domenica 9 novembre 2014

Bliss - Bliss 1969 (Repost)

Biography : Recorded in Phoenix Arizona's Audio Records with producer Hadley Murrell (who also contributed a pair of songs), 1969's "Bliss" was released by the L.A.-based Canyon Records. Musically the LP offered up a mix of originals (all three members contributing material), and blues covers. Interestingly, based on the cover which shows a chalice and a young, angry looking priest, our initial expectations were that this might be a Christian-rock LP. Those thoughts were reinforced by the opener "Ride the Ship of Fool" which blended a nice melody with sweet harmonies and a pseudo-religious lyric and "Cry for Love". While those characteristics are enough to send a large segment of the population running for cover, in this case the results aren't half bad. The religious sentiments are kept in check throughout and are wrapped in a series of tasty rockers. Powered by Aldred's powerhouse drumming and Reed's fuzz guitar (check out "VIsions" and their cover of Joe Tex's "I Want To be Free"), this is simply a great LP!.

01.Ride the Ship of Fools 4:21
02.Cry for Love 4:50
03.Gangster of Love 2:58
04.I Want To Be Free 3:00
05.Visions 3:35
06.Don't Think 2:07
07.I'm Gonna Hurt You 2:03
08.Make My Old Soul New 2:05
09.Rock Me Baby 3:28

Bliss :
Corky Aldred - vocals, drums
Rusty Martin - bass
Brad Reed - vocals, guitar

sabato 8 novembre 2014

H.P.Lovecraft - H.P.Lovecraft I & H.P.Lovecraft II (Collector's Choice Edition) 1967 - 1968 Repost

Biography : Featuring two strong singers (who often sang dual leads), hauntingly hazy arrangements, and imaginative songwriting that drew from pop and folk influences, H.P. Lovecraft was one of the better psychedelic groups of the late '60s. The band was formed by ex-folky George Edwards in Chicago in 1967. Edwards and keyboardist Dave Michaels, a classically trained singer with a four-octave range, handled the vocals, which echoed Jefferson Airplane's in their depth and blend of high and low parts. Their self-titled 1967 LP was an impressive debut, featuring strong originals and covers of early compositions by Randy Newman and Fred Neil, as well as one of the first underground FM radio favorites, "White Ship." The band moved to California the following year; their second and last album, H.P. Lovecraft II, was a much more sprawling and unfocused work, despite some strong moments. A spin-off group, Lovecraft, released a couple LPs in the '70s that bore little relation to the first incarnation of the band.

H.P.Lovecraft I :
01.Wayfaring Stranger 2:35
02.Let's Get Together 4:35
03.I've Been Wrong Before 2:46
04.The Drifter 4:11
05.That's The Bag I'm In 1:46
06.The White Ship 6:33
07.Country Boy & Bleeker Street 2:35
08.The Time Machine 2:05
09.That's How Much I Love You, Baby (More or Less) 3:55
10.Gloria Patria 0:27

H.P.Lovecraft II :
01.Spin, Spin, Spin 3:21
02.It's About Time 5:17
03.Blue Jack of Diamonds 3:08
04.Electrollentando 6:34
05.At the Mountains of Madness 4:57
06.Mobius Trip 2:44
07.High Flying Bird 3:21
08.Nothing's Boy 0:39
09.Keeper of the Keys 3:05
10. Anyway That You Want Me (Bonus)
11.It's All Over For You (Bonus)

H.P.Lovecraft :
George Edwards – vocals, acoustic guitar, electric guitar, guitarrón, bass
Dave Michaels – vocals, organ, piano, harpsichord, clarinet, recorder
Jerry McGeorge – bass, vocals (1967)
Tony Cavallari – lead guitar, vocals
Michael Tegza – drums, percussion, timpani, vocals
Jeff Boyan – bass, vocals (1968)

mercoledì 5 novembre 2014

Riverson - Riverson (Kismet Records) 1972

Biography : Of all the zillions of CSNY-inspired westcoast hippie rock LPs from the early 1970s, this is one of the very best. Another feather in the cap for the great Columbia Canada office, with an excellent production bringing out the max from these talented long hairs. Clearly out of a "Deja Vu" corner (minus the sugary Nash crap, naturally), the song writing here is very good, grabbing your attention without being overly commercial, while the band lays down a groove that is both relaxed and tight. You can hear early AOR moves creeping into the hippie stylings, and much like on Homer this is not a disadvantage but helps broaden the album's impact. Female vocalist Franki Hart of Freedom North handles a few tracks, but is given solid competition by the male vocalists who sing just as well. Soaring, lyrical guitar leads recur throughout the LP, and there are some vague prog moves with flute on one track. Clocking in at 42 minutes, this could have omitted 1-2 tracks, and it's a testament to Riverson's strength that the playtime seems warranted. Recommended to anyone with an ear for top-level, upscale 70s westcoast sounds. Acid Archives

01.Clear Night 3:05
02.Winter Garden 3:16
03.Eleanor Rigby 4:12
04.I'll Be There 3:15
05.Empty Sky 4:17
06.Take Me 2:58
07.Stoney Day 4:33
08.Between the Lines 4:15
09.Can't Live Without You 3:06
10.Medallion Castle 4:25
11.Hermit Glen 3:10
Bonus tracks:
12.Sittin Waitin

Franki Hart - vocals, piano, acoustic guitar
Rayburn Blake - vocals, acoustic guitar, electric guitar, banjo
Brian Edwards - vocals, bass
Graham Lear - drums

sabato 1 novembre 2014

Heavy Metal Kids - Heavy Metal Kids (2009 Remastered) 1974

Biography: The Heavy Metal Kids never became stars, never won any readers polls, never had a hit record. But, if you could roll back time to that moment in 1974 when the very first needle hit the very first pressing of their eponymous debut album, it would be impossible to predict that sordid fate. Quite frankly, Heavy Metal Kids rises so far above the rest of the period pack that Sparks and Cockney Rebel notwithstanding there was no more exciting proposition to be found on the new-release shelves. Part unrepentant boogie band, part pub rock leviathan, and part good-time distillation of the best of Slade and the Faces, fronted by the utterly irresistible cackle of singer Gary Holton, the Kids' flash, slash, and sashay assault had a cosmic energy that could transform even the ballads ("It's the Same," "Nature of My Game") into fists-in-the-air anthems. A decade later, the band could have so rewritten the notion of the power ballad that suffering through the 1980s might never have been necessary; a decade earlier, the British Invasion could have been the new prog. Imagine Jim Steinman producing Them, and you're close to the majesty of Heavy Metal Kids. As it is, the only people who seem to have truly noted what the Kids were doing were the Rolling Stones the laconic reggae of "Run Around Eyes" is a dry run for the Stones' later romp through "Cherry Oh Baby." Heavy Metal Kids hits so many peaks "Ain't It Hard," "Always Plenty of Women," "Hangin' On" that the end of the album comes so quickly that even they seemed to be taken by surprise. The closing "Rock n' Roll Man," heralded by one of the most triumphant roars in rock history, is followed not by the sound of needle scraping label, but by a violent reprise for what remains the Kids' finest hour: the stomping, storming "We Gotta Go." And that is not only a juxtaposition that will have you talking Cockney for the rest of the day, it also tells you everything you need to know about The Heavy Metal Kids. Nothing can be taken for granted and nothing was. Including the fame and glory that this album still demands.

01.Hangin' On 3:11
02.Ain't It Hard 3:00
03.It's The Same 5:49
04.Run Around Eyes 2:59
05.We Gotta Go 4:51
06.Always Plenty Of Women 3:27
07.Nature Of My Game 3:37
08.Kind Woman 4:26
09.Rock N Roll Man 7:37
10.We Gotta Go (Reprise) 1:30
Bonus Track:
11.It's The Same (Live) 3:42

Heavy Metal Kids:
Micky Waller - guitars
Ronnie Thomas - bass & vocals
Gary Holton - lead vocals
Danny Peyronel - keyboards & vocals
Keith Boyce - drums & percussion

martedì 14 ottobre 2014

Sun - S.U.N. (Garden of Delights) 1980 Repost

Biography: Sun from Hettenleidelheim near Eisenberg in the Palatinate were founded under the name of Punished Sun in 1969 and shortened their name to Sun in 1974. They played progressive rock with slight Zappa and jazz influences. In 1980, Sun released their first own LP which contained exclusively self- written tracks, in an edition of 1000 copies. The brimful CD at hand contains this complete LP, drawn from the master tapes, and as bonus tracks the two Proton tracks “Leisure” and “To Celia”, two as yet unreleased pieces from rehearsals as well as two later studio recordings, also unreleased as yet.

01.Ohne Titte 5:54
02.The Jester 6:17
03.Seeing Similaun 6:45
04.On Holiday 5:17
05.Und ewig heulen die Gitarren 4:50
06.Neulich in Spanien 4:52
07.Women's Lib. Blues 6:32
Bonus tracks:
08.Leisure 10:43
09.To Celia 8:25
10.Communication Breakdown 6:35
11.Slave Of Heaven 5:42
12.Black Sheep Of The Family 4:06
13.Morning Dream 4:11

Rudi Herrmann - drums
Bruno Mäder - sax, lyricon, vocals
Harry Müller - guitar, vocals
Gunter Hübner - guitar
Thomas Heldmann - bass, vocals
Reinhard Stephan - electric piano, organ

lunedì 6 ottobre 2014

Fate - Sgt.Death (Shadoks Music) 1968 Repost

In 1968 recorded an album in NYC with a band called FATE, that got some attention at the time, but was never released. Recently, 2 small companies have released copies of the demo acetate (it never got "pressed" at the time) as "FATE- Sgt. Death", marketed as Vietnam Protest/60's Psychedelic/Re-issue music. The CD version, on Shadoks Music of Germany (Shadoks Music) has sold about 800 copies of 1000 printed. The music has gotten rave reviews from promoters/fans of the genre!

01.Sergeant Death 5:04
02.Simone 3:59
03.Sexual Fantasy 3:39
04.Having a Cigarette 2:11
05.I Need a Woman 4:12
06.Hungry Lovin' Blues 2:44
07.Mannequin 5:43
08.Tribute To The Bo 4:20
09.Smoke & Stone 5:09

Steve Dore - Guitar
Skip Smith - Drums
Jay Sneider (Snyder) - Keyboards, Vocals
Art Webster - Bass
Frank Youngblood - Vocals

sabato 27 settembre 2014

Back Door - Back Door 1973 (Repost)

Biography: Released by the band on the Blakey label in 1972 and then re-released by Warner in 1973, this instrumental album is impressive from start to finish, and a veritable catalog of bass guitar technique. Aspery's funky sax and flute work leaves the bottom end completely open to the bass guitar, and Hodgkinson's use of strummed chords is ably backed by his bandmates on the squalling opener "Vienna Breakdown." The mel-low fon-kay bass solo, "Lieutenant Loose," makes effective use of ringing open strings, while "Slivadiv" is a fret-hammering delight. If you're a bassist, be forewarned: listening to this album is a deeply humbling experience.

01.Vienna Breakdown 2:19
02.Plantagenet 1:38
03.Leiutenant Loose 2:38
04.Askin' the Way 2:57
05.Turning Point 2:12
06.Slivadiv 3:45
07.Jive Grind 2:48
08.Human Bed 2:25
09.Catcote 1:55
10.Waltz for a Wollum 2:20
11.Folksong 3:03
12.Back Door 2:48

Back Door :
Colin Hodgkinson - bass, vocals
Ron Aspery - keyboards, sax
Tony Hicks - drums
Later : Adrian Tilbrook - drums

venerdì 26 settembre 2014

Paul Brett's Sage - Schizophrenia 1972

Biography: Paul Brett Sage's second full-length, Jubilation Foundry, was a rocking affair that danced delightfully from rock's roots in blues and R&B to its many contemporary nooks and crannies. With their follow-up, 1972's Schizophrenia, PBS dove into the harder side of rock, quite a feat for a group that featured a plethora of percussion but no drummer; although one was brought in for the driving "Slow Down Ma!." But as "Custom Angel Man" proved, Sage could rock like a Band of Gypsies even without one. However, it was Southern rockers and jam bands that were the group's strongest influences, and on "Charlene" they bring the two together. Imagine the Allmans fronting the Band to get the idea. The instrumental "Limp Willie," in contrast, features great dueling acoustic guitars, until the song flops over into Grateful Dead territory. "Take Me Back I Will Love You" sounds just like Pink Floyd, minus all their pomposity and self-indulgence, and is one of the album highlights. And there's plenty more of those within, from the gorgeous harmonies and acoustic guitars that stream across "Savior of the World" and "Tale of a Rainy Night" to the bluesy show-stopper "Make It Over." But as far afield as PBS seemed to have wandered from their folkie roots and for all their use of electric guitars, the many acoustic elements that initially defined their sound remain, giving the band and this set a sound entirely unlike anything else from the time. Routinely labeled acid folk and progressive rock, in fact, Sage were pop/rockers working in a thoroughly unique medium, creating a sound that still thrills today.

01.Custom Angel Man 2:43
02.Charlene 3:19
03.Song of Life - Song of Death 2:53
04.Slow Down Ma! 3:01
05.Saviour of the World 5:04
06.Limp Willie 1:57
07.Tale of a Rainy Night 3:25
08.Take Me Back and I Will Love You 4:25
09.Autumn 5:03
10.Make It Over 4:25
11.Bee 0:59
12.Dahlia [bonus] 3:27

Paul Brett - Acoustic Guitar, Guitar, Electric Guitar, Vocals
Stuart Cowell - Electric Guitar
Bob Voice - Percussion, Vocals
Rob Eberhard Young - Flute, Piano, Oboe

lunedì 25 agosto 2014

Celeste - Principe di un Giorno 1976 (Request)

Biography: One of the two bands formed from the wreckage of the semi-legendary Il Sistema, Celeste was the brainchild of drummer Ciro Perrino and keyboard player Leonardo Lagorio, himself a former member of Il Sistema's other offspring, Museo Rosenbach. With the line-up completed by Mariano Schiavolini (guitar, violin) and Giorgio Battaglia (bass), Celeste was an aptly-named outfit - with each member a virtual multi-instrumentalist, the group's arsenal included xylophone, harpsichord, violin and flute, all blended into a delicate, almost folky and, indeed, celestial brew that can readily be compared to the gentler moments on the first two King Crimson albums. Working with guest guitarist Vittorio De Scalzi, the band's debut album was recorded during 1973/74. It would be 1976, however, before Principe di un giorno was finally released, via the tiny Grog label. A further dozen tracks from this same period, including alternate (earlier) versions of several tracks from the album, would later (1992) be released by Ciro Perroni's own prog specialist label Mellow, as I suoni in una sfera. By the time their debut album was released, of course, Celeste themselves had moved on considerably. Back in the studio, they were now exploring jazz rock territory but, finding themselves unable to secure a record deal, the band broke up before completing the sessions. The best of this material was subsequently released in 1991 as the sensibly titled Celeste II; the band members themselves, meanwhile, scattered. Perrino cut a solo album, Solare in 1980, and also worked with the bands Saint Tropez, SNC and Compagnia Digitale, before launching Mellow in the late 1980s.

01.Principe Di Giorno 6:12
02.Favole Antiche 8:18
03.Eftus 4:15
04.Giochi Nella Notte 8:11
05.La Grande Isola 5:04
06.La Danza Del Fato 3:56
07.L'imbroglio 1:06

Giorgio Battaglia - bass, bass pedal, vocals, xylophone
Leonardo Lagorio - acoustic & electric piano, flute, alto sax, Mellotron
Ciro Perrino - percussion, flute, recorder, Mellotron, xylophone, vocals
Mariano Schiavolini - guitar, violin
Aldo De Scalzi - plop

giovedì 21 agosto 2014

Luv Machine - Turns You On! 1971 (Repost)

Biography:The Luv Machine were something of a cross-cultural anomaly in Great Britain at the turn of the '70s. An interracial band from Barbados that played heavy psych influenced by the Hendrix/Clapton axis of British rock, the Luv Machine had been in the U.K. since 1967, slowly mutating from the West Indies' answer to Vanilla Fudge into a somewhat funk-influenced version of early British metal. Their self-titled album for Polydor in 1971 was roundly ignored, and the band split up shortly after its release. So all of the factors were in place to make the Luv Machine album the sort of thing that sells to psych, prog and early metal collectors for hundreds of dollars a pop. The Luv Machine Turns You On (which had been the band's preferred title at the time) is an expanded reissue that adds six single sides and unreleased tracks to the 12 tracks from the original album, remastered from the original tapes. It's the first release on Rise Above Relics, a collectors label run by Cathedral singer Lee Dorrian, and it does a tremendous service to the less hardcore fan of these styles, because at standard retail prices, the Luv Machine's flaws are far more apparent than they would be to someone who just dropped the equivalent of a car payment on a mint vinyl pressing. Heard just as an album, not as a rare artifact, Turns You On is unexceptional heavy psych with a refreshing lack of overblown extended guitar solos and a better than average drummer, neither of which are quite enough to make up for the anodyne vocals and not particularly memorable tunes. Interestingly, however, the unreleased tracks (contained on a separate EP on the reissued vinyl version) are actually considerably better than the album proper, particularly the two-part "Don't Let the Blues Take Over." Part two in particular sounds like the result of a jam between members of Blind Faith and Sly & the Family Stone, and more of that would have made Turns You On a genuine hidden treasure.

01.Witches Wand 2:49
02.You're Surprised 2:47
03.It's Amazing 3:27
04.Happy Children 3:19
05.Everything 3:20
06.Maybe Tomorrow 4:20
07.Reminiscing 2:56
08.Change Your Mind 2:59
09.Corupt 3:50
10.One Lost 3:09
11.My Life Is Filled With Changes 3:08
12.Portrait of Disgust 4:58

Bonus Tracks:
13.Don't Let the Blues Take Over Pt.1 2:58
14.In the Early Hours 3:29
15.Dark Clouds 2:33
16.Do You Want My Love? 3:07
17.Break The News Gently 2:51
18.Don't Let the Blues Take Over Pt.2 2:45

Luv Machine:
Michael Bishop - vocals, guitar, percussion
Bob Bowman - vocals, guitar
Errol Bradshaw - vocals, drums
John Jeavons - vocals

giovedì 14 agosto 2014

Primevil - Smokin' Bats At Campton's (Radioactive Records) 1974

Biography: Boasting one of the most thinly veiled references to smoking pot this side of British act Leaf Hound, Primevil's only album, Smokin' Bats at Campton's (Dave Campton being their lead singer; "bats" being, well, you know), was originally recorded in 1974, but only found its way onto CD some 20 years later. Now, the record is frequently cited as a bona fide stoner rock touchstone (whether anyone could find a copy to be influenced by or not, in the interim), and its eight cuts run a wide gamut featuring surprisingly refined songcraft and impressive musicianship, as well as semi-improvised efforts and unfocused jam waffling. The best qualities among these are all exemplified within the opening trio set off by the standout "Leavin'," with its acoustic passages and stop-start riffs, the hard-driving "Progress," with its funky bass, wailing harp and twin guitar midsection, and the instrumental six-string showcase "Fantasies," which recalls Fly by Night-era Rush, but was in fact recorded one year earlier. On the other hand, forgettable rockers like "Pretty Woman" and "Tell Me If You Can" don't fare nearly as well, stumbling on some truly awful lyrics from Campton amid their boring, sub-Cactus-like thud. Likewise, the white-knuckled romp, "Hey Lover," was allegedly whipped together in one night -- and sounds like it, but at least it possesses a certain rough charm à la Sir Lord Baltimore. Back on firmer ground, the memorable "High Steppin' Stomper" actually shows traces of glam rock (must be that hand-clapping and boot-stomping), but then the closing "Your Blues" screws it up again by offering nothing but -- you guessed it -- lazy blues jams, serving no foreseeable purpose aside from framing some searing lead guitar flights, and acting as album filler. Even with all of these inconsistencies, though, Smokin' Bats at Campton's is a true relic that's still well worth excavating by stoner rock enthusiasts, who are bound to enjoy its sporadic triumphs as much as they'll be captivated by its modest D.I.Y. origins.

01.Leavin' 3:57
02.Progress 3:27
03.Fantasies 6:07
04.Pretty Woman 3:14
05.Tell Me If You Can 5:16
06.Hey, Lover 2:41
07.High Steppin' Stomper 4:30
08.Your Blues 7:29

Dave Campton - lead vocals, harp, percussion, electric chair
Mel Cupp - drums
Larry Lucas - electric guitar, acoustic guitar, vocals
Mark Sipe - bass guitar
Jay Wilfong - electric guitar, screams
Moe Whittemore - synthesizer

lunedì 11 agosto 2014

Cochise - Swallow Tales 1971

Biography:Prior to recording their second album, Cochise underwent a major change in personnel, with singer Stewart Brown getting replaced by John Gilbert. As Brown had written some of the material on Cochise's 1970 self-titled debut, that left the songwriting wholly in the hands of guitarist Mick Grabham and pedal steel player B.J. Cole. Still, the music remained largely the same middle-of-the-pack early-'70s album-oriented British rock, sometimes hard and sometimes with a more reflective, folkier feel, though always with a more country-rock-ish tinge than most (owing largely to Cole's pedal steel). But as on their first album, Cochise had neither the stylistic distinction nor the top-shelf songwriting to attract wide notice, their approach encompassing a hard rocking update of Buddy Holly's "Love's Made a Fool of You"; original material which somewhat recalled the Guess Who's rootsier side; and lightweight U.S. West Coast folk-country-rock. As far as the latter style goes, "Lost Hearts," with a light early Love influence, is their best effort, while "Another Day" sounds a little like a cross between Crosby, Stills & Nash and the early Bee Gees, as peculiar as that mixture may seem.

01.Love's Made A Fool Of You 2:53
02.Jed Collder 3:20
03.Down Country girls 1:51
04.Home Again 3:43
05.Lost Hearts 3:27
06.Strange Images 2:05
07.Why I Sing The Blues 4:11
08.Another Day 5:18
09.Axiom Of Maria 7:04
10.Can I Break Your Heart 5:05
11.O Come All Ye Faithful 1:15

Cochise :
Nigel Olsson - Vocals, Vocal Harmony
Caleb Quaye - Piano
Rick Wills - Bass, Vocals
John Wilson - Drums
Ricky Wills - Bass, Percussion, Vocals,
Mick Grabham - Guitar (Acoustic), Soloist, Guitar (Electric), Vocals, Keyboards, Guitar
Steve Marriott - Piano, Vocals
Tim Renwick - Guitar, Soloist
John Gilbert - Vocals,
Cal Batchelor - Guitar
Stuart Brown - Guitar, Vocals
B.J. Cole - Dobro, Guitar (Steel), Guitar, Art Conception, Pedal Steel


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body