giovedì 31 luglio 2014

Lucifer - Lucifer (Akarma Digipack) 1970

Biography : This very rare album was the work of a Rochester, New York band. The LP sleeve notes declare that their music is "hard rock in the style of Grand Funk Railroad and Uriah Heep". Overall the album is nowhere near that heaviness - there's a notable lack of thunderous riffing or screaming solos. Heep influences are more obvious in the soaring Byron-esque vocals on the dramatic ballads but an underlying soulful vibe and keyboard dominance puts them in the class of those NYC and Long Island Italian-American bands influenced by Vanilla Fudge or the Young Rascals, rather than the proto heavy-metal set. On their lighter side, they deliver a fine flowing rendition of the Youngbloods' version of Dino Valente's hippie anthem (Let's) Get Together. The original is supposedly very rare and has been hyped by specialist dealers with asking prices reaching a dizzyingly silly level - one copy seen going for $900 in 2001 - surely guaranteed to disappoint. So, if this sounds like your bag and you're not stupidly rich, pick up the reissue.

01.Sixteen 3:33
02.Different Face 2:41
03.Where Do We Go From Here 4:11
04.Get Together 4:21
05.My Baby 3:10
06.You Better Find Someone To Love 3:05
07.I'm Gonna Make It 3:00
08.If This World Were Mine 3:13
09.Dreaming Isn't Good For You 5:02
10.Crabby Day 3:41
11.Don't Tell Me How To Love 2:14

Joe Mattioli - Vocals
Vicent "Butch" Biocca - Bass
Joe Gallo - Piano
Joe Bertola - Drums
Pete Skelton - Guitar

mercoledì 30 luglio 2014

Leviathan - Leviathan (Akarma) 1974

Biography : US outfit Leviathan was formed in 1972, originally from Little Rock, Arkansas but later having their base of operations out of Memphis, Tennesse according to the few sources available. The band consisted of Wain Bradley (bass, guitars, vocals), Peter Richardson (vocals, organ) Don Swearingen (piano), Grady Trimble (guitars), John Sadler (mellotron) and Shof Beavers (percussion). They were an active band in the southwest US live scene, and besides opening for acts such as Electric Light Orchestra they also headlined shows themselves, at the height of their career in front of an audience 8000 strong in Memphis, Tennessee. The band issued one album before disbanding, a self-titled affair that eventually saw the light in 1974. The album had been a long time in the making though, as many of the band members were meticulous in their approach to the art of making music. Trained percussionist Beavers (who abhorred the description drummer) amongst the most detailed-oriented members of a band with perfectionism as a priority. Leviathan did record a second album, "The Life Cycle", but by the time it was finished the interest of their particular brand of music had declined considerably, and no label showed a particular interest in releasing it.

01.Arabesque 6:14
02.Angela 6:42
03.Endless Dream 9:57
04.Seagull 4:45
05.Angel of Death 4:12
06.Always Need You 3:26
07.Quicksilver Clay 7:26

Wain Bradley - Bass, Guitars, Vocals
Peter Richardson - Organ, Vocals
Don Swearingen - Piano
Grady Trimble - Guitars
John Sadler - Mellotron
Shof Beavers - Drums

sabato 26 luglio 2014

Lincoln Street Exit - Drive It 1970

Biography : This disc is a great re-release of Lincoln St. Exit's early material! It easily stands up to the releases of any other underground psychedelic band of the era (The Chob, Moving Sidewalks, etc). Between this and the ENTRANCE album, released under their then current name Xit, in the 70s; one would have the bulk of the Lincoln St. Exit material. This would leave a die-hard fan only to track down their "Who's Been Driving My Little Yellow Taxi Cab b/w Paper Place", "Half a Dream / Sunny Sunday b/w Whatever Happened to Baby Jesus" and the elusive " Whatever Happened Pt. 1 b/w Whatever Happened Pt. 2" singles, to have a complete collection. The DRIVE IT EP features the heaviest and most blazing psychedelic guitar material, while ENTRANCE is on the rather mellow ballad side. The only exceptions on ENTRANCE are the rockin' "Mississippi Riverboat Gamblin' Man", and "She's My Everything" which substitutes sax and piano solos for electric guitar. Between these two releases, only "Soulful Drifter" and "Sunny Sunday Dream" are shared in common. The DRIVE IT version of "Soulful Drifter" is 1:10 shorter than the other version (presumably from an earlier recording), and has no 'string section', organ or tambourine. The DRIVE IT "Sunny Sunday Dream" is a simple studio recording that's basically identical, except the ENTRANCE version is in excellent stereo, and includes a completely different ending in which so much echo is added that it becomes a chaotic mess before the rhythm section drops out, leaving only the organ and howling guitar (for 18 extra seconds). As they headed into the 70s this group became unconcerned with Pop culture's idea of 'hip' and wrote less Pop-oriented tunes; opting instead for drawn out, native drummed, native sung, orchestral concept albums. All great stuff. sambson

01.Man Machine 4:02
02.Dirty Mother Blues 6:55
03.Got You Babe 3:06
04.Teacher Teacher 2:45
05.Soulful Drifter 2:00
06.Time Has Come Gonna Die 4:06
07.Going Back Home 3:03
08.Straight Shootin' Man 3:00
09.Phantom Child 3:14
10.The Bummer 2:22
11.Sunny Sunday Dream 2:58

Lincoln Street Exit:
Michael Martin - Lead Vocals, Lead Guitar
Mac Suazo - Bass Guitar
Lee Herres - Drums and Percussion
R.C.Gariss - Lead Guitar

lunedì 21 luglio 2014

Life - Life 1970-72

A true heavy rock-masterpiece from Sweden. Recorded 1970 with lyrics sung in both Swedish and the English language. The English version was released 1971. The music ranges from incredibly beautiful ballads to freaked out jamming. The last 3 songs is bonustracks and were at the time only available on vinyl singles. Reissued in 1997 by Mellotronen (MELLOCD007)

Anders Nordh and Paul Sundlin had previously played together in particular 60th century group of Trolls, and participated on the album King George Discovery. Life was formed in 1970 by Tomas Rydberg, and these young talented musicians delivered progressive rock mixed with jazzy pop songs on the first disc and it use to be said it resembles Leaf Hound and Tear Gas. The album was released both in Swedish and in English, but musical it's the same plate. The disc (English version) is released on CD by Mellotronen. They are said to also participate on the album "Musik från Frihamnen (-72)" with the song "Tro på vår värld". They also rumored that a second LP should exist in four test pressing copies (probably called "Life After Life"). They also released two singles "Jag Färdas / Living Loving(-70)" and "Tro på vår Värld / To the Country (-72)".

The band disbanded in 1972 but Anders and Palle formed together with Peter Lundblad, Tommy Andersson and Lasse Tennander the group Duga that released one album in 1974 loaded with both symphonic rock to pop ballads. In late 1974 Lasse quit the bands to do a solo career and the group changed its name to Figaro. The group had a minor success with the song "Framåt". Anders Nordh later played in the group Bättre Lyss. Life also appeared on the self-titled album by the band "Resan" with the song "Life".

01.Quo Vadis (I)
02.Nobody Was There To Love Me
03.Many Years Ago
04.Experience Of Love
05.She Walks Across The Room
06.Salling In The Sunshine
07.Quo Vadis (II)
08.Living Is Loving
09.Every Man
10.Experience Of Life
11.One Of Us
12.Yes, I Am
13.Once Upon A Time
14.Quo Vadis (III)
15.Jag Fardas (Bonus Track)
16.To The Country (Bonus Track)
17.Tro Pa Var Varld (Bonus Track)

Anders Nordh - guitar, piano, organ, bass, vocals
Paul Sundin - bass, 12string acoustic guitar, piano, vocals
Thomas Rydberg - drums, percussion

martedì 15 luglio 2014

Lemon Pipers - Love Beads And Meditation (Rev-ola) 1968 - 1969

Biography : The Lemon Pipers included singer Ivan Browne, guitarist Bill Bartlett, keyboardist R.G. Nave, bassist Steve Walmsley, and drummer William Albaugh. The group is best known for its number one bubblegum hit "Green Tambourine" and several follow-ups, all written by the team of Paul Leka and Shelley Pinz. The Lemon Pipers actually wanted to play more psychedelic music; they only recorded "Green Tambourine" because their label would have dropped them had they refused. They eventually got the artistic control they wanted and ended up dropping off the charts for good with their first self-produced album. They broke up in 1969, with Bartlett joining Ram Jam.

Green Tambourine 1968
01.Rice Is Nice 2:08
02.Shoesine Boy 3:24
03.Turn Around And Take A Look 2:47
04.Rainbow Tree 2:18
05.Ask Me If I Care 3:08
06.Straglin' Behind 2:33
07.Green Tambourine 2:24
08.Blueberry Blue 2:24
09.The Shoemaker Of Leatherwear Square 2:01
10.Fifty Year Void 5:43
11.Through With You 9:06

Jungle Marmalade 1969
12.Jelly Jumble (Of Orange Marmalade) 2:23
13.I Was Not Born To Follow 2:31
14.Everything Is You 2:43
15.Catch Me Falling 5:16
16.Hard Core 2:54
17.Love Beads And Meditation 2:48
18.I Need Someone (The Painters) 2:40
19.Lonely Atmosphere 2:52
20.Wine And Violet 3:06
21.Dead End Street / Half Light 11:42

Lemon Pipers:
Ivan Browne - vocals, guitars
Bill Bartlett - vocals, guitars
Steve Walmsley - bass
R.G. Nave - keyboards
Bill Albaugh - drums

sabato 12 luglio 2014

Blues Project - Planned Obsolescence 1968

Biography: In 1964, Elektra Records produced a compilation album of various artists entitled, The Blues Project, which featured several white musicians from the Greenwich Village area who played acoustic blues music in the style of black musicians. One of the featured artists on the album was a young guitarist named Danny Kalb, who was paid $75 for his two songs. Not long after the album's release, however, Kalb gave up his acoustic guitar for an electric one. The Beatles' arrival in the United States earlier in the year signified the end of the folk and acoustic blues movement that had swept the US in the early 1960s. Kalb's first rock and roll band was formed in the spring of 1965, playing under various names at first, until finally settling on the Blues Project moniker as an allusion to Kalb's first foray on record. After a brief hiatus in the summer of 1965 during which Kalb was visiting Europe, the band reformed in September 1965 and were almost immediately a top draw in Greenwich Village. By this time, the band included Danny Kalb on guitar, Steve Katz (having recently departed the Even Dozen Jug Band) also on guitar, Andy Kulberg on bass and flute, Roy Blumenfeld on drums and Tommy Flanders on vocals. The band's first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper. Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he played on the "Like a Rolling Stone" recording session for Bob Dylan's album, Highway 61 Revisited. However when he heard the incredible technique of Michael F. Bloomfield who had also been added to the session, he realized he would never come close to Bloomfield's astounding ability, and he surrendered his hopes of becoming a guitarist to concentrate on organ. In order to improve his musicianship on the new instrument, Kooper joined the Blues Project and began gigging with them almost immediately. Soon thereafter, the Blues Project gained a recording contract from Verve Records, and began recording their first album live at the Cafe Au Go Go in Greenwich Village over the course of a week in November 1965.
Entitled Live at The Cafe Au Go Go the album was finished with another week of recordings in January 1966. By that time, Flanders had left the band and, as a result, he appeared on only a few of the songs on this album. The album was a moderate success and the band toured the US to promote it. While in San Francisco, California in April 1966, the Blues Project played at the Fillmore Auditorium to rave reviews. Seemingly New York's answer to the Grateful Dead, even members of the Grateful Dead who saw them play were impressed with their improvisational abilities.(Source: Rock Family Trees - television program) Returning to New York, the band recorded their second album in the fall of 1966, and it was released in November. Projections contained an eclectic set of songs that ran the gamut from blues, R&B, jazz, psychedelia, and folk-rock.The centerpiece of the album was an 11-and-a-half minute version of "Two Trains Running," which, along with other songs on the album, showed off their improvisational tendencies. One such song was the instrumental "Flute Thing", written by Kooper and featuring Kulberg on flute. Soon after the album was completed, though, the band began to fall apart. Kooper quit the band in the spring of 1967, and the band without him completed a third album, Live At Town Hall. Despite the name, only one song was recorded live at Town Hall, while the rest was made up of live recordings from other venues, or of studio outtakes with overdubbed applause to feign a live sound. One song in the latter category, Kooper's "No Time Like the Right Time," would be the band's only charting single. The Blues Project's last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone. Kooper had formed his own band and played at the festival as well. Katz left soon thereafter, followed by Kalb. A fourth album, 1968's Planned Obsolescence, featured only Blumenfeld and Kulberg from the original lineup, but was released under the Blues Project name at Verve's insistence. Future recordings by this lineup would be released under a new band name, Seatrain. In 1968, Kooper and Katz joined forces to fulfill a desire of Kooper's to form a rock band with a horn section. The result was Blood, Sweat & Tears. While Kooper led the band on its first album, Child Is Father to the Man, he did not take part in any subsequent releases. Katz, on the other hand, remained with the band into the 1970s.The Blues Project, with a modified line-up, reformed briefly in the early 1970s, releasing three further albums: 1971's Lazarus, 1972's The Blues Project, and 1973's The Original Blues Project Reunion In Central Park (which featured Kooper but not Flanders). These albums did little to excite the public and since then, the group's activity has been confined to a few sporadic reunion concerts, such as when the Blues Project played a fundraising concert at Valley Stream Central High School in New York, promoted by Bruce Blakeman with the proceeds going to the Youth Council and the US Olympic Committee. In the period between 2001 and 2007, Roy Blumenfeld drummed in the Barry Melton Band (Melton of Country Joe & the Fish fame) Wiki

01.If You Gotta Make A Fool Of  4:31
02.Calypso 3:46
03.Frank And Curt Incensed 3:26
04.Turtledove 3:24
05.Mojo Hanna 3:26
06.Nairt Aes Hornpipe 2:06
07.The Endless Sleep 3:53
08.She Raised Her Hand 3:39
09.Dakota Recollection 12:27

Blues Project
Andy Kulberg - Flute, Bass, Piano
Roy Blumenfeld - Drums, Percussion
John Gregory - Guitar, Vocals
Donald Kretmar - Bass, Sax
Richard Greene - Violin, Strings

venerdì 4 luglio 2014

Cannabis India - SWF Session 1973

As a child in Germany, Oliver PETRY began playing piano at a very young age, switching later to organ after hearing contemporary greats as Keith EMERSON. By about 1970, PETRY, drummer Rüdiger BRAUNE and bassist Dirk FLECK had formed cover band The FUTURES but by 1971, had transformed into CANNABIS INDIA, a faux-classical power trio based near Düsseldorf and part of the famous Wuppertal scene (known as a center of 'Krautrock' with acts as Holderlin garnering national attention).

CANNABIS INDIA featured all-original compositions from PETRY and after good word of mouth began spreading about their live shows, the trio secured billing with artists as EARTH AND FIRE, BEGGARS OPERA, and EILIFF. Their appearances at Berlin's IFA and the first Wuppstock Festival in 1973 were highlights. The band's long-forgotten recordings - done in May '73 at the Sudwestfunk and finally released in 2009 as 'SWF Session 1973' on Long Hair Records - are our only taste of this unit in the studio and present a raw but dynamic early form of heavy, organ-based symphonic rock in the vein of ELP's 'Tarkus' period and smaller bands as Canada's ExCUBUS [then Incubus].

Guitarist Martin KOHMSTEDT [of SOLOMON JACKDAW] joined the band but left in '74, after which CI split-up. Shortly after, Oliver PETRY founded UNIVERSE with ex-SOLOMON JACKDAW members and before this group's breakup, they recorded several cuts at the Studio Neugebauer [included as bonus cuts on SWF Session]. Later, bandmates reunited to work on the FRITZ MüLLER BAND helping to record the album 'Kommt'. Oliver PETRY became lead vocalist for EMPIRE along with Dirk FLECK on bass and released an LP in 1981. PETRY now works as a graphics & sound designer for websites and plans a future music project called The Unbrothers.

Firmly recommended to any fans of vintage organ Prog at its most immediate and sincere, CANNABIS INDIA's 'SWF Session 1973' is a must for lovers of pure old fashioned symphonic rock.

01.Hand Of The King 7:28
02.Lapis 11:54
03.Revolver 4:18
04.Beethoven's 9th 10:52
05.Mirror 3:39 (Bonus Track by Universe)
06.The Hunt 5:19 (Bonus Track by Universe)

Cannabis India:
Oliver Petry - Organ
Rudiger Braune - Drums
Dirk Flec - Bass

Oliver Petry - Organ, Moog, Vocals
Detlev Krause - Guitar
Bernd Frielingsdorf - Drums
Detlev Dalitz - Bass

giovedì 19 giugno 2014

Blues Creation - The Blues Creation (Digipack Edition) 1969 Repost

Even by the flash-in-the-pan standards of Japan's turbulent late-‘60s/early-70s post-Group Sounds psychedelic rock scene, Blues Creation seemed to come out of nowhere and head right back there again faster than most anyone else. Like many of its contemporaries, Blues Creation was launched by a budding Japanese guitar hero whose mind had been effectively blown by the deafeningly heavy sounds of Led Zeppelin and Black Sabbath -- this being Kazuo Takeda, who had actually already spent some time playing in Europe and America, and was therefore a first-hand witness to the sonic events that spawned heavy metal's birth. But before going down that road, Takeda and his chosen Blues Creation bandmates, Fumio Nunoya (vocals), Takayuki Noji (bass), and Shinichi Tashiro (drums), recorded an eponymous 1969 debut filled with heavy-handed blues covers (a strategy copied by Flower Travellin' Band just one year later), as befit their chosen moniker. But Takeda would soon have his stylistic rethink and scrap everything for a new lineup consisting of Hiromi Osawa (vocals), Masashi Saeki (bass), and Akiyuki Higuchi (drums), returning in 1971 with Blues Creation's most legendary artifact, the cryptically named sophomore LP, Demon & Eleven Children, which was awash in primal, proto-metallic acid rock. The album would only achieve legendary status decades later, though, and so the rest of that year found a multi-tasking Blues Creation recording another album backing singer Carmen Maki (billed as Carmen Maki & Blues Creation), as well as a jam-happy concert document entitled simply Blues Creation Live. And then there was…silence; and by the very next year Takeda had decided to break up the band and move back to London, where he befriended American hard rockers Mountain (among others), and duly returned to Japan for a tour with them in 1975. Now leading a new power trio billed only as Creation, he recorded several albums well into the early '80s, including 1975's Creation, 1976's Felix Pappalardi & Creation (recorded with the man himself in Nantucket), 1977's Pure Electric Soul, 1978's Super Rock in the Highest Voltage, 1981's Lonely Heart, and 1982's Rock City. In the aftermath, Takeda continued to perform live, work sessions as a musician and producer, and released more than 20 solo albums, but it's arguably still Blues Creation's brief but volcanic existence that headlines his impressive CV.

01.Checkin Up On My Baby 4:54
02.Steppin Out 2:54
03.Smoke Stack Lightning 5:31
04.Double Crossing Time 7:04
05.I Can't Keep From Crying 4:38
06.Spoonful 8:14
07.Rollin' And Tumblin' 4:03
08.All Your Love 4:03

The Blues Creation:
Yoshiyuki Noji - Bass
Shinichi Tashiro - Drums
Kazuo Takeda - Lead Guitar, Vocals, Harmonica
Fumio Nunoya - Vocals

sabato 7 giugno 2014

Never Ever Land - 83 Texas Nuggets From International Artists Records (Box Set 3CD) 1965 - 1970

It's not unusual for a small independent record company to be defined by its first major success, and that was certainly the case for the maverick Texas label International Artists. IA began life in 1965 as a fairly ordinary regional outfit releasing pop/rock stuff, but when they scored a nationwide hit with the 13th Floor Elevators' proto-psychedelic anthem "You're Gonna Miss Me," the label's de facto A&R chief, Lelan Rogers, dove headfirst into Texas acid culture and IA became a home for consciousness-expanded acts such as the Golden Dawn, the Bubble Puppy, Endle St. Cloud, and the truly crazed Red Crayola. Never Ever Land is a three-CD set designed to give a reasonably comprehensive picture of International Artists' strange and memorable five-year lifespan. Disc one is focused on Texas garage rock, and features some of the fuzzier and more straightforward material from the 13th Floor Elevators, the Red Crayola, and the Golden Dawn alongside lesser-known teen rock acts such as the Beach Boys-influenced Coastliners and the frantic Chayns. Disc two is devoted to IA's psychedelic acts, though since several already popped up on disc one the distinction may seem vague to some; at any rate, while most of this music isn't as eccentric as AI's reputation would suggest, this is still a solid set of acid-influenced rock, ranging from the tight hard rock of the Bubble Puppy and the earnest folk-rock of the Rubayyat to the country-flavored sounds of Ginger Valley and the brilliantly "huh?"-inducing sides from the Red Crayola. Finally, the third disc rounds up various odd and ends, from the sublime (two superb acoustic tracks from Roky Erickson with Clementine Hall) and the worthy (a couple selections from Lightnin' Hopkins' IA set Free Form Patterns) to the ridiculous (Sonny Hall's dunderheaded country novelty "The Battle of the Moon"). The set is accompanied by a thick booklet featuring a short history of the label, an entertaining interview with Lelan Rogers, and an AI discography. Never Ever Land reveals the dirty little secret that much of International Artists' output wasn't as bizarre as their most famous releases would lead you to expect, but the first two discs serve as an excellent overview of the heady era when teenage rock gave way to something more adventurous, and the third delivers some superb moments while filling in the gaps in the IA story; it's a loving tribute to a label whose existence was in many respects a brave leap into the musical unknown.

01.The Emperors - I Want My Woman
02.The Coastliners - Alright
03.The 13th Floor Elevators - You're Gonna Miss Me
04.Sterling Damon - Rejected
05.The Coastliners - Wonderful You
06.Thursday's Children - Dominoes
07.The Chapparals - I Tried So Hard
08.The Chayns - See It Thru
09.The Patterns - In My Own Time
10.The Chayns - Live With The Moon
11.The Chayns - Night Time
12.Thursday's Children - A Part Of You
13.The 13th Floor Elevators - Fire Engine
14.Thursday's Children - Air Conditioned Man
15.Lost & Found - 25 M.P.H.
16.The Chayns - There's Something Wrong (In This Place)
17.Thursday's Children - Help, Murder, Police
18.The Golden Dawn - Reaching Out To You
19.Thursday's Children - You Can Forget About That
20.The 13th Floor Elevators - Tried To Hide
21.The Golden Dawn - A Nice Surprise
22.Red Crayola - Pink Stainless Tail
23.Inner Scene - Communication Breakdown
24.Lost & Found - Let Me Be
25.The Spades - We Sell Soul
26.The Spades - You're Gonna Miss Me
27.The 13th Floor Elevators - I Don't Ever Want To Come Down

01.Bubble Puppy - Hot Smoke And Sasafrass
02.The Golden Dawn - Starvation
03.The 13th Floor Elevators - Scarlet And Gold
04.Lost & Found - Everybody's Here
05.Red Crayola - War Sucks
06.Rubayyat - Ever Ever Land
07.The Shayds - Search The Sun
08.The Golden Dawn - My Time
09.The 13th Floor Elevators - Slip Inside This House
10.Lost & Found - When Will You Come Through
11.Endle St.Cloud - Tell Me One More Time (What's Happening To Our World)
12.Bubble Puppy - If I Had A Reason
13.Ginger Valley - Ginger
14.Rubayyat - If I Were A Carpenter
15.Bubble Puppy - Days Of Our Time
16.Lost & Found - Professor Black
17.Endle St.Cloud - Quest For Beauty
18.Bubble Puppy - A Gathering Of Promises
19.Lost & Found - Forever Lasting Plastic Words
20.The 13th Floor Elevators - She Lives (In A Time Of Her Own)
21.Red Crayola - Nickle Niceness
22.Red Crayola - Hurricane Fighter Plane
23.Endle St.Cloud - Come Through
24.Ginger Valley - Country Life
25.Endle St.Cloud - This Is Love
26.Red Crayola - Vile Vile Grass
27.The 13th Floor Elevators - 60 sec. Radio Spot/Bull Of Woods

01.Arnim & Hamilton - Pepperman
02.The Disciples Of Shaftesbury - Times Gone By
03.Beauregard - Popcorn Popper
04.Big Walter - Breakfast In Bed
05.Lightnin' Hopkins - Black Ghost
06.Beauregard - Mama Never Taught Me How To Jelly Roll
07.Dave Allen - Terp
08.Bubble Puppy - Hurry Sundown
09.The Disciples Of Shaftesbury - My Cup Is Full
10.Kathy Clarke - Little Girl Called Sad
11.Lightnin' Hopkins - Baby Child
12.The Shayds - Bring Your Love
13.Arnim & Hamilton - Walkin' Midnight Coffee Break
14.Roky & Clementine Hall - Splash 1
15.Roky & Clementine Hall - Right Track Now
16.Billy Wade McKnight - Trouble's Coming On
17.Kathy Clarke - My Summer Prayer
18.Billy Wade McKnight - I Need Your Lovin'
19.Lightnin' Hopkins - Mini Skirt
20.Dave Allen - C.C. Rider
21.Bubble Puppy - Lonely
22.Sonny Hall - Poor Planet Earth
23.Tom Harvey - So Ah In Ah Love
24.Johnny Williams - Honey Child
25.Frankie & Johnny - Sweet Thang
26.Sonny Hall - The Battle Of The Moon
27.Sterling Damon - My Last Letter
28.Roky Erickson - Excerpts Interview KSAN 4.1.78
29.The 13th Floor Elevators - May The Circle Remain Unbroken

domenica 1 giugno 2014

Blue Öyster Cult - Blue Öyster Cult (2001 Legacy Edition) 1972

Two years before Kiss roared out of Long Island with its self-titled debut, Blue Öyster Cult, the latest incarnation of a band assembled by guitarist Donald "Buck Dharma" Roeser and drummer Albert Bouchard in 1967, issued its dark, eponymously-titled heavy rock monolith. Managed and produced by the astronomically minded and conspiratorially haunted Sandy Pearlman, BÖC rode the hot, hellbound rails of blistering hard rock as pioneered by Steppenwolf, fierce mutated biker blues, and a kind of dark psychedelia that could have only come out New York. The band's debut relied heavily on the lyrics of Pearlman and rock critic Richard Meltzer, as well as Pearlman's pioneering production that layered guitars in staggered sheets of sound over a muddy mix that kept Eric Bloom's delivery in the middle of the mix and made it tough to decipher. This was on purpose to draw the listener into the songs cryptically and ambiguously. From the opener, "Transmaniacon MC," the listener knew something very different was afoot. This is dark, amphetamine-fueled occult music that relied on not one, but three guitars Bloom and keyboardist Allen Lanier added their own parts to Roeser's incessant riffing: a barely audible upright piano keeping the changes rooted in early rock and the blues, and a rhythm attack by Bouchard and his brother Joe on bass that was barely contained inside the tune's time signature. From the next track on "I'm on the Lamb But I Ain't No Sheep," elliptical lyrics talked about "the red and the black," while darkening themselves with stunning riffs and crescendos that were as theatrical as they were musical, and insured the Cult notice among the other acts bursting out of the seams of post-'60's rock. Other standouts include the cosmic "Stairway to the Stars," the boogie rave-up "Before the Kiss, a Redcap," that sounded like a mutant Savoy Brown meeting Canned Heat at Altamont. But it is on "Cities on Flame With Rock & Roll," that the Cult's sinister plan for world domination is best displayed. From its knotty, overdriven riff to its rhythm guitar vamp, Vox organ shimmer, its crash cymbal ride and plodding bass and drum slog through the changes not to mention its title it is the ultimate in early metal anthems. Add to this the swirling quizzicality of "Workshop of the Telescopes" that lent the band some of its image cred. [The 2001 remastered edition by Legacy gives punters four bonus tracks in the form of demos recorded by the band's first incarnation as Soft White Underbelly. These are not merely throwaways: it is readily apparent that by 1969, BÖC was well on their way to creating something new and menacingly different. The only questionable item is the last track: a cover version of Bobby Freeman's "Betty Lou's Got a New Pair of Shoes," that is utterly devoid of interest.]

01.Transmaniacon MC
02.I'm On the Lamb But I Ain't no Sheep
03.Then Came the Last Days of May
04.Stairway to the Stars
05.Before the Kiss, a Redcap
07.She's as Beautiful as a Foot
08.Cities On Flame with Rock and Roll
09.Workshop of the Telescopes
11.Donovan's Monkey (Demo)
12.What Is Quicksand? (Demo)
13.A Fact About Sneakers (Demo)
14.Betty Lou's Got a New Pair of Shoes (Demo)

Blue Öyster Cult:
Eric Bloom - lead vocals, stun guitar, keyboards
Albert Bouchard - drums, lead vocals (track 8)
Joe Bouchard - bass, lead vocals (track 6)
Allen Lanier - rhythm guitar, keyboards
Donald "Buck Dharma" Roeser - lead guitar, lead vocals (tracks 3 and 5)

martedì 27 maggio 2014

Krokodil - Krokodil (Second Battle) 1969

Krokodil was a Swiss band that emerged in the late 60's as a blues-rock band that put progressive touches into their music. They were of German-Swiss extraction with bassist and guitarist Terry Stevens being the only foreigner in the band, coming form England. They were regarded as the Swiss version of the Groundhogs due to their first album. However, from their 2nd album Swamp they started to introduce a psychedelic sound to their music, a sound which is very much dominant on Invisible World Revealed. In that album they make use of mellotron, organ, harmonica and flute all backed up by an acoustic guitar which give the album an exotic and stoned feeling to it. The eastern and Indian influences in this album are present through the sitar and tabla in the 15 minutes suite Odyssey In Om. The blues here gives way to the psychedelics, ethnic sounds and vocal harmonies, but it is still there. Getting up For The Morning continues the same style (in a new label, Bacillus) but they became more succinct in their approach to composition and it was more of a song oriented album than its predecessor.
A band not to be missed by anyone who likes blues, psychedelic and ethnic in his music and does not mind them being mingled together. Even though they are tough to find, their 3rd album is very much worth the bother.

01.Morning Dew 4:34
02.You're Still a Part of Me 6:20
03.All Alone 3:50
04.Mis Blues 3:15
05.Prayer 4:09
06.Watchin' Chain 6:48
07.Dabble in Om 9:24
Bonus Tracks:
08.Don't Make Promises 3:58
09.Hurra! Live 3:04
10.Camel Is Top 2:30

Terry Stevens - Bass, Guitar, Vocals
Düde Dürst - Drums, Percussion, Vocals
Mojo Weideli - Harmonica, Flute, Percussion
Walty Anselmo - Sitar, Lead Guitar, Vocals
Hardy Hepp - Violin, Piano, Vocals

lunedì 26 maggio 2014

Aqua - Aqua (Garden of Delights) 1972

Aqua were founded in Kassel in 1972. They played progressive rock like it was at fashion at those times, thus with a lot of organ. In 1972, too they recorded four self-written songs for to show to promoters and record companies. Though they couldn't make a record company to become interested they got a lot of gigs. Thus, they themselves released a 7" single in 1978, already more smoothed out. In 1981 they did an LP which already was mainstream, like it was up to date, then. The number of copies released was 1000 for each record. The here available CD contains the until now unreleased four songs of 1972, both tracks of their single, and according to the demand of the artists two songs from the LP which still show some progressive influences.

01.Bolero 5:25
02.Soul of my soul 7:10
03.Tempest 5:53
04.There is a place 9:39
05.Going my wayTeenage feelings 3:23
06.No use to live on 6:17
07.No more love 6:02

Bernd Billhardt - Drums
Klaus Borucki - Vocals
Wolfgang Eckhardt - Vocals, Choir
Mike Fajgel - Vocals
Martin Großkurth - Keyboards, Choir
Roy Kaleve - Drums, Choir        
Georg Röber - Bass
Martin Ulrich - Guitar, Bass        
Jörg Wiesner - Keyboards


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body