September 2007 pt.1

Saturday, September 15, 2007

Mama Cass Elliot - 1969 - Bubble Gum, Lemonade & Something For Mama [192k]

After the breakup of The Mamas & the Papas, Elliot went on to have a successful solo singing career. Her most successful recording during this period was 1968's Dream a Little Dream of Me from her solo album of the same name, released by Dunhill Records though it had originally been recorded for and released on the album The Papas & the Mamas Presented By The Mamas and the Papas earlier that year. She headlined briefly in Las Vegas at Caesar's Palace for the unusually lucrative pay of $ 40,000 per week, although her performances were not well reviewed.

She was a regular on TV talk shows and variety shows in the 1970s, including The Julie Andrews Hour, The Mike Douglas Show, The Andy Williams Show, Hollywood Squares, and The Carol Burnett Show. She guest-hosted for Johnny Carson on The Tonight Show and appeared on that show 13 other times. Elliot also was a guest panelist for a week in late 1973 on the hit game show Match Game '73. She appeared in the 1973 Saga of Sonora, a TV music-comedy-Western special with stars of the day such as Jill St. John, Vince Edwards, Zero Mostel, and Lesley Ann Warren.

Throughout the early 1970s, Elliot continued her acting career as well. She had a featured role in the 1970 movie Pufnstuf and made guest-star acting appearances on TV's The New Scooby-Doo Movies, Young Dr. Kildare, Love, American Style, and The Red Skelton Show, among others [Wikipedia]

Because of her weight and the rumors concerning the cause of her death, Mama Cass Elliot endures as little more than a punch line, which is a real shame; not only was her voice the linchpin of the Mamas & the Papas' most memorable hits, but her solo records were engaging and unique, capturing the unlikely confluence of bubblegum and the blues. Bubble Gum, Lemonade & Something for Mama, Cass' second solo effort, showcases her brassy, exuberant voice couched in a variety of settings, from the girl groupish "It's Getting Better" to "Blow Me a Kiss," an ersatz Tin Pan Alley pop number in the mold of her hit "Dream a Little Dream of Me." The highlight is the closing "Make Your Own Kind of Music," later covered by Paul Westerberg [Allmusic]

Track list;
01 It's getting better
02 Blow me a kiss
03 Sour grapes
04 Easy come easy go
05 I can dream can't I
06 Welcome to the world
07 Lady love
08 He's a runner
09 Move in a little closer baby
10 When I just wear my smile
11 Who's to blame
12 Make your own kind of music


Style; Folk-Rock

The Mandrake Memorial - 1968 - The Mandrake Memorial

Attending the University of Pennsylvania, guitarist Craig Anderton found time to play in an outfit called The Flowers of Evil. Keyboardist Michael Kac started out as a folkie playing Philadelphia coffee houses, before hooking up with Cat's Cradle. Drummer J. Kevin Lally and singer/bassist Randy Monaco cut their professional teeth in the New York City based The Novae Police. The four came together through Philadelphia promoter Larry Schriver, who was looking for a group to serve as the house band for Manny Rubin's Philadelphia-based The Trauma Club.

With help from Rubin, the quartet started touring through the Northeast, eventually catching the attention of the MGM affiliated Poppy Records. Signed to the label, the band's cleverly-titled "The Mandrake Memorial" debut teamed them with producers Anthony Bongiovi and Tony Camillo. Musically their debut's quite entertaining with tracks like 'Bird Journey' and 'Rainy May' showcasing their unique line up of Anderton's angular guitar and Kac's electric harpsichord. Propelled by Monaco's likeable voice, the album's full of strong melodies, with some great harmonies and surprisingly catchy lite-psych moves. Sure, some of the lyrics haven't aged particularly well, but so what. There really isn't a bad song on the LP (how often can you say something like that?). Personal favorites include 'Here I Am' (sporting a killer lead guitar from Anderton), the sitar and feedback propelled 'Dark Lady' and the aptly titled 'Strange'. (Got to admit that I've always wondered why this one gets ignored by everyone in favor of "Puzzle".) Anyone know how the female singer that pops in from time to time is? Linda Cohen?

Download It Here :

Friday, September 14, 2007

Sundance (1971)

"Early 70s hard rock album with a rural feel. Slightly above average for the genre, but not a stand-out. They’re from Chico, which may be California but isn’t the usual stomping ground of rock bands. “Chico Women” is a terrific song. Recommended to fans of the style." (Acid Archives)

"The sole album from this Chico, CA quintet was unfortunately released just as their label (Kapp) was dissolving (1971; the final Kapp release came out the following year, although the label had been sold to MCA back in ‘67). It’s a tight knit collection of self-penned bluesy jams, featuring the twin guitar attack of Steve Cooley and Fred Campbell with excellent harmony vocals throughout. “Jeweled Scene Stealer” has some particularly tasty guitar soloing, and Cooley’s paean to the local babes, “Chico Women” coming across as particularly funky and beer-soaked.

Campbell whips out his flute and acoustic classical guitar for Side 2’s short, reflective opener, “Changes,” which segues quite nicely into the unusually syncopated time changes of the bluesy howler, “People Change.” Guest Eddie Abner’s steel guitar” and the omnipresent harmonies imbue “Blue Water” with a nice country rock flavor that should please fans of the goodtime groove of New Riders of The Purple Sage, Little Feat and Heartsfield (check out 1975’s “Foolish Pleasures”), with a hint of The Allmans not too far off in the distance.

Bassist Randy Reaves, who wrote or co-wrote seven of the album’s nine tracks, turns in one of his best efforts on “Movie,” a hard-driving, two-step toodle-oo that predicts some of the southern fried chicken rock of Lynyrd Skynyrd and Marshall Tucker. If sweaty, straight ahead bluesy country rock is your cup of moonshine, come forth and drink from the fountain that is Sundance." (Foxy Digitalis) (BUY IT!)

1) Train Time
2) Jeweled Scene Stealer
3) Strange New Time
4) Chico Woman
5) Changes
6) People Changin
7) Blue Water
8) Movie
9) Hollywood Dancers


Moonstone - 1973 - Moonstone

Radioactive ’s intrepid journey to find the most unusual and interesting musical gems from the past touches down this time in Alaska to unearth this eponymous 1973 album by dreamy folk outfit Moonstone, and what a discovery this is!

Download it Here :

V.A. - Rubble Series - Vols 1-20

Rubble is a 20-volume collection of compilation albums
of mostly late-1960s British psychedelic rock compiled by Bam-Caruso Records

The first volume was created in 1984, and the series was completed in 2002 (and later, the New Rubble series has begun). Rubble is one of the first series of compilation albums of psychedelic rock, freakbeat, rhythm and blues, garage rock and beat music of the mid to late 1960s in the United Kingdom. It predated similar compilation series, such as the English Freakbeat series, which AIP Records started in 1988.

The name "Rubble" is influenced by the title of the seminal Nuggets double LP, and resembles the titles of several similar compilation series, such as the Pebbles series, Boulders series and Rough Diamonds series. Most of the bands on these albums were not commercially successful, such as the Glass Menagerie, Wonderland and Wild Silk. However, the albums also include a few better-known bands, such as Tomorrow, The Poets, The Pretty Things and The Crazy World of Arthur Brown.


Click on titles for traclists

  • Rubble #1 [The Psychedelic Snarl]
  • LP (Bam-Caruso, 1984)

  • VA_-_The_Rubble_Collection_vol 01 @256.rar

  • Rubble #2 [Pop-Sike Pipe-Dreams]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 02 @256.rar

  • Rubble #3 [Nightmares In Wonderland]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 03 @256.rar

  • Rubble #4 [The 49 Minute Technicolour Dream]
  • LP (Bam-Caruso, 1984)

  • VA_-_The_Rubble_Collection_vol 04 @256.rar

  • Rubble #5 [The Electric Crayon Set]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 05 @256.rar

  • Rubble #6 [The Clouds Have Groovy Faces]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 06 @256.rar

  • Rubble #7 [Pictures In The Sky]
  • LP (Bam-Caruso, 1988)

  • VA_-_The_Rubble_Collection_vol 07 @256.rar

  • Rubble #8 [All The Colours Of Darkness]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 08 @256.rar

  • Rubble #9 [Plastic Wilderness]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 09 @256.rar

  • Rubble #10 [Professor Jordan's Magic Sound Show]
  • LP (Bam-Caruso, 1988)

  • VA_-_The_Rubble_Collection_vol 10 @256.rar

  • Rubble #11 [Adventures In The Mist]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 11 @192.rar

  • Rubble #12 [Staircase To Nowhere]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 12 @192.rar

  • Rubble #13 [Freak Beat Fantoms]
  • LP (Bam-Caruso, 1989)

  • VA_-_The_Rubble_Collection_vol 13 @192.rar

  • Rubble #14 [The Magic Rocking Horse]
  • LP (Bam-Caruso, 1988)

  • VA_-_The_Rubble_Collection_vol 14 @192.rar

  • Rubble #15 [5000 Seconds Over Toyland]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 15 @192.rar

  • Rubble #16 [Glass Orchid Aftermath]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 16 @192.rar

  • Rubble #17 [A Trip In A Painted World]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 17 @192.rar

  • Rubble #18 [Rainbow Thyme Wynders]
  • LP (Past & Present, 2001)

  • VA_-_The_Rubble_Collection_vol 18 @192.rar

  • Rubble #19 [Eiderdown Mindfog]
  • LP (Past & Present, 2001)

  • VA_-_The_Rubble_Collection_vol 19 @192.rar

  • Rubble #20 [Thrice Upon A Time (Nothing Is Real)]
  • LP (Past & Present, 2002)

  • VA_-_The_Rubble_Collection_vol 20 @192.rar

    Click on titles for traclists


    Vols 01-10 by verybadboy
    Vols 11-20 by Opa-Loka

    Enjoy !!!

    Thursday, September 13, 2007

    Morning Dew - 1969 - Morning Dew

    Reviewed by: Keith "Muzikman" Hannaleck, June 2002

    This reproduction on 180-gram virgin vinyl of Morning Dew's 1967 self-titled LP has a distinct sound; it was the beginning of the psychedelic phase of rock music. And that is firmly in place on the record. According to the back cover of the LP it was released in 1971 on Big Seven Music. That may be the copy that Akarma Records got for reproduction, but upon further research I found that it was originally released on the Roulette label in 1967.

    There are moments of a heavier metal sound, but very few. The peace, flowers, and summer of love influence abounds throughout most of this record. Check out the cover, this couple looks as though like they are frolicking in the fields of Woodstock.

    It's all very good rock music; in fact, this is a solid LP without one throw-away on the entire recording. The musical style remains consistent throughout with the exception of one surprise, the closing track "Epic: The Mann/Death Is A Dream," which starts off with a Spanish flamenco guitar and then launches into one of their rockers, it's a step away from the norm and a nice change showing how the band was talented enough to go into an entirely different direction. For the most part the folk, rock, and psychedelic sounds are what dominate this record, and a nice balance is managed with male and female vocals taking turns. It's a great album and well worth the purchase.

    Morning Dew was-Mal Robinson, Blair Honeyman, Don Sligar, and Don Anderson.

    Rating: 3.5/5

    Track Listing:

    Side One: Outside: Crusader's Smile (3:42) / Upon Leaving (2:12) / Young Man (2:32) / Then Came The Light (4:15) / Cherry Street (4:09)

    Side Two: Inside: Gypsy (5:48) / Something You Say (4:29) / Country Boy Blue (2:39) / Save Me (3:40) / Epic: The Mann / Death Is A Dream (4:33)

    Download it Here :

    Wednesday, September 12, 2007

    Cherokee Mist - 1994 - Gathering Of The Tribes

    Cherokee Mist (UK) - 1994 - Gathering Of The Tribes

    Tracks :
    A1 Coast To Coast (11:14)
    A2 The Quick And The Dead (4:56)
    A3 Believe (5:55)
    B1 Orange Cucumber (22:18)

    John Redfern (guitar, vocals)
    Mo Hone (guitar)
    Chris Jordan (bass)
    Stephen Bayes (drums, percussion)
    Simon Redfern (drums, percussion)


    This could be described as The Morticians second album, as it features the two main members of that band and sounds a bit like side two of The Morticians LP. We're talking heavy acid rock jams, with an American '60s West Coast meets the Pink Fairies feel...
    A limited edition of 1000 (Vinyl only).

    The best music CHEROKEE MIST recorded was with Caroline Davey from WOBBLE JAGGLE JIGGLE sharing the vocals with John Redfern. "Coast to Coast" and "Orange Cucumber",etc. This was going to be released as an LP on the Tangerine label, until the master tapes dissapeared? Theres some Rock and Roll Mythos for you! (Dec 2003).
    Trippy Fish~Psychedelic-Music.Net

    Get it here @192

    Monday, September 10, 2007

    The Patron Saints - Fohhoh Bohob (1969)

    A classic example of a private press release gaining a reputation far outside its initial impact, Fohhoh Bohob was recorded in enthusiastic amateur fashion by the three teenagers in the Patron Saints during early summer 1969 at member Paul D'Alton's house while the rest of his family was on vacation. As explained by de facto bandleader Eric Bergman in the liner notes to the 2007 reissue on Time-Lag, the goal of the trio was to get something out there on their own, even though they could only afford a quick pressing of a hundred copies. Nearly forty years on, the perfect charm of Fohhoh Bohob -- a phrase the original liner notes claims means ‘greetings of the mouth' -- remains immediate and intact. Combining enough technical skill and good enough equipment to result in a reasonable if low-key recording plus a jaunty sense of humor and young but not sloppy instrumental skills on the part of the band, the album's an immediate, gentle pleasure, perhaps one of the first rural psychedelic albums as such. The trio's love for any number of groups of the time is perfectly apparent -- Bergman mentions such logical names as the Beatles, Hendrix and Paul Butterfield -- but it's the reference to Moby Grape that makes the most sense, since this is almost the more upbeat, full band equivalent to Skip Spence's near simultaneously-recorded Oar. The rave-ups on "Flower" and "Relax" and the jaunty vaudevillian kick of "Do You Think About Me?" are merry treats, while the low-key, gentle singing from the deeper voiced Bergman and the slightly higher-pitched Jon Tuttle is alternately warmly inviting and hesistantly melancholy from both singers, depending on the song. ("White Light," Bergman's dreamy high point at the center of the album, handles both emotions quite well.) Clever, unexpected song structures help to give the album an even stronger mark -- while not avant-garde per se, a number of songs eschew standard verse/chorus/verse structures for more complicated lyrical arrangements and musical tempos, all the more remarkable given the age of the performers. The 2007 CD reissue includes seven bonus songs, up from three from an earlier mid-nineties reissue -- a well-received live version of "Do You Think About Me?" as well as an alternate studio mix, two 1975 era songs, "Reflections on a Warm Day" and "Nostalgia Trip," an alternate mix of "The Goodnight Song" and two otherwise unreleased songs from the original recording dates, "Shine On Heart" and "Do It Together." (BUY IT!)

    1) Flower
    2) Nostalgia Trip
    3) Reflections on a Warm Day
    4) Do You Think About Me?
    5) White Light
    6) Relax
    7) My Lonely Friend
    8) Andrea
    9) The Goodnight Song
    10) Shine on Heart
    11) Do It Together
    12) Do You Think About Me? (live)
    13) Nostalgia Trip - 1975
    14) Reflections on a Warm Day - 1975
    15) Do You Think About Me? (demo)
    16) The Goodnight Song (original)


    Joni Mitchell – 1969 – Clouds [320k]

    On request
    Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsure ness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell's classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell's riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen. [Allmusic]

    Track list;
    01 - Tin Angel
    02 - Chelsea Morning
    03 - I Don't Know Where I Stand
    04 - That Song About The Midway
    05 - Roses Blue
    06 - The Gallery
    07 - I Think I Understand
    08 - Songs To Aging Children Come
    09 - The Fiddle And The Drum
    10 - Both Sides, Now


    Style; Folk-Jazz, Folk-Rock, Singer/Songwriter

    Stack Waddy - 1971 - Stack Waddy

    Stack Waddy's debut album is one of the "must hear" discs of the early 1970s, an uncompromising roar that might cavort through that shell-shocked no man's land that sprawls between Captain Beefheart and the Edgar Broughton Band, but which winds up defiantly beholden to absolutely nothing else you've ever heard -- one reason, perhaps, why the group vanished with so little trace.Recorded live in the studio (or thereabouts, Stack Waddy is a blurring blend of brutal band originals and deliciously mauled covers. Beefheart's "Sure Nuff Yes I Do" is an unblinking highlight, while raw takes on "Suzie Q" and "Road Runner" remind us of the group's mid 60s genesis on the Manchester R&B scene. There's also a version of Jethro Tull's "Love Story" that comes close to topping the Sensational Alex Harvey Band in terms of lascivious power and ferocity. Certainly John Knail takes no prisoners as he howls his way through and, while Stack Waddy holds back from completely recreating the live band experience (there's no breaking bottles, for a start), still this is one of those few albums that genuinely requires you to wear protective clothing.

    Saturday, September 08, 2007

    Hawkwind - 1996 - Love In Space

    Death Trap
    Are You Losing Your Mind?
    Photo Encounter
    Blue Skin
    Sputnik Stan
    Alien I Am
    Love In Space
    Silver Machine
    Assassins (2CD only)

    No need to say something about Hawks.

    Clive John - 1975 - You Always Know Where You Stand With A Buzzard

    Clive John, or Clint Space or just Clint to Man-band fans, was the beloved keyboardist and sometimes guitarist for Man through most of their classic periods. His contribution to the sound and humour of the band was a big one, though you might not really realise it until you place him apart to record his one and only solo album, ie. this one. Of all the Man off-shoots and solo projects that I’ve heard (which I have to admit isn’t all of them), this is far and away the best and most consistently high in quality (and other substances), but for some reason it’s also one of the most obscure. I only discovered its existence when I stumbled across it in a random rack-shuffling in a large discount music store, and although I was instantly intrigued by a) the Man connection, b) the title and c) the cover, I was also wary of the late date (1975, by which time Man were no longer so hot on record) and the fact that I’d never heard of it before. A quick internet search later and I’d read some reports that it was supposedly a good album if you like Man, though with only a few tracks that were that great. Well, after I thought I’d take a gamble and just buy it, I was pleasantly surprised, because not only did I thoroughly enjoy pretty much the whole album, I’d go so far as to say that this is some of the best Man-and-related music that I’d heard. I’m not saying the best as far as Man goes – I can certainly think of superior Man stuff – just up there with some of the best. On the other hand, this is surely better and more consistent than either of the patchy Deke Leonard albums, which are roughly 50% filler to my ears. You may not agree, but I’ll try to state my case. (Not so sure I agree with all that = I had this album since it came out = Yes I always loved it, but then I did love the Deke albums too).

    At this time, Clint was holed up in a remote farm in Breton, and after being asked by Andrew Lauder of UA to do a solo album, he transferred holes to Rockfield Studios in Wales to record it. Clint handled most of the instruments on this album – guitars, keyboards and vocals – but he’s backed by Man’s Martin Ace on bass, and Help Yourself’s Dave Charles on drums and engineering, as well as sundry guests on various tracks including Phil Ryan (Eyes of Blue, Quicksand, Piblokto, Man, Neutrons) and Andy Fairweather Low (Amen Corner). The cover features the still-hairy prototypical hippy freak Clint generously holding out a giant fake-looking orange. The title of the album came from what Clint said to a visitor who fled after being attacked by buzzards whose nest site he’d unwittingly approached, the point being that you’re supposed to stand your ground and the buzzards will hold back. Don’t ask me to test that one out...

    ‘Out Of My Tree’ [5:18] begins in a kinda mainstreamy guitar rock mode, and it’s perhaps the most ordinary and seriously-toned track on the album, but don’t let that put you off, there’s better to come, and this song does have a cool slashing fuzzed guitar bit that’s nice. This track might grow a little on you over time, as it has for me. You gotta love a song that’s about questioning your sanity (at least that’s what I think it’s about...).
    ‘Brand ‘X’’ [3:44] changes the mood considerably, not to Brand X-like fusion but with a kooky cascade of cheesy keyboard, bass and guitar matching notes and dripping down the chromatic scale before swinging into a totally chugging Man-esque hard guitar riff, with ultra-cool vocals pleading for a little bit of rock’n’roll. This is a fist-in-the-air anthem to rock and a go-get-‘em attitude that’s up there with the Fairies’ ‘Do It’ as a positive motivator. Midway it breaks down into a gutsy down-home groove as Andy Fairweather Low (here rechristened as Ferretweather) cuts loose with a wicked guitar solo. As far as the guitar-oriented side of things go, this is like Man at their best, I guess not counting things like the 20-minute ‘Spunk Rock’ jam
    on ‘Greasy Truckers Party’.

    ‘Summer Song’ [5:22] sees us in softer, spacier, wistful Man mode, keyboards predominating with a gentle, simple structure that bobs along like the Good Ship Lollipop (no, it doesn’t sound like the Shirley Temple song, I’m trying to create imagery here...), and wouldn’t have been out of place as one of the more unassuming tracks on ‘Back Into The Future’.
    Swansea Town’ [3:47] is, yes, another one to compare to Man, something that’s hard to avoid here. It alternates between, initially, a cheerier kind of Man guitar riff, that swings into a slightly strange one with a harder edge that might be called kinda ‘doomy’ (slightly) if it didn’t sound like a bunch of silly trippers having a bit of fun. Mid-time sees a typical one-note bass groove propelling a tasty dual guitar jam, and well, need I say it, if you’re a Man fan you know what you’re getting here.

    ‘Visitin’ The Duke’ [5:59] is more traditional and down-homey at the start, with blues harmonica and guitar wheezing away, before kicking into a hard, gritty Southern boogie rock slide riff with meaty vocals, done of course a la Man, breaking down and dirty with the harmonica for another jam-out that these guys just can’t seem to escape let alone do badly, and let us be thankful for that! This track, by the way, is about visiting Deke Leonard in London.

    ‘Love To You’ [6:14] starts with bass throbs and weird keyboard sounds hovering in the background, hinting at something that doesn’t come, before a steady, loping groove sets in with a kinda psych-soul-boogie feel, if that makes any sense. Reminds me a bit of The Indelible Murtceps, in other words Australia’s legendary Spectrum in non-psychedelic/prog mode. Of course that won’t mean a thing if you haven’t heard ‘em, but I’m clutching at straws here (one of the hardest things about doing reviews, for me, is that the most meaningful and/or well-known comparisons or descriptions don’t always come to mind when you need them! And, well, I haven’t heard everything...). Anyway, if that sounds dodgy to you, you might find it’s better than it sounds on paper with my measly attempt at description, but still, not one of the better tracks on the album.

    ‘Overflow’ [5:07] begins with some jazzy sparring for a few seconds before a structure sets in with ease and we have a mellowish, unusual rock number with a guitar rhythm and bass line that’s only a few degrees removed from reggae, though as imagined by Patto, if you can paint that in your mind. And the Patto comparison holds into the unexpected brief jam that opens up next, now denser and with more of a jazz-informed hard rock edge, though the second (and longer) jam that follows and fades out the track is more akin to a mellow, almost spacey Man circa ‘Back Into The Future’.

    ‘Bust Again’ [4:36] is, of course, about being busted (for growing dope), and flows as a slow-plodding skanky fuzz rock number as Clint recounts the lament of the events of his undoing at the petty hands of the law. As Clint puts it, “What the fuck can you do with a bush or two of my weed?” Musically, this is comparable to Man’s ‘Romain’ and is likewise pretty cool.
    ‘Ferret Interview’ [1:38] is a ridiculous interview in silly voices regarding the sexual habits of ferrets, apparently “rather a domesticated form of perverted stoat”! I won’t give away any of the rest, suffice to say you’d have to be made of stone if this track doesn’t raise a few chuckles.
    ‘Hold Your Ferret Aloft’ [5:34] is in a slightly odd angular jazz rock vein, cruisy and juicy and reeking of the weed, with oozing harmony vocals imploring us “hold your ferret aloft” and “vote for stoat”, amongst other things I can’t quite make out. However, instrumental interplay predominates, as the band jam away in a lazy, stoned and virtuosic way through various shades and permutations of the basic groove, Phil Ryan providing some tasty, unshowy keyboard licks. I can certainly imagine this track sitting comfortably on the Chillum album, or maybe snuck into some early/mid-70’s Zappa album, and it’s one of the few tracks here that doesn’t sound derived from styles set down previously by Man – let’s call them Mannerisms, eh? But how can you accuse Clint of being derivative of something he helped create and was a part of in the first place? Even if you could get away with calling any of it derivative, there’s no escaping that the music is still great regardless, and that’s what matters ultimately. Unless you don’t like this sort of thing, in which case, why have you read this far?

    This album was reissued on CD (I think for the first time) by Eclectic in 2004, with an added coda at the end of ‘Hold Your Ferret Aloft’, which basically consists of 10 seconds or so of keyboard doodling after the track has otherwise ended. You have a much better chance of getting a copy of this than of the LP, which I’ve never seen. Plus you get some nice informative liner notes with photos in the cover booklet for the CD.

    I was told that Clive has lots of early Man recordings that maybe one day could see the light of day - I certainly hope so.

    Just got the latest Man Band CD delivered - It's OK, but only Martin Ace from the original lineup is on it And as it was released in Feb this year with the 1st 500 copies getting a signed cover - It has not sold so well as I got a signed cover in August! Sol I wont be posting it for a long time.

    Seventh Dawn member Heff Munson "New" Songs

    Hello, Heff Munson here.

    As I promised last month, I have set up a website for free access to my songs, including the originally-planned version of the Seventh Dawn "Sunrise" album.

    The website is

    It contains new versions of my songs from that album plus the other songs as originally planned. The album title is "Such A Lonely __/Seashore". I have also recreated my original cover artwork, and included a printable lyric book.
    There are other songs as well, and I will add more from time to time.

    Thanks to the people who listened to the 1976 version.

    Les Rallizes Denudes - '77 Live [128k]

    On request

    Double CD bootleg, of the most historic Rallizes recording of them all (originally issued by the band in 1991, only very briefly available -- there have been no legitimate Rallizes recordings since). Mastered from CD (presumably), with relatively extravagant die-cut printed sleeve packaging. "Les Rallizes Dénudés, Haddaka No Rallizes in Japanese, and probably 'Les Valises Dénudés' in French, are the most obscure group from Japan. Their guitar-based music began at Kyoto University in late 1967 with their first official gig in 1968. While their self-released recordings from this time are structured in a loose Group Sound ('GS')/Folk Boom-type style, their live shows featured deafening volume, strobe lights and mirrors for maximum disorientation. This, of course, invites comparison with the Velvet Underground's Exploding Plastic Inevitable not to mention Le Stelle de Mario Schifano's art-show happenings in Italy during 1967-68. References could also apply to the Grateful Dead before losing Tom Constantine and Ron 'Pigpen' McKernen. In any case, the volume was too much for others to deal with -- a relationship with a theatre group fell apart due to the band's refusal to turn their amplifiers down. Nothing was going to change for the next 20 years... In the late 1970s the band reappeared, playing their best music. It seemed that punk had allowed Mizutani, with his newly cut hair and leather clothing, one more chance to unleash his over-the-top distortion-laden guitar over their simple melodic rhythms for a supreme Asian form of acid-punk annihilation. In August of 1991 releases were finally made available. Three CDs appeared on the band's own SIXE label. These were 67-69 Studio et Live, Mizutani/Les Rallizes Dénudés, and the 77 Live 2CD set. The only other non-CDR artifacts are a video released in 1992 and a 7" included with the Japanese Etcetera magazine from 1996. It is all rare, sought after and expensive. The 77 Live release (reissued and re-named here with new diecut B&W artwork and photos, mimicking the old Ocora LP sleeve style) is the best, a document of extreme feedback and distressed guitar with Mizutani's detached vocals laid over languid rhythms, unbelievable in intensity

    Track list;
    les rallizes denudes - ('77 live -disque 1-) 01 enter the mirror
    les rallizes denudes - ('77 live -disque 1-) 02 yoru ansatsusya no yoru
    les rallizes denudes - ('77 live -disque 1-) 03 kori no honou
    les rallizes denudes - ('77 live -disque 1-) 04 kioku ha toui

    les rallizes denudes - ('77 live -disque 2-) 01 yoru yori fukaku
    les rallizes denudes - ('77 live -disque 2-) 02 yoru no syuukakusyatati
    les rallizes denudes - ('77 live -disque 2-) 03 the last one

    Link Disc 1 & 2

    Style; Psychedelic

    The Outsiders - 1965 - 68 - C.Q. Sessions

    You liked it so much, you wanted some more and here is what you have requested
    A double CD comprising 29 alternate takes, some instrumental and some vocal, of songs from the classic C.Q. album, one of the finest obscure psychedelic records.

    Besides one or two different alternate versions of each of the 13 songs from that record, it also has alternate versions of sides from non-LP singles they released around the same time ("Do You Feel Allright" & "You Remind Me"), as well as four songs (some instrumental) that never made it onto any official release. Some of the tracks are quite close to the finished versions, and some are quite different, but it's a pretty fascinating look at works in progress, and the sound quality is uniformly excellent. The audience for this reissue is, to say the least, extremely specialized and limited, but if you're a fan of this group, it's worth picking up. It also includes five bonus tracks from excruciatingly rare (and quite good) earlier non-LP singles from 1965 and 1966, when they were a much more R&B/beat-oriented outfit.

    Get it here

    Thursday, September 06, 2007

    Zombies - 1968 - Odessey & Oracle [192k]

    Odessey and Oracle was one of the flukiest (and best) albums of the 1960s, and one of the most enduring long-players to come out of the entire British psychedelic boom, mixing trippy melodies, ornate choruses, and lush Mellotron sounds with a solid hard rock base. But it was overlooked completely in England and barely got out in America (with a big push by Al Kooper, who was then a Columbia Records producer); and it was neglected in the U.S. until the single "Time of the Season," culled from the album, topped the charts nearly two years after it was recorded, by which time the group was long disbanded. Ironically, at the time of its recording in the summer of 1967, permanency was not much on the minds of the bandmembers. Odessey and Oracle was intended as a final statement, a bold last hurrah, having worked hard for three years only to see the quality of their gigs decline as the hits stopped coming. The results are consistently pleasing, surprising, and challenging: "Hung Up on a Dream" and "Changes" are some of the most powerful psychedelic pop/rock ever heard out of England, with a solid rhythm section, a hot Mellotron sound, and chiming, hard guitar, as well as highly melodic piano. "Changes" also benefits from radiant singing. "This Will Be Our Year" makes use of trumpets (one of the very few instances of real overdubbing) in a manner reminiscent of "Penny Lane"; and then there's "Time of the Season," the most well-known song in their output and a white soul classic [Allmusic]

    Really a great album, not just the track 12 - Time of the Season, I even fancy the other tracks more than that one…

    Track list;
    01 - Care of cell 44
    02 - A rose for emily
    03 - Maybe after he's gone
    04 - Beechwood park
    05 - Brief candles
    06 - Hung up on a dream
    07 - Changes
    08 - I want her she wants me
    09 - This will be our year
    10 - Butcher's tale western
    11 - Friends of mine
    12 - Time of the season


    Style; Psychedelic

    Wednesday, September 05, 2007

    The British North American Act - In The Beginning...

    I stumbled across a tatty old LP in my local second-hand record store and only bought it on account of one of the blokes on the cover looking a bit like my brother, but the moment I put the needle down I was entranced and still am to this day. Gorgeous melodies, swirling instrumentation and soaring harmonies, all underpinned by a delicate melancholia that makes your mind drift off in all sorts of directions - intoxicants definitely not needed here. I've been listening to this album for over fifteen years now and it has become one of my personal evergreens, able to subtly insinuate itself with the various moods and changes through my life. Risk your hard-earned here, it's well worth it.

    review by : Mr. P. G. B. Stromeyer's

    Source :

    Highly Recommended !!!

    Download It Here :

    Tuesday, September 04, 2007

    The Midways - 2003 - Pay More And Get A Good Seat

    The Midways are a cranked-up, organ-charged garage foursome with 60s punk, surf, trash and R&B influences branded on their sleeves. While the latest punditry seems to use “garage-this” and “garage-that” to describe any music with guitars, the Midways play garage like it was meant to be. These fellas aren’t ashamed to stomp the path beaten by groups like The Fleshtones, Lyres, Swingin’ Neckbreakers, Headcoats, and Prisoners, and have no plans to change when the next trend is declared. In the meantime they’re happy to stir things up on the dance floor and share the bill with the likes of the Bellrays, Gruesomes, Dirtbombs, Deadly Snakes and Tijuana Bibles, among other trashy tail-draggers of the garage underworld.
    The album is a first for indie startup Fuzzy Logic Recordings. Rushing in late witnessing only the last two songs of a Midways set, founder Maria Bui, was already convinced that this was the band that everyone needed to hear. Without any hesitation she signed The Midways in early 2003. Together they've been tackling all the grim obstacles the music industry has to offer...helping and learning from each other, whether it be label support or how to funnel 3 bottles of Moosehead. Being at a Midways show is like being at a high school basement party, but better. You can flirt with the girls, the beer actually gets you drunk, and the band never gets interrupted by someone’s sleeveless-sporting dad.Members of the press welcome. Wig it and dig it!

    The Midways contacted us and asked for the removal of this album.
    So we cannot share it/re-upload it .

    Some bands like sharing for advertising, some don't,
    cause they believe it reduces their sales & we have to respect that.

    Sunday, September 02, 2007

    Gordon Alexander - 1968 - Gordon's Buster

    1. Looking for the Sun (Alexander)
    2. Letter to Baba (Alexander)
    3. Topanga (Alexander)
    4. Autumn is a Bummer (Alexander)
    5. A Bunch of Us Were Sitting Around a Candle in San Francisco Getting Stoned and I Hope You’re There Next Time (Alexander)
    6. Waiting for the Time (Alexander)
    7. Thinking in Indian Again (Alexander)
    8. Puppet Theatre 23 (Alexander)
    9. One Real Spins Free (Alexander)
    10. Windy Wednesday (Alexander)
    11. Miss Mary (Alexander)

    I was recently turned on to this album by a friend of mine. It's a really obscure pop-psych record somewhat in the vein of the Association. I'm not familiar enough with the scene to comment at length on the origins of the album; there doesn't seem to be much information. I think it's pretty solid though. Alexander has a breezy, surreal vocal delivery and there's certainly enough trippy moments to satisfy any fan of the genre.


    Sunburned Hand of the Man - Jaybird (2001)

    Wonderful long freeform psychedelic/space-rock jams. Every track remains consistently musical and engaging, reminding me in parts of Friendsound, Arica , Dr. John, etc. etc. Proof that psychedelic music is still alive and remains a fresh and productive genre. Another hard-to-find Julian Cope Album of the Month. One just popped up on eBay and instantly sold for $100. Here's the consolation prize for all of us who lack that kind of cash.

    Get it
    HERE (@256).
    (and yes, the tracks tend to end rather abruptly... it's not a problem with the rip!)

    The Marble Phrogg - 1968 - The Marble Phrogg

    Track List :

    I'm So Glad
    Love Me Again
    Born to Be Wild
    I'll Feel A Whole Lot Better
    Fields Of Sun
    Strange Brew
    There's A Girl
    Season of The Witch
    Sky Pilot

    Covers only LP from local club band with Iron Butterfly, Cream, Hendrix, Steppenwolf, and even a belated Byrds number. More interesting than the typical late 60s fuzz cover bands, as they put a lot of effort in delivering and adapting the material, while retaining a cool teen vibe.

    Download it here :

    Saturday, September 01, 2007

    Easybeats – 1965 – Easy [192k]

    The Easybeats occupy a unique place in the pantheon of 1960s British rock acts. For starters, they were Australian, except that they really weren't — they met in Sydney alright, and being based in Australia with the talent they had gave them a leg-up over any of the local competition. But lead singer Stievie Wright originally came from England (although he'd been in Australia for some years), and bassist Dick Diamonde hailed from the Netherlands, as did guitarist Harry Vanda, while the others, guitarists George Young and drummer Gordon ‘Snowy’ Fleet, were recent arrivals from Scotland and England — most significantly, Fleet was Liverpool born and raised, and had been a member of The Mojos, one of that city's more promising bands of 1963 and 1964. They all had talent, but he had a sense of style and an idea of what worked in rock & roll; it was Snowy Fleet who came up with the name "the Easybeats," and the sharp image for the early group, which made them a piece of authentic Brit-beat right in the heart of Sydney, 13,000 miles from Liverpool and as precious there as water on a desert

    After honing their sound and building a name locally around Sydney in late 1964, the group was signed to Albert Productions who, in turn, licensed their releases to Australian EMI's Parlophone label. Ted Albert, their producer, seemed to recognize what he had in a group of talented, newly-transplanted Englishmen and Europeans — the real article, and a rare musical commodity in Australia. The band was signed up with 20 original songs already written, and as they sounded fresh, he simply let the band cut them, merely making sure the music came out right on vinyl. Working from originals primarily written by Stievie Wright, by himself or in collaboration with George Young, the group's early records (especially the albums) were highly derivative of the Liverpool sound, which was fine by all concerned. What made it special was the sheer energy that the quintet brought to the equation — they were highly animated in the studio and on stage, they looked cool and rebellious, and they sang and played superbly
    Read more on Allmusic

    Track list;
    01-It's So Easy
    02-I'm A Madman
    03-I Wonder
    04-She Said Alright
    05-I'm Gonna Tell Everybody
    06-Hey Girl
    07-She's So Fine
    08-You Got It Off Me
    09-Cry Cry Cry
    10-A Letter
    11-Easy Beat
    12-You'll Come Back Again
    13-Girl On My Mind
    14-Ya Can't Do That
    15-For My Woman
    16-Say That You're Mine
    17-The Old Oak Tree
    18-Friday On My Mind
    19-Lisa, Rough Mix
    20-Find My Way Back Home
    21-No One Knows
    22-She's So Fine (Live)


    Style; Rock & Roll, Garage