domenica 24 maggio 2015

Bon Scott & Fraternity - Complete Sessions (2CD Raven) 1971 - 1972

Biography : Complete Sessions 1971-72 gathers together all of Fraternity's recordings, most of which feature Bon Scott, who would later gain fame as the lead singer of AC/DC. Fans of that hard-rocking group will be disappointed if looking to find kindred spirits here though, as Fraternity was a hippie band inspired by rock of the prog, country, and boogie variety. And while Scott's vocal is unmistakable, there is a vibrato present that was ultimately shaved off for the stripped-down AC/DC. Oftentimes Fraternity sounds like a group unable to decide if they wanted to be the next Procol Harum or Australia's version of the Band, resulting in an unusual hybrid of prog rock and country-rock. They would also delve into the blues on occasion, which is when the closest comparisons to AC/DC can be made. This double-disc collection also includes Fraternity's first single (recorded before Scott joined), previously unreleased tracks, and two excerpts from Bon Scott radio interviews conducted during the late '70s. Review by Bart Bealmear

01.Seasons Of Change (Single Version) 3:37
02.Livestock 3:40
03.Summerville 4:22
04.Raglan's Folly 6:02
05.Cool Spot 4:54
06.Grand Canyon Spot 4:54
07.Jupiter's Landscape 2:47
08.You Have A God 2:26
09.It 8:23
10.The Race (Part 1) 2:57
11.The Race (Part 2) 4:13
12.Why Did It Have To Be Me 2:39
13.Question 3:38

01.The Shape I'm In 3:39
02.If You Got It (Single Version) 3:53
03.Welfare Boogie 3:42
04.Annabelle 3:58
05.Seasons Of Change 3:54
06.You Have A God 3:10
07.Hemming's Farm 3:47
08.Raglan's Folly 4:41
09.Getting Off 3:25
10.Sommerville R.I.P. 3:53
11.Canyon Suite 7:20
12.If You Got It 4:06
13.'Battle Of The Sounds' Sequence (includes Seasons of Change and If You Got It) 4:39
14.Bon Scott Talks With David Day Of 5KA, Adelaide, 1977 2:30
15.Bon Scott Talks With Sheila Renay Of KSJO, San Jose, 1978 1:53

Bon Scott - Lead Vocals
Mick Jurd - Lead Guitars
John Freeman - Drums
John Bisset - Keyboards, Vocals
Bruce Howe - Bass, Vocals
"Uncle" John Eyers - Harmonica
Sam See - Slide Guitar, Piano
Tony Buettel - Drums

venerdì 15 maggio 2015

Tidal Wave - Spider Spider The Best Of Tidal Wave (2008 Fresh Music) 1969 - 1971

Biography : Tidal Wave are probably best known for their bubblegum pop hits ‘Spider Spider’ and ‘Mango Mango’ in 1969 and 1970 respectively, but they were so much more than that. Yes, they did play pop and they had a few hits, which were featured on the top radio stations at the time, Springbok Radio and LM Radio. Both stations are long gone, but sadly missed and fondly remembered by many South Africans who grew up without TV. However Tidal Wave also played some very interesting psychedelic pop rock enhanced by the fuzz guitar sounds of Mike Pilot, who formed the hard rock band Stingray in the late 70s. They also played backing for various musicians. It all started with a man named Terry Dempsey, songwriter and record producer. Dempsey was born in England and came to South Africa in 1968. He wrote and produced The Staccatos first song, ‘Butchers And Bakers’ in 1968. This song had originally been recorded by UK freakbeat band Les Fleur De Lys in 1967, though they called themselves Chocolate Frog at the time.
Dempsey recalls; "Early in 1968 I met Roy Naturman at Gallo studios with Grahame Beggs, South Africa's young pioneer record producer on a Flames recording session. Roy was playing piano and he was cooking - so was the recording! Shortly thereafter Roy invited me to a popular night spot to hear the band he was playing with, The In Crowd where I met a very impressive soul singer called Peter Vee, lead vocalist with the band."

"The bass player was a man who many years later became one of the world’s biggest music men, Clive Calder", continues Dempsey. "A few weeks later Roy Naturman phoned me to tell me that the band was breaking up and would I be interested in recording a new band he was putting together with the drummer from The In Crowd, Mike Koch, Ken Haycock as bass player and lead guitarist/singer Mike Pilot both of whom came from The Brackets.
"Mike Koch was in a band called The Creeping Greens, much cooler and hipper than The Brackets," recalls Russel Pope, guitarist for The Brackets." Pope adds, "The Brackets were basically into covering a lot of 60's, The Beatles, The Beach Boys, melody pop as opposed to people like The Navarones, The A-Cads and The In Crowd who were all into R&B. They probably thought we were a novelty act although they all recognised that Mike Pilot was a phenomenon of some sort. Clive Calder wrote a b-side for one of The Brackets singles, who knew he would end up a billionaire." "What a hot unit this proved to be," says Dempsey about Tidal Wave, "they were the first band to be released on my newly formed independent record label STORM with the title ‘Man On A String’." Dempsey formed the STORM label in November 1968 and later formed a second label, MAP (Management, Agents and Promotions). ‘Man On A String’ with ‘That’s Why The Girl Is Crying’ on its b-side was released in 1969 but failed to make any impression on the radio charts at the time, however it is fondly remembered by many fans. ‘Man On A String’ was followed by ‘With Tears In My Eyes’ which also failed to trouble any of the radio chart compilers. ‘With Tears In My Eyes’ was also released as a single in the UK in October 1969 on the Decca label, but failed to garner any interest from UK fans.

Music collector Peter Alston wrote in the very first issue of the SA Rock Digest e-mag in January 1999, "Their best ever (in my humble view) was ‘With Tears In My Eyes’ which was vaguely popular in late 1969 (pre-"Spider Spider") but which is extremely hard to find; frustrating for me as it is well within my personal top 10." In fact when asked to provide a list, ‘With Tears In My Eyes’ appeared at number one in Alston’s All-Time South African Top Ten with ‘Man On A String’ at number ten, sandwiching artists like Freedoms Children, The A-Cads, The Dream Merchants, The Staccatos and David Kramer.
"In Kimberley in 1971", Alston continues, "Tidal Wave and Otis Waygood appeared as a double bill. Probably the second best concert I've attended. (The best was undoubtedly Barclay James Harvest). Tidal Wave - in concert - were asked to do ‘With Tears In My Eyes’ but declined, saying the acoustics weren’t right and a full orchestra was needed to do it justice." "Dempsey considers Tidal Wave as one of the country’s top groups – ‘I’d say within the top five’", wrote Earl Moorhouse in an article published in the Teenage supplement to Personality magazine on 9th October 1969. "’I’d say within the top five’".

Moorhouse was writing about the Storm Power Circus, an idea of Dempsey’s to combine jazz and pop. Moorhouse wrote: "Storm Power Circus made its big splash at Ciro's, Johannesburg's hot pop night-spot, in July this year. The place was a sell-out, crammed with teenyboppers and the usual in-crowd of pop critics. They didn't say much; they never do. There was the Tidal Wave grooving it up front, the Brass Explosion punching out their big sound and the go-go girls working up a sweat. And the teenyboppers loving it."
"Tidal Wave comprises Mike Pilot, Mike Koch, Roy Naturman and Kenny Haycock, all pop veterans," continues Moorhouse’s article, "They have played in some of the country's best-known groups including the Brackets, Birds of a Feather, the Peanut Butter Conspiracy and the In Crowd. As a result they have few illusions about the pop world; they know how superficial it is. They believe in hard work. In fact to interview them I had to gatecrash a practice session and, while I was talking to one of them, the other three went on with their music. Group leader Roy Naturman (organ/electric piano) told me; ‘We all understand one another. None of us has particular ideas about personal gains. Sure we've made money. We get along. But we're not doing this for money.’" Moorhouse also refers to Brass Explosion’s Robin Netscher. "Netscher is the driving force behind the fat brass sound that is becoming a feature of STORM singles. He handles all the musical direction at recording sessions and also arranges the jazz-flavoured music for the Storm Power Circus. Commenting on the welding of pop and jazz, he said, ‘The type of music played by Blood, Sweat and Tears is very popular but, up to now, when the kids have asked a group to play something off their LPs it hasn't been complete. The brass has been missing. Now, for the first time, they'll hear the whole music. This - the meeting of pop and jazz - is a great thing. It just had to come.’"
"At a given point in time," recalls Terry Dempsey, "we all went to bed in mono and woke up in stereo and the world never looked back. ‘Spider Spider’ saw Tidal Wave go to number one for the first and only time, although ‘Mango Mango’ outsold ‘Spider Spider’ by a long way." ‘Spider Spider’ hit the number one spot on the Springbok Radio Charts in April 1970 and also achieved number eight on LM Radio. ‘Green Mamba’ which was released in late 1970 followed this hit and it managed to get to number 16 on the Springbok Radio charts.
In August 1970, an album titled simply ‘Tidal Wave’ was released and included ‘Spider Spider’, ‘Green Mamba’ and their next big hit ‘Mango Mango’. This song, with its nonsensical lyrics and repeated phrase of ‘sixty-nine, sixty-nine’, hit number seven on Springbok in late 1970 and achieved top five on LM Radio in January 1971.
In 1971, according to the History Of Contemporary Music Of South Africa by Garth Chilvers and Tom Jasiukowicz, Tidal Wave supplied the music for the soundtrack of the movie, ‘Lindi’, composed and produced by Terry Dempsey. Mike Koch and Roy Naturman left Tidal Wave and a last single was released in 1971 titled ‘Money Baby’ (b/w ‘I’ve Got To Get Away’) that featured drummer Kevin Kruger and keyboardist Aidan ‘Dooley’ Mason. This song went to number 15 on the Springbok charts and did even better on LM Radio going to number nine. After a couple more line-up changes, sadly, Tidal Wave was no more. As an aside, Terry Dempsey was referred to as the "music machine" at the time and was never far from the Springbok and LM Radio hit parades with songs written and produced by him. Dave Mills, Lance James, Lauren Copley, John Edmond and others all enjoyed chart success thanks to Dempsey’s involvement. Teenage star, Lauren Copley recorded a Terry Dempsey song ‘Daydreamer’ in 1972 and when covered by US teen sensation David Cassidy it went to number 1 in the UK. It sold well over a million worldwide with in excess of 250 000 copies in Britain alone, according to Joseph Murrells’ ‘Million Selling Records’ book. There is a wide variety of music styles covered on this Tidal Wave retrospective CD. Lovers of end-of-the-sixties psychedelic pop and rock will discover many hidden gems here including the progressive rock sounds of ‘Get It Out Of Your System’ which would not have been out of place on an Abstract Truth album. This CD also includes the funky soul sounds of ‘Town Girl’, featuring Peter Vee’s lead vocal, which was previously unreleased.

Tidal Wave is fondly remembered by many and now all their music; the hits, misses and rarities can be found in one place. Brian Currin, April 2007

01.Put It All Together 3:07
02.I've Got To Get Away 2:30
03.With Tears In My Eyes 3:14
04.Green Mamba 2:43
05.Town Girl 3:01
06.Spider Spider 2:41
07.Morning Light 3:32
08.Mango Mango 4:03
09.Give Ma An A 3:13
10.Money Baby 3:13
11.We Wanna Know 2:35
12.Colonel Mustard 2:41
13.Get It Out Of Your System 2:49
14.All In A Dream 2:56
15.Man On A String 2:46
16.That's Why The Girl Is Crying 4:09
17.Crazy Horse 2:25

Tidal Wave:
Mike Pilot - vocals, guitar
Ken Haycock - bass
Roy Naturman - keyboards (1968-70)
Mike Koch - drums (1968-70)
Aidan "Dooley" Mason - keyboards (1970-71)
Kevin Kruger - drums (1971)
Ivor Back - drums (1971)

sabato 9 maggio 2015

Bob Seger - Brand New Morning (2009 Lost Diamonds) 1971

Biography : Bob Seger's Mongrel may have been a terrific album, but nobody heard it, just like its predecessor. So Capitol was ready to drop him and wanted a contract-fulfilling album as soon as possible. Seger delivered the low-key, introspective Brand New Morning to get out of the deal. Later he claimed that the album was a collection of demos released somewhat against his will, but listening to the record it's hard to believe that these intimate yet fully realized songs were bare-bone work versions. Furthermore, it's hard to see these as just a collection of tossed-off tunes, since they're well-rounded and uniformly engaging, not throwaways. In light of Seger's past prior to Brand New Morning and the records that followed it, it's easy to see why he's disowned it, since it's no rock & roll album — it's a singer/songwriter album. It's the first and only time that his ambitions as a songwriter are laid bare, which may make it uncomfortable for him in retrospect. He needn't be worried, since Brand New Morning is a fine album on its own terms. Yes, none of the songs resonate as deeply as the best ballads on his other records, and there are times where it feels like he's very conscious of proving himself as a writer, but in light of his later work, that's quite charming. That's what makes the album something more than a curiosity and into something quietly pivotal in Seger's catalog. There are no classics here (though the title track, "Maybe Today," "Sometimes," and "Railroad Days" are all very good), but the charm of the record is hearing Seger consciously working on his craft. He's occasionally too earnest, or a little precious, yet it's an endearing transitional album. Review by Stephen Thomas Erlewine

01.Brand New Morning 3:24
02.Maybe Today 3:12
03.Sometimes 5:15
04.You Know Who You Are 3:18
05.Railroad Days 6:57
06.Louise 2:49
07.Song for Him 4:36
08.Something Like 3:30

Bob Seger - acoustic guitar, piano, vocals

sabato 25 aprile 2015

Asoka - Asoka (Digipack) 1971

Biography :  Fuzzy, freaky, and a legendary bit of heavy rock from the Swedish scene of the early 70s -- filled with bombastic tracks that should have sent shockwaves around the world! The drums are incredible -- filled with energy, and booming out on nearly every track -- matched by long-winded guitar wrapped up in plenty of fuzz -- ripping out into the void, driven long with some massively monstrous basslines! The group clearly drank up a heady dose of blues rock energy from the US underground of the late 60s -- but then went ahead and turned the whole thing up to 11 and started jamming away on their own -- too muddy and messy for prog, and played with an intensity that's undeniable. Titles include "Svensson Blues", "I'm Trying", "Ataraxia", "Leave Me", and "If You Feel". Asoka writes songs that fly by the seat of their pants, freewheeling and nimble with a wild peculiarity that just may defy description. This oddness doesn't only come from structural and rhythmic off-the-wall-ism, but a stew of untraditional instruments used to set this lp on its ear. In addition, some of the lyrics are sung in Swedish, which is sometimes worth a laugh. Oh yeah, the musicians can play.

The lp begins with a two-part instrumental, "Psykfoni For Ekogitarr Och Poporkester", a bass-lead instrumental with a decent riff, single-string plucks that don't come off as zany as it sounds, and a civilized solo, while the second part is "Ataraxia". Keyboards and solos fly in and out of the foreground with a bongo/maraca-enhanced rhythm keeping the pace. "Leave Me" is a smooth groover finally showcasing the higher-pitched, assertively untamed vocals of Patrick Erixcon. "Svensson Blues" is home to a tight, urgent rhythm concocted by a blanket of keys and guitar and doesn't stall during the wild drum solo dead in the song's center. "1975", the most eccentric track yet, generates a heavier, off-kilter rhythm with traces of 60s freak beat behind strangely harmonized vocals and a lounging piano solo that Spandau Ballet could've pulled off. While that is the most outlandish, Asoka then takes a rhythm they found wrapped around some telephone pole, play portions of it backward, and stick it in "If You Feel". With the pace speeding up, violin/fiddle swirls in the chorus and is almost remindful of violin-entrenched East of Eden. Play this song in public and I guarantee people will be asking you who the hell it is, in those words, if they just don't look at you like you're wearing a Wonder Woman outfit and walk away. Perhaps the most straight forward is "Tvivlaren", a more hard-nosed affair with in-your-face riffs, intricate keyboards, some streaming solos, and sung in their comedic native tongue to throw it all in a tizzy. Another brawny one is "I'm Try'in (to Find a Way to Paradise)"; breaking, keyboard-laden riffs break around near-keening vocals while robust solos fill the center. A top song with the weirdest finish – you'll get a kick out of it. This careens into a clamorous reprise of "Psykfoni For Ekogitarr Och Poporkester", which mimics the original as much as a duck call resembles the sound of a steamroller starting. With over the odyssey , there's no doubt in my mind Ashoka - had amazing time putting together their one and only lp. There's also no doubt these guys know you how to use with their instruments. Review by adamus67

01.Psykofoni För Ekogitarr Och Poporkester
03.Leave Me
04.Svensson Blues
06.If You Feel
08.I'm Trying
09.Psykofoni För Ekogitarr Och Poporkester II
Bonus Track:
10.The Seeker
11.At El-Yago 9-3
14.Southern Comfort
15.I Need Your Love
16.Another Kind Of Love
17.Take Off Jam

Robban Larsson - guitars
Patrick Erixcon - vocals, bongos
Claes Ericsson - piano, organ
Kent "Tjobbe" Bengtson - bass
Alf "Daffy" Bengtson – drums

venerdì 17 aprile 2015

Anonymous - Inside the Shadow 1976 & J.Rider - No Longer Anonymous 1977

Biography : Inside the Shadow was more or less the sole product of Anonymous, a studio project put together by Indianapolis, Indiana musician Ron Matelic when he was offered a recording contract and a modest budget to make an album. Released in an unceremoniously tiny batch of 300 copies in 1976, the album would go on to be one of the more sought-after rarities among private-press psych enthusiasts, eventually seeing reissues and bootleggings of various quality until a proper reissue in 2013. The disarming compositions of Inside the Shadow have grown to legendary status based on their unique timelessness and blend of hazy jamming and clear-eyed songwriting. Though the album was recorded in two weeks during the mid-'70s, the production and direct influences would suggest it was made much earlier, as the closest parallels are the intricate vocal harmonies of Crosby, Stills, Nash & Young or later Hollies, Byrds-like folk-rock, and the bristling psychedelia of '60s Bay Area stalwarts like Jefferson Airplane, Quicksilver Messenger Service, and the earliest guitar ramblings of the Grateful Dead. Though disco was in full swing, Anonymous was offering heavy-handed psych-folk workouts like the cosmic rumble of "Shadow Lay" and the gloom-tinged prog pop of album opener "Who's Been Foolin'?" "Pick Up and Run" expands on the Byrds' 12-string electric guitar musings, pushing out all hints of the country roads they would later walk down in favor of far darker fields of dreamlike prog and layers of interlocking vocals. The album plays out in an unintentional song cycle, with songs just complex enough to fold into each other but pop-minded enough to stand out as singular entities as well. "Sweet Lilac" in particular shines through, with vocalist Marsha Rollings taking center stage as tight harmonies from Glenn Weaver and Matelic blend into a wall of sun-kissed guitar hooks. Much as the musicians were living in the 1970s imagining a different era with these songs, the wintry Midwest surroundings of Indiana might have similarly come into play in their dreaming up of summery California-sounding jams such as this. The band went through some lineup changes after this album, changing their name to J. Rider, making another record (entitled No Longer Anonymous), and playing a few gigs before disappearing into the ether. Inside the Shadow stands as one of the more brilliant artifacts of painfully obscure psychedelia. Though it arrived late to the party, its nuanced layers of influence and innovation put it in the same esteemed category as private-press acid folk classics by the likes of Tony, Caro and John, Mark Fry, Ithaca, and Comus. As unknown as those reference points may be, the driven feel of purpose, hope, and inspiration that fuels the album makes it as strong or stronger than any of the better-known bands it takes influence from. Review by Fred Thomas

Anonymous - Inside the Shadow 1976
01.Who's Been Foolin'
02.J. Rider
03.Up to You
04.Shadow Lady
05.Pick Up and Run
06.We Got More
07.Sweet Lilac
08.Baby Come Risin'
J. Rider - No Longer Anonymous 1977
09.We Got More
10.One Sided Lover
11.Pike River
12.Kiss Of Your Soul
13.Sunday's Hero
14.High Roller

Ron Matelic - vocals, electric & acoustic Guitar, electric 12 string guitar
Marsha Rollings - vocals
Glenn Weaver - vocals, electric & acoustic guitar, bass
John Medvescek - percussion

domenica 12 aprile 2015

Bandolero - Bandolero 1969 (Great Puerto Rico Heavy Psych)

Biography : Bandolero was a very popular Rock and Roll band in Puerto Rico from approximately 1969 to 1971 with founder José Nogueras as singer, Félix (Gadget) Rodríguez (RIP) on drums, Ismaelito on keyboard, George Matos (RIP) on bass, and the famous Junior (El Loco) on guitar. Previous to Bandolero the band members had been actively involved with other bands and music throughout the 60's. Bandolero recorded an LP album in 1970, appropriately titled "Bandolero", which became a big success! Lead singer José Nogueras composed all of the songs, with collaboration on two of them by Jerry García, another Puerto Rican (not of the Grateful Dead). Eventually José transitioned into Latin Salsa and Merengue music which is his passion now. "Love Me Tonight" and "Together" were Bandolero's biggest hits.

01.I Got It 3:31
02.Temura 3:28
03.Love Me Tonight 3:36
04.Don't Hang Me 3:49
05.I Can Always Think Of You 3:48
06.Salsa Friquea 5:05
07.Together 2:45
08.My Life Is Always Going Through 6:09
09.I Want To Get There 3:40
10.Awake 3:41
11.Truth And Understanding 7:49

Félix "Gadget" - drums, percussion
Ismaelito - keyboards
George Matos - bass
Junior "El Loco" - guitar
José Nogueras - vocals

domenica 22 marzo 2015

Soup - Soup & The Private Of Digil (Gear Fab Records) 1967 - 1970

Biography : This archival release reissues on CD the entirety of the rare 1970 debut album from Wisconsin's Soup, legendary in the Midwest for the guitar playing virtuosity of its leader and songwriter, Doug Yankus. In typical Gear Fab fashion, however, the CD also doubles up on the riches, as the second half of the album digs up eight songs from Yankus' former band, the Private Property of Digil, which existed from 1965 to 1968. Although Yankus was a prodigious songwriter, the Soup album opens with a cover of the old Buddy Holly nugget "Mailman, Bring Me No More Blues," but the band turns it into something more unique than straight rock & roll. In the course of the album, Soup mixed up good-time folk ("Mailman"), cool beatnik jazz ("I'm Just Not the Man to Be Tied"), swaying ballads ("Dear and Blue"), blues tunes (the boogie-ish "Black Cat Blues in Melody," "I'm So Sorry," the cover of Jimmy Reed's "Big Boss Man") and gentle acoustic numbers ("Song for Jackie"), with their more prevalent rock inclinations into a meaty musical stew. Nearly every Soup backing track on the first half of this CD is accomplished, full of lovely, subtle instrumental interplay, with Yankus double-tracking his acoustic rhythm guitar and truly phenomenal electric playing. He showed a true idiosyncrasy in his compositional skill and a full grasp on his influences that allowed him to arrive at a truly original amalgam. The only real problem with the Soup LP is that it was rushed out to fans who were eager to have a record to take home with them after seeing one of the band's live performances, and so consisted only of demos and live tracks. The studio demos, as strong as they are, ultimately sound unfinished and improperly mixed. Yankus' vocals also don't always hit the spot. He occasionally hits flat notes that surely would have been corrected with vocal overdubs. Regardless of the recordings' failings, though, it's good to have Soup available on CD. The addition of the Private Property material increases the value of the reissue twofold. Private Property leaned more toward a garage/pop-rock vein, and their sound is far more entrenched in the musical trends (particularly mild psychedelia) of the mid-'60s. Yankus still had not shaken all of his influences by that point, or rather had not found a singular style that could incorporate them all, and so the music variously recalls the Association here ("Sunshine Flames"), Merrell Fankhauser there ("I'm Looking at You"), and early Byrds at other times ("Princess"). Although they sound vaguely dated and don't generally rank with the first level pop/rock of the period, trippy songs such as "Jewelry Lady" and "Princess" are excellent, and they bring the late '60s back into full flower. If you think of them as bonus tracks to the Soup album, this reissue easily qualifies as one of the more intriguing bargains available from the trippiest of eras. Review by Stanton Swihart

Soup (1969-1970)
01.Mailman, Bring Me No More Blues 2:55
02.I'm Just Not The Man To Be Tied 2:58
03.Dear And Blue 7:46
04.Black Cat Blues In Melody 2:15
05.Tennessee 3:56
06.I'm So Sorry 15:42
07.Veronica 3:24
08.Big Boss Man 3:03
09.Dance Magic Woman 4:04
10.Song For Jackie 4:00

The Private Property Of Digil (1967-1968)
11.Jewelry Lady 2:22
12.I'm Looking At You 2:46
13.Sunshine Flames 2:10
14.Princess 2:25
15.To My Friends 1:51
16.Loox At Me 1:52
17.Destination Nowhere 2:57
18.The Patch Of Brick 2:51

Doug Yankus - Guitar, Vocals
Dan Jacklin - Bass, Backing Vocals
Chuck Posniak - Organ
Steve Gertsch - Drums, Backing Vocals

giovedì 12 marzo 2015

The Selfish Cales - Throw Your Watch To The Water 2015 (Authorized)

Biography : The Selfish Cales were born on 2010, thanks to a lucky meetings on Myspace between Andy and Gabriel. Their passionate idea was to bring a complete music reality, also concern to live performances and visual impact.
The early months give the birth of their first EP, sign of a simple but close-knit alchemy. The first EP consists in 5 tracks distributed in 100 promotional copies, followed by many gigs in northern Italy. The sound was still markedly garage, but with Psychedelic shades and a sixties-oriented identity. In 2011, The Selfish Cales changed their line up due to the departure of Chris (rhythm guitar), which will bring to the entrance of Albert Cale on Organ, Piano and Mellotron. In this period the second EP “The Selfish Cales II” has been published in 100 copies, with a more mature sound characterized by various influences. Here it states the psychedelic character of the band, and the Indian Sitar takes part in songs and live performances. Their young way continues through many gigs and a second videoclip from the Single “Useless”, plus a side-project that give the birth to “Dandelion Seeds”, a tribute of five songs from the '60s Psychedelic Pop. In September 2013, the first LP "Light Worms And Old Dancing Ladies" comes out: the album establishes a transitional phase of the sound of The Cales, between Garage and wider openings to Psychedelia, Progressive and Pop. The album was released digitally on Record Union, plus a hundred copies promotional CD-Digipack copies. From October 2013, with the departure of Albert (keyboards), starts a period of several changes in the line-up that will find their final resolution one year after, with the participation at the 25th edition of Psych Out Festival: the arrival of Sarah Cale (Bass), brings a new Power Trio live formule, and the composition of the second LP. The Selfish Cales

01.Sulphureous Haze
02.Soul Mates
03.Peacock Girl
04.Brighter Days
05.Throw Your Watch To The Water
06.Colours Of The Mind
07.I Believe In Magic
08.Mr. Hotpeach
10.Some Warm Trails
11.Imaginary Journey
12.See Tomorrow’s Shores

The Selfish Cales:
Gabriel Cale (Gabriele Calegari) - Drums - Vocals
Andy Cale (Andrea Bonamigo) - Guitar - Bass - Vocals
Sarah Cale (Sara Gregori) - Bass

Listen this album at


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body