley, with Aaron Williams joining on rhythm guitar in place of Elias and John Banks succeeding Sloane. The group made their recording debut around this time as part of the Oriole label's Liverpool showcase, This Is Merseybeat. With the help of the manager of the Cavern Club, they were formally signed to Fontana Records in mid-1963, and made their debut in August of that year with a single of "It's Love That Really Counts" b/w "Fortune Teller" -- the A-side, a Bacharach/David tune, was a solid piece of British Invasion pop/rock in the best Beatles/Hollies/Searchers mode, with memorable guitar hooks and a memorable chorus, and it reached number 24 on the U.K. charts. They were later signed up by the Beatles' legendary manager, Brian Epstein, but the fit was an awkward one, owing to differences in musical sensibility -- the group was a fairly hard rock & roll outfit, but their singles tended much more to the pop side of rock & roll, and the A-sides never represented their real sound very well. In early 1964, the Merseybeats released a second single, "I Think of You" backed with the pop/rock standard "Mister Moonlight," which reached number five in England. In both of these instances, the B-side was closer to the band's sound than the A-side and, in both instances, the band had latched onto the material first -- but was eclipsed by rival versions by the Rolling Stones and the Beatles.
Though it had come along a little late, "It's Love That Really Counts" turned the group into a major pop/rock act, and the future looked good for them. But there were problems on the horizon, starting with the fact that neither of those singles had made even the slightest impact in the United States, which was where the real fortunes were to be made; and, much more seriously, the decision by Billy Kinsley to leave the band in 1964 in order to form his own group, the Kinsleys. In his place, they got John Gustafson on bass and vocals. formerly of Liverpool's Big Three trio, who also contributed some songwriting. In April of 1963, they released "Don't Turn Around" b/w "Really Mystified," which -- despite a beautifully catchy, harmony-and-hook-laden A-side that was heavily influenced by the work of Roy Orbison, and an original B-side co-authored by Crane and Gustafson -- didn't do quite as well, peaking at number 13. A third single in July, "Wishin' and Hopin'" b/w "Milkman" (the latter another Crane/Gustafson original), also reached number 13. The band released a pair of extended-play singles, including "I Think of You" and "Merseybeats on Stage," the latter capturing their real sound in concert and included "Long Tall Sally" and "You Can't Judge a Book by Its Cover" in early 1964. They also worked their way into two rock & roll featurettes, Swinging UK and UK Swings Again -- one of their clips, "Don't Turn Around," was nicely staged, the band miming to the single on a platform that, on the chorus of the title, starts to rotate.
The Merseybeats were successful enough to get an LP release, and the resulting self-titled album showcased their limitations as well as their virtues. Amid a few inspired moments, mostly on the single-sides (such as "Milkman") picked up for the LP, there were some "originals" that were highly derivative of Bo Diddley and Little Richard, interspersed with some decent Liverpool-style adaptations of American R&B ("Bring It on Home to Me," "He Will Break Your Heart,") and a strange choice of show tunes, one ("Hello Young Lovers") partly successful and the other not. Apart from a lack of originality in their sound, the album pointed to the group's very thin in-house songwriting -- they were almost wholly dependent on Peter Lee Stirling, who had written their three biggest, single A-sides, for success. And to judge from the weak diversity on their album, one couldn't tell if the Merseybeats wanted to sound like the Beatles, the Fortunes, or the Pretty Things, and as a consequence gained very few fans from the release.
Their fall 1964 single "Last Night I Made a Little Girl Cry" b/w "Send Me Back," barely made the British Top 40, peaking at number 40, and it wasn't long after this that Gustafson left the band and was replaced by Kinsley, whose return to the lineup coincided with their last round of success as the Merseybeats. By 1965, the Liverpool sound synonymous with the term "Merseybeat" was considered old-hat, and the name that had helped gain the group some vital recognition was now weighing them down. Following "I Love You, Yes I Do" b/w "Good, Good Lovin'," and "I Stand Accused" (later covered by Elvis Costello) backed with "All My Life," which peaked at numbers 22 and 38, respectively, the group seemed to have run its course for commercial success by early 1966. They were rescued by the interest of the members of the Who, whose members knew Crane and Kinsley, and got them under the management of Chris Stamp and Kit Lambert.
In mid-1966, Crane and Kinsley became the Merseys and scored a huge hit with "Sorrow" later that year, reaching number four in England. They'd still never charted a record in America, however, and their next single, a fine rendition of the Who song "So Sad About Us," never charted. The duo called it quits after the release of their single "Lovely" b/w "Loretta Drifting." Kinsley went on to form Rockin' Horse, while Crane later re-fomed the old band -- after a fashion -- as Tony Crane & the Merseybeats during the '70s and '80s, with Bob Packham on bass and vocals, Alan Cosgrove on drums and vocals, and Colin Drummond on keyboards and vocals. The original group was fondly remembered and the band did well embracing its own past; in the meantime, David Bowie covered "Sorrow" on Pin Ups in 1973, an acknowledgment of the lingering appeal of their best work. By the '90s, Kinsley was working with them again as the Merseybeats, built around that same core lineup except for Dave Goldberg on keyboards. In 2000, Crane's son Adrian joined on keyboards and guitar, and Lou Rosenthal took over on drums. ~ Bruce Eder & Richie Unterberger, All Music Guide
Your Download Link:
GERRY CONWAY drms A B
GEORGE HULTGREN bs, vcls A B
TREVOR LUCAS gtr, vcls A B KERILEE MALE vcls A
MIKE ROSEN gtr, vcls A B
DORRIS HENDERSON vcls B
ALBUM: 1(A) ECLECTION (Elektra EKS 4023) 1968 R1
45s: 1 Nevertheless/Mark Time (Elektra EKSN 45033) 1968
2 Another Time, Another Place/Betty Brown (Elektra EKSN 45040) 1968
3 Please/Saint George And The Dragon (Elektra EKSN 45042) 1968
4 Please (Mark II)/In The Early Days (Elektra EKSN 45046) 1968
5 Nevertheless/Please (Elektra K 12196) 1976
An interesting folk-rock group from Birmingham who failed to achieve any commercial success despite quite a lot of media attention. When Kerilee Male vanished in October 1968, Dorris Henderson, a vibrant vocalist from LA was drafted in as a replacement. She was an ex-folk club singer who had recorded two albums, There You Go and Watch The Stars with one time partner John Renbourn. The new line-up recorded a strong 45, Please, but success continued to elude them and, even now, their album is only of minor interest to collectors. Eclection split in October 1969, although Dorris Henderson did make an unsuccessful attempt to revive the band in the early 1970s. When they split Poli Palmer later joined Family, George Hultgren changed his name to George Kajanus and later enjoyed a certain amount of fame with Sailor. Australian Trevor Lucas and Gerry Conway later joined Fotheringay and Mike Rosen resurfaced in an outfit called Mogul Thrash.
Eclection can be heard singing Confusion on Elektra's 1969 Begin Here compilation and Nevertheless on Elektrock The Sixties
Friday, October 27, 2006
The Incredible String Band Broadcasts and other rarities.
Waiting for this stuff to be released is like waiting for God to take a holiday.
CD 01 - The Past and the Future and Similar Tenses
1. Jazz Bo’s Holiday
2. Intro From Mike And Robin
3. Way Back In The 1960’s
4. Perfumed Garden/Chinese White
5. Painting Box
6. Mercy I Cry City
7. Chinese White
9. Three Is A Green Crown
11. See All The People
12. Won't You Come See Me
13. You Get Brighter
14. All Too Much For Me
15. Ducks On A Pond
16. I Bid You Goodnight
18. The Half Remarkable Question
20. Painting Box
21. Noah And The Dove
22. Mercy I Cry City (partial version)
23. Hendrix-Manitas de Platas Comparison
24. Three Is A Green Crown
25. The Head
1 Edinburgh Folk Festival Vol. 1 LP (Decca LK4546)
2 Be Glad For The Song Has No Ending Film
3 Promo Single (Elektra EKSN 45013)
4 John Peel on Radio London with Promo Single (Elektra EKSN 45013)
5-8 Pete Drummond & Tommy Vance 'Top Gear', 10.Oct.67 (Broadcast 15.Oct.67), BBC Radio One
9-11 Julie Felix 'Once More With Felix', 03.Feb.68, BBC 2 television Broadcast
12-16 John Peel's 'Nightride', 4.Mar.68 (Broadcast 6.Mar.68), BBC Radio One
17-20 Julie Felix 'Once More With Felix', 23.Mar.68, BBC 2 television Broadcast
21-25 Royal Festival Hall, London, 30.Mar.68, Be Glad For The Song Has No Ending Film
CD 02 - Exchanging Love Tokens
1. The Head
2. Douglas Traherne Harding
3. Radio Announcement
4. See All The People
6. You Get Brighter
10. Waltz Of The New Moon
12. You Get Brighter
13. A Very Cellular Song
1-8 Bob Fass ‘Radio Unnamable’ WBAI Studios, New York, 13.May.68, Live broadcast WBAI Radio, NYC
9-13 Fillmore East, New York, 5.June.68 (Broadcast June 1969), Benefit Concert for WBAI Radio, NYC
CD 03 - Fiddlehead Ferns and Daffodils
1. Radio Announcement And Tuning
2. October Song
4. Bell Ringing
6. The Pig Went Walking Over The Hill
7. See All The People
8. Swift As The Wind (cut)
9. Play Music (cuts)
10. Ducks On A Pond
14. Chinese White
17. The Iron Stone
1-16 Fillmore East, New York, 5.Jun.68 (Broadcast June 1969), Benefit Concert for WBAI Radio, NYC
17 Live In The Studio Recording, Sound Techniques, Chelsea, Early 1969, Be Glad For The Song Has No Ending Film
CD 04 - A Very Small Door
1. All Writ Down
2. Dust Be Diamonds
4. Fine Fingered Hand
5. All Writ Down
6. Fine Fingered Hand
8. Dust Be Diamonds
9. The Letter
10. Come With Me
11. This Moment
1-4 John Peel's 'Nightride', 5.Feb.69 (Broadcast 5.Mar.69), BBC Radio One
5,6 Julie Felix 'Once More With Felix', 15.Feb.69, BBC 2 television broadcast
7-11 Ludlow’s Garage, Cincinnati, May '69, Soundboard recording
CD 05 (partI) (partII) - Love of Love is Very Huge
1. Black Jack Davy
2. The Letter
3. This Moment
4. Gather Round
5. Waiting For You
6. Invocation (partial version)
7. The Letter
8. This Moment (partial version)
9. When You Find Out Who You Are
11. Waiting For You
12. Black Jack David
13. Flowers Of The Forest
14. Beautiful Stranger
15. Won't You Come See Me
16. Dark Eyed Lady
17. Empty Pocket Blues
1-5 John Peel's 'Nightride', 5.Aug.69 (Broadcast 24.Aug.69), BBC Radio One
6-9 Woodstock Festival, Bethel, NY, 15.Aug.69, Woodstock Film outtakes/Audience video tape
10-12 Texas International Pop Festival, Lewisville, TX, 31.Aug.69, Texas Pop bootleg soundboard recording
13-17 John Peel's 'Top Gear', 20.Jul.70 (Broadcast 25.Jul.70), BBC Radio One
CD 06 - Peacocks in the First, Kokilas in the Fifth
1. Everything's Fine Right Now
2. Jigs (Coleman's Fancy/Rakish Paddy/The Wayward Fox/Johnny Grey)
3. Won't You Come See Me
4. Raga Puti
5. Ring Dance
6. The Circle Is Unbroken
7. Raga Puti
8. Everything's Fine Right Now
9. Long Long Road
10. Everything's Fine Right Now
12. Black Jack Davy
14. Won't You Come See Me
15. Jigs (Coleman's Fancy/Rakish Paddy/The Wayward Fox/Johnny Grey)
17. Flowers Of The Forest
18. Cold Harbour
20. Long Long Road
21. Lady Wonder
1-5 Stuart Henry's 'Sounds Of The Seventies', 17.Sep.70 (Broadcast 24.Sep.70), BBC Radio One
6-9 John Peel's 'Top Gear', 6.Oct.70 (Broadcast 9.Jan.71), BBC Radio One
10 Beat-Club, German TV, 24.Oct.70, Radio Bremen TV broadcast
11-21 Pacific High Studios, San Francisco, 15.Feb.71, Live simulcast KPFA, KPFB Radio, Berkeley; KSFX Radio, San Francisco, CA
CD 07 - The Sun in the Pale Silence
2. Bright Morning Stars
4. Worlds They Rise And Fall
6. Jigs (Sunday Is My Wedding Day/Drops Of Whisky/Grumbling Old Men/Eyes Like Leaves)
8. Spirit Beautiful
10. Willow Pattern
12. Cosmic Boy
14. Turquoise Blue
16. Whistle Tune
18. Darling Belle
20. Adam And Eve
22. You've Been A Friend To Me
1-22 Paris Theatre, London 18.Mar.71, BBC Radio One In Concert
JOHN CURLEE vcls, hrmnca, trumpet A
DAVE CUSHING drms A
RICHARD GREENWOOD vcls, sitar, gtr, violin A
CHIP HARDING gtr A
REID McLEAN flute A TONY PAUL perc A
JEFF SCHROEDER bs A
CLYDE THOMPSON vcls, keyb'ds, gtr A
ALBUM: 1(A) ONE TIME ONE PLACE (No label GC-72105) 1972 R3
This local Minnesota electric folk album contained a couple of great Eastern - influenced tracks. The privately pressed release included an insert with lyrics and photos.
GREENWOOD, CURLEE & CLYDE (MN)
"One Time, One Place" 1972 (no label gc-72105) [silkscreened cover; lyric insert with photos] 
Local communal hippiefolk artefact with a couple of really good psychy tracks and the rest passable singer/songwriter sounds. In general the guitar-based songs are good, while I think the piano tracks drag the album down. On level with the similar-sounding Big Lost Rainbow. Has the entire commune joining in on my favorite track which mixes 1970s "aware" lyrics with raga acoustic and flute, like a politically correct Manson Family. [PL]
---Cool counterculture artifact from well-meaning hippies who spent two years perfecting their craft. Most collectors lament that there΅―s too much piano here but even the overlong ballads are good. This is a great album. The intelligent lyrics are foul-mouthed in a wholly appealing way, and the mellow music is very well-played. Nice little guitar parts come when you least expect them, giving energy to the quieter songs, and the vocals are confident in a laid-back way. [AM]
Thursday, October 26, 2006
(Emperor Jones 2002, EJ55CD)
Song Title :
01.The Grain Kings
02.A Huge, Rare Cheese
03.Stack Collision With Heap
05.Curse Of The Strained
07.Caves Of Ice
08.You'll Die In A Carcrash
09.Hit In The Head
10.Oh My, Goddamn
Joel Crutcher (vocals, acoustic guitar, electric guitar)
David Cameron (vocals, guitar, drums, percussion)
SL Telles (vocals, keyboards, synthesizer, bass)
Mark Stone (guitar)
From Aural Innovations #22 (January 2003)
For their follow up to I Love to Talk, If There's Anything to Talk About, Texas space psych demons ST 37 head into somewhat more accessible rock n roll territory, while still retaining enough of their nasty space punk aggression and experimental bits to satisfy long time fans. The biggest change is that Carlton Crutcher is no longer a full-time member, only guesting on four tracks.
The disc opens with a trio of songs that on the surface have elements of straightforward rock. "The Grain Kings" is a power trip-pop song that is catchy and has a definite sense of rock n roll, but still has oodles of that nasty ST 37 space punk aggression. "A Huge, Rare Cheese" is similar but with killer meltdown guitars. "Stack Collision With Heap" is the track that would be ST 37's best shot at a single with college radio play. But don't let that put you off because the whining and winding ST 37 guitars are still much in evidence.
Things change dramatically, however, with "Daniel Said", a chunky slab of balls to the walls holy shit here comes a meteor SPACE PUNK! Phewwwww... not even 4 minutes long and this one wore me out. "Oh My, Goddamn" is a space punk instrumental that I enjoyed. And the band get a little into punk metal with "Caves Of Ice". "Sweet Thought" is a tune that almost has a love song quality, though all around it are ricochet UFO synths and whining trip guitars. "Hit In The Head" is similar but the guitars go far deeper into space. "Curse Of The Strained" is a trancier tune with haunting cello by guest Sara Nelson. But it soon blasts off into space with wall-of-sound chainsaw guitar chords and freakout alien synths. An excellent song. "You'll Die In A Carcrash" is a cool tune with classic ST 37 cosmic aggression. And the closing track, "Valentine Alibi", is a 14 minute psycho acid meltdown that plods along like Godzilla having a stroll through the streets of Tokyo. If you want something meditational you can forget it... this is dark and aggressive stuff that Klingons and Romulons everywhere will love.
In summary, for me this is ST 37 at their very best. The trademark ST 37 space and psychedelic punk sensibility is not only ever present but shows a band well tuned to one another during instrumental workouts and jams. Fans don't want to miss this one.
Reviewed by Jerry Kranitz.
ST 37 was formed in January 1987 as a merger of sorts between Austin cult bands Tulum and the Elegant Doormats. Bassist S.L. Telles has been active in the Texas music underground since singing with Houston teen punkers Vast Majority in '79-'80, releasing a single on Wild Dog records that has since been reissued several times, including outtakes. Telles formed the Elegant Doormats in spring 1982 with original ST 37 drummer John Foxworth (who later joined Tulum). The group endured for five years, playing with bands like the Butthole Surfers and the Reivers, and recording with legendary God of Hellfire Arthur Brown.
Guitarist Joel Crutcher and vocalist Carlton Crutcher founded Tulum in 1985, and recorded for Rabid Cat records before that label disintegrated. Jello Biafra wrote, "The bizarre side of Austin is still alive - first the Buttholes, then Scratch Acid, and now Tulum."
After recruiting Jon Torn (son of Rip; from the band Thanatopsis Throne) on keyboards, ST 37 began playing out in April of 1987 at the Cave Club with the Def MFs (still called Def MCs at that point). The stage was set right away when Telles informed the crowd that if they didn't like it they could leave.
The band released the cassette EP "billygoat nothinghead" late in the year, and thus began a string of cassette only releases.
ST 37 made their vinyl debut in 1990 on the Noiseville Records sampler, "From Twisted Minds Come...", and the 7" single, "Look at yr Chair", followed soon afterward. Lance Farley replaced Foxworth on the drum throne at this point and Shane Shelton took over from Torn on the keyboard duties.
Live shows continued unabated, with ST 37 organizing the Noisefests at Waterloo Park featuring bands like Ed Hall, Seemen, Crust, Liquid Mice, Pocket FishRmen, Coz the Shroom, Squat Thrust, etc.
Following the cassette LPs "feature silica vicarious" and "from space w/love" ST 37 finally entered the digital age with Over and Out records of Austin releasing the "Invisible College" CD. The release of a second single, "Taboo/Hoodoo", saw the addition of Craig Johnson from Puffy Brutha Man on rhythm guitar. This expanded six piece lineup traveled to Phoenix for the Arizona Music Conference, but disintegrated soon after that, with Farley leaving first to be replaced by Cisco Ryder G. and Shelton and Johnson bailing shortly thereafter. Carlton Crutcher expanded his musical role in the band to include sequencer (Roland SH 101) and Telles began utilizing occasional keyboards and drones to fill the gap.
ST 37's first tour followed, with the newly trim 4-piece lineup playing two weeks of shows on the west coast in January 1993. A third single, "The Gypsy's Curse" was released on Prospective in 1994, spawning a two week Midwestern jaunt that summer. The band met with Paul Stark of Twin Tone records in Minneapolis, papers were signed, an advance was paid, but alas.. it was not to be. Perhaps ST 37's next project, the sprawling double LP, "Glare", was a bit much for Twin Tone. John Kass of Prospective was soon able to find a home for it with Helter Skelter records of Rome.
After "Glare", ST 37 toured the Midwest again, this time with Prospective lablemates the Green Machine. Further recording projects followed, including appearances on Bowie and Hawkwind tribute records. Finally, after completing the sessions the resulted in the "derobe" split LP with Vocokesh on RRR, Cisco quit the band, but was kind enough to find his own replacement, Dave Cameron of Roky Erickson and Evilhook Wildlife E.T., Glass Eye, Brave Combo, 3-Day Stubble, etc., etc. fame.
1997 saw the addition of Mark Stone on rhythm guitar, allowing Joel to further explore the stratosphere on lead. Another Midwest jaunt was undertaken which saw the band playing their largest and most successful show yet at Weedstock outside of Madison WI. A compilation CD of the event was released featuring a smokin' live version of the band's Neu! cover medley, "Hallohero".
Contacts formed from roadwork enabled the band to fulfill a long-term ambition to play with Hawkwind . This happened on Labor Day weekend at the Strange Daze festival in Sherman, NY. Other space rock luminaries such as Nik Turner's Space Ritual, F/i Farflung, Alien Planetscapes, etc. were also on the bill. A CD compilation of this show has been released on Pangea records.
January 1998: After the release of "Spaceage" on yet another Italian label (Black Widow of Genoa), ST 37 saw their most significant local recognition yet with a major feature in the Austin Chronicle and a string of prime Saturday night shows with the likes of 7% Solution, Ursa Major and 60's psych legends Silver Apples. An original score for the 1926 Fritz Lang classic "Metropolis" was written that summer and has been played three times since then at the Alamo Drafthouse Cinema to ecstatic, ticket-scalping crowds and adoring press. Large portions of the score will emerge on "The Insect Hospital", a forthcoming double LP/single CD from Black Widow Records.
July 1999: After the release of the vinyl-only limited edition LP "The Secret Society", ST 37 played five dates in the Bay Area with some great bands like 3-Day Stubble, Liquorball, Beyond-O-Matic and the amazing Rubber O Cement.
1999 also saw the release of "I love to talk...if there's anything to talk about..." on Emperor Jones. Finally the ST 37 virus can spread to all corners of the globe through the massive veins of the Touch and Go/ADA/Southern Studios distribution/global conspiracy network. Along with Alastair Galbraith and Adam Wiltzie of Stars of the Lid, ST 37 accompanied Pip Proud on his Emperor Jones CD, "Oncer", released 2/00. No less than six different compilations appeared featuring ST 37 contributions.
Summer 2000: ST 37 journeys to the East Coast to make their NYC debut at Tonic. Shows are also played with Bardo Pond in Philadelphia and at Strange Daze 2000 with Daevid Allen's University of Errors and many more. A live broadcast is recorded at WFMU studios. A good time is had by all.
KFJC releases the extended 3-guitar version of "Nicht Jetzt" on their excellent 2xCD compilation "Live from the Devil's Triangle Vol. 2". The band finishes work on "The Insect Hospital" CD and double LP in the spring of 2001, and begins a series of limited edition CDR releases with the improvisational "Frantic Search for Zero". After a stellar Roky Erickson benefit show the band enters Sweatbox Studios to record their ninth LP. Midway through the recordings Carlton Crutcher leaves the band. Although a founding member, Carlton's musical role in the band was changing and he needed to devote more time to his project with his wife Sharon, Book of Shadows...Nonetheless, the as yet untitled album is rushing towards completion as the band awaits the proposed February 2002 release of "The Insect Hospital". Work has also begun on a new score for another Fritz Lang silent film, "Destiny" (Der Mude Tod), which will debut at the Alamo Drafthouse Cinema on 4/27/02...
Wednesday, October 25, 2006
Song To The Siren
Long afloat on shipless oceans
I did all my best to smile
'Til your singing eyes and fingers
Drew me loving to your isle
And you sang
Sail to me
Sail to me
Let me enfold you
Here I am
Here I am
Waiting to hold you
Did I dream you dreamed about me?
Were you hare when I was fox?
Now my foolish boat is leaning
Broken lovelorn on your rocks,
For you sing, "Touch me not, touch me not, come back tomorrow:
O my heart, O my heart shies from the sorrow"
I am puzzled as the newborn child
I am troubled at the tide:
Should I stand amid the breakers?
Should I lie with Death my bride?
Hear me sing, "Swim to me, Swim to me, Let me enfold you:
Here I am, Here I am, Waiting to hold you.
Tuesday, October 24, 2006
2. Prince of Heathens
3. Tom of Bedlam
4. Cry of morning
5. Berben Polka
6. Friar Tuck Bets His
7. Innocent Hare
8. Van Daemon's Land
9. Polly on the Shore*
* alternate studio version
Celia Humphries - Vocals
Barry Clarke - Guitar
Barry Lyons - Bass Guitar
Alan Eden - Drums; percussion
Chuck Fleming - Violin.
Unreleased Third Album Demos 1970-1971. "Another great UK folk-rock band here, The Trees, an amazing but largely underrated band; their two albums are among the finest offerings in the folk rock world; they have been released on CD by BGO and CBS and are well worth checking out!"
(September Gurls LP)
01 As We Unfold in the Skies
03 My Princess
04 Mystic Soul of Heaven
05 Earth, Spirit & Sky
06 Call of the Ancient
3rd album by Lamp of The Universe, the acid folk/psychedelic project of Craig Williamson from Hamilton, New Zealand (known also from heavy/stoner rock band Datura). The sitar-driven, mantraesque songs on Earth Spirit & Sky mark another step forward on Craig's way to conveying a meditative, mind-expanding musical experience. Earth Spirit & Sky appears to be an epic unit made up of 8 songs. Craig uses sitar, acoustic/electric guitar, tablas, flute, blissed out voice and blends elements of space/folk/blues with sounds from the Eastern shore for hippiesque psychedelia. Imagine an exotic incarnation of Ethereal Counterbalance's Rod Goodway jamming with Spacemen 3, Holy River Family Band, Saddar Bazaar and reaching/producing a trancelike phantasmagoric state...
The album"Earth, Spirit & Sky" is now availible on CD at the Lotusof1000petals mailorder, go HERE to order a copy. Thanks!!!!
You can Also Listen to :
Lamp of the Universe - 2001 - The Cosmic Union