sabato 14 febbraio 2015

Denny Gerrard - Sinister Morning (Esoteric Recording) 1970

Biography:It wasn't long after arriving in the U.K. that South African student Denny Gerrard began making his mark on the music scene. In 1965, Jimmy Page picked him to become one half of the duo the Fifth Avenue, while Rolling Stones' manager Andrew Loog Oldham brought him in as arranger for his project the Variations. Gerrard then linked up with Barry Younghusband, and as Warm Sounds they promptly unleashed the Top 30 hit "Birds and Bees." Swiftly bored with pop the duo soon split, and Gerrard moved into production, overseeing High Tide's critically acclaimed 1969 debut album, Sea Shanties. No surprise then, that when the South African began work on his own debut, self-produced, full-length, High Tide were by his side. However, the resulting album, Sinister Morning, was far more a reflection of Gerrard's vision than Tide's sound. Much of the set has a folkie feel, accentuated by the prolific use of Gerrard's acoustic guitar and harmonica. Only on "Native Sun" is the band given a real chance to rock out, with the rest of the set given over to more midtempo numbers. These gave Gerrard the opportunity to explore his roots and showcase his arrangement skills. His epiphany is found on the final track, a haunting, seven-plus minute instrumental, whose rich "Atmosphere" is conjured up by his acoustic guitar and Simon House's delicate organ and rich violin. J.J. Mackey provides the spoken word segments that, sadly, are virtually buried in the mix. The album's other epic track, "True Believer" takes folk to church, with House's hymnal organ juxtaposed against a rich, Americana tapestry. "Autumn Blewn," in contrast, counterpoints '60s R&B with C&W, with Gerrard's harmonica adding a folkie feel to the intricate piece. "Rough Stuff" also has an R&B bend, but a down-home, Southern rock tinge, while "Stop or Drop It" is even more rousing, as Gerrard plays his pusillanimous acoustic guitar off against Tony Hill's electric leads. Although kept on a tight leash, High Tide still bring an energy to the set, turning up the heat on virtually all the songs, particularly the poppy "Hole in My Shadow," which was probably intended for singledom. The production gives the entire album a warm sound, although on CD it comes across as a tad too pristine. The only flaw within is Gerrard's decision to overutilize layered vocals instead of true harmonies, and paying far less attention to his vocals than he did to the rest of the album's sound. Released on Decca's mid-price imprint Nova, the album surprisingly sank without a track, but swiftly became a much sought-after collector's item. Finally after all these years, Esoteric has now lovingly remastered and reissued this splendid album on CD. Review by Jo-Ann Greene

01.Native Sun 3:55
02.True Believer 7:06
03.Hole In My Shadow 3:22
04.Last But One 4:05
05.Rough Stuff 3:00
06.Stop Or Drop It 2:51
07.Autum Blewn 2:53
08.Eye For Eye 4:33
09.Atmosphere 7:07

Denny Gerrard - Guitar, Mouth Harp, Vocals
Roger Hadden - Drums
Tony Hill - Guitar, Vocals
Simon House - Keyboards, Violin
Peter Pavli - Bass
Lyn Husband, Sue Young - Vocals
J.J. Makey - Words, Reading

domenica 8 febbraio 2015

Fuse - Fuse (2001 Rewind) 1969

Biography:Fuse's sole album is only worth paying attention to if you're a Cheap Trick fan and want a curious glimpse of what Rick Nielsen and Tom Peterson were up to roughly five years before they formed the band for which they're really famous. In Fuse, they and three other musicians played ordinary late-'60s hard rock, influenced by the Yardbirds and Cream, and perhaps a bit of Arthur Brown in the operatic vocals and classical-tinged keyboards, but with a Midwestern industriousness. Actually, it seems a little ahead of its time in how the songwriting, hard rock/organ combinations, long winding melodic progressions, and overly serious belting vocals of Joe Sundberg anticipate some early-'70s hard rock/prog rock crossover albums. Being on the cutting edge of that particular trend is not especially praiseworthy, since the crunching songs aren't too good or memorable. Review by Richie Unterberger

01.Across The Skies 4:35
02.Permanent Resident 4:22
03.Show Me 4:13
04.To Your Health 6:00
05.In A Window 5:54
06.4/4 3/4 3:58
07.Mystery Ship 3:22
08.Sad Day 5:49
09.Hound Dog (Bonus Track) 2:45
10.Cruisin' For Burgers (Bonus Track) 4:55

Rick Nielsen - rhythm guitar, keyboards
Tom Peterson - bass
Craig Myers - lead guitar
Chip Greenman - drums
Joe Sundberg - vocals

sabato 31 gennaio 2015

Royal Servants - We (Garden of Delights) 1970

The Royal Servants, forerunners of Eulenspygel, were formed in 1965 in the town of Reichenbach in Swabia. Starting out with beat, they gradually turned to bluesrock and, finally, progressive artrock. This development is well recognizable on their one and only LP "We" (Elite Special PLPS 30130), released in 1970 in a small edition. Whereas their first two singles, which were added to their CD as bonus tracks, are audibly in the 60s vein, the track presented here is the finest of laid-back underground and bears its title honestly. In early 1971, the Royal Servants were one of the first German bands to write their songs in German, and so it was only consistent that they changed their name into Eulenspygel that very year.Their CD "We", which was taken from the master tapes, contains their complete releases. With 32-page colored booklet.

01.Work Part II 5:20
02.We 9:15
03.Someone To Be With Me 2:47
04.Latin Underground 12:46
05.Here's Where I'm Gonna Stay 2:52
06.Private Man 3:42
07.Doomsday Up To Date 1:57
Bonus CD:
08.Burnin' Region 3:48
09.Help Me Please 4:13
10.Still I Belong 3:50
11.The Blues 'Comin' My Way 4:56

Royal Servants:
Detlef Nottrodt - lead & rhythm guitars, vocals
Manfred Maler - vocals
Reinhard - organ
Günter Klinger - drums, percussion
James (Matthias Thurow) - lead & rhythm guitars
Ronald Libal (Ronny) - bass
Peter Mayer - keyboards
Freunde - saxophone, trumpet
Cornelius Hauptmann - flute

venerdì 30 gennaio 2015

Sassafras - Expecting Company (2014 Esoteric Recording) 1973

Biography: Sassafras formed in 1970 as a three-piece band with guitarist Ralph Evans, bassist Ricky John Holt and Rob Reynolds (drums). Shortly afterwards guitarist David (Dai) Shell was drafted in and the line-up was completed by vocalist Terry Bennett. An early line-up change came with the replacement of drummer Rob Reynolds with former Love Sculpture sticks man Bob ‘Congo’ Jones. The band recorded some early demos in Cardiff’s Ddraig Studios (set-up in part by Dai Shell). It was with this line-up that the band signed to George Martin’s AIR Productions in 1972 and would release their debut album, Expecting Company, on the Polydor Records label in October 1973.

The opening track immediately introduces us to the band’s trademark twin lead sound and comparisons to Wishbone Ash may serve as a useful pointer here. An infectious stomper of a track with a Southern rock swagger. The title, Busted Country Blues pretty much sums up the music on this track, although well written and performed, it does little for me. Beans And Things on the other hand is a great little rocker and reminded of Del Bromham’s Stray. The lengthy middle instrumental takes on a percussion groove rather than concentrating on an avenue for the guitar.

The closing track from the original album was Across The Seas Of Stars and introduces a more psychedelic vibe to the album. Indicative of the times the track boasts an incredibly lush and infectious chorus with soaring vocal harmonies. The track also features a great bluesy solo reminiscent of Peter Green’s Fleetwood Mac.

So opening side two of the LP therefore was School Days which reintroduces the twin lead work of Ralph Evans and Dai Shell. Again great classic rock song with a change of pace to round of the track. The closing two minute coda is tastefully done guitar solo and well worth checking out. I always considered side two of the album as being more adventurous and certainly listening to The Way Of Me reaffirms this notion. We still have the twin lead sound, but played in a slightly more twisted and darker fashion. Terry Bennett delivers a fine vocal performance here whilst the middle, more acoustic section, features an un-credited lilting flute.

Despite its promising title The Goose That Laid The Golden Egg remains in the Canned Heat mould of good time boogie rock. So just remaining from the original album is the two part Expecting Company/Meanwhile Back In Merthyr. The first part and title track is a song based affair whilst the latter forms an extensive instrumental break to conclude the album.

The bonus material comprises of the band’s 1974 single Oh My [Don't It Make You Want To Cry] accompanied by the B-side Kansas City Wine. The production on the A side of the single indicates that Polydor saw hit potential with Sassafras with the noticeable improved production values and added brass section.

The band went on to record two more studio albums, on the Chrysalis Records label, Wheelin’ N’ Dealin’ (1975) and Riding High (1976), however despite good coverage in the press, appearances on The Old Grey Whistle Test and notable rock radio shows of the time, festival appearances and major support slots, the band didn’t quite manage the notoriety of Welsh counterparts Man, or perhaps more notably those other early pioneers of the twin lead guitar Wishbone Ash. Despite this Sassafras have left us a fine legacy with their three studio albums and with companies like Esoteric Recordings prepared to re-master and reissue these lost little gems, then their music will not be forgotten.

There may be little on All’s Well That Ends Well to satisfy the truly ardent progressive rock fan, but for those who remember an era when prog and classic rock sat comfortably together, then this album is nice little reminder. Review by adamus67

01.Electric Chair 5:01
02.Busted Country Blues 3:32
03.Beans And Things 5:35
04.Across The Seas Of Stars 6:13
05.School Days 5:33
06.The Way Of Me 4:51
07.The Goose That Laid The Golden Egg 5:09
08.(a) Expecting Company (b) Meanwhile Back In Merthyr 7:12
Bonus Tracks
09.Oh My [Don’t It Make You Want To Cry] 3:33
10.Kansas City Wine 2:58

Terry Bennett - Vocals
Dai Shell - Lead Guitar
Ralph Evans - Lead Guitar
Ricky John Holt - Bass
Congo Jones - Drums

sabato 24 gennaio 2015

Wild Cherries - Thats Life (2007 Remaster) 1965 - 1968

Biography:If you go just by the records they managed to release during the 1960s, there's not really enough to make a Wild Cherries album. This reissue, however, makes the most of out their slim recorded legacy, combining both sides of their four 1967-1968 singles with 16 previously unreleased 1965-1966 bonus tracks. It's the eight tracks (all written or co-written by guitarist Lobby Loyde) from the singles, though, that are the truly significant ones, since it was on these that the Wild Cherries laid down the music that was among the most innovative in '60s Australian rock. On the most notable of those 45s, the group fused psychedelia, early hard/progressive rock, and soul in a manner that no other Australian band of the time was doing on record, particularly on "Krome Plated Yabby," "That's Life," and "Gotta Stop Lying." These are somewhat similar to the rock being played by some Detroit outfits of the late '60s, and if they're certainly more pop-oriented than, say, the MC5, they do offer a pretty intriguing blend of creative ambition and muscular crunch. The other, far less well-known songs from the singles might surprise listeners who've heard the other tracks on compilations, as they're more straightforward soul-rock than you'd expect (adding some pop-oriented orchestration on "I Don't Care"), though they're fairly good as that style goes. The remaining 16 tracks taken from studio outtakes and home/live recordings capture the group at an earlier pre-Loyde stage at which they were much more an R&B/rock band along the lines of British bands like the Rolling Stones and Yardbirds. In fact, just one of these songs (the quite admirably mean'n'lean "Get Out of My Life") is a group original; not only are all of the others covers, but most of them are covers of tunes that major British Invasion bands like the Yardbirds, the Who, and Manfred Mann put on their early recordings. This section of the CD isn't nearly as original as the Loyde-led material, then, and it's not as well recorded either, though the fidelity's satisfactory. Still, the Wild Cherries do sound like a good, tough, mid-'60s British R&B band at this stage in their development, and without those tracks...well, there wouldn't be enough for a CD. As is standard for the Half a Cow label, the packaging is superb, featuring a 36-page liner booklet jammed with photos. Review by Richie Unterberger 

*Festival Singles 1967 - 1968
01. Krome Plated Yabby 2:58
02. Everything I Do Is Wrong 2:36
03. That's Life 3:20
04. Try Me (I'm Not As Bad As You Think) 3:44
05. Gotta Stop Lying 3:03
06. Time Killer 3:27
07. I Don't Care 3:46
08. Theme For A Merry-Go-Round 2:31
*Unreleased Recordings 1965 - 1966
09. Without You 3:50
10. Coming Home Baby 2:12
11. Tobacco Road 4:19
12. Worried Blues 2:41
13. You Don't Love Me 3:06
14. Get Out Of My Life 2:25
15. Bye Bye Birdie 2:12
*Live At The Fat Black Pussycat 1965 - 1966
16. WIthout You (version 2) 3:05
17. I'm Your Kingpin 1:44
18. Mad Man Blues 2:59
19. Tobacco Road (version 2) 4:37
20. Parchman Farm 3:19
21. Smokestack Lightning 4:03
22. My Generation 2:46
23. Ain't Got You 2:13
24. Baby Please Don't Go 6:12

Wild Cherries:
*1967-68 Festival Singles
Dan Robinson – Vocals
Lobby Loyde (Aka Barry Lyde) – Guitars
Les Gilbert – Bass Guitar, Keyboards, Hammond Organ
Keith Barber – Drums
John Phillips – Bass Guitar
Peter Eddey - Bass Guitar
*1965 Lloyd Carrick's Parent's House
Malcolm Mcgee – Lead Guitar, Vocals
Rob Lovett – Rhythm Guitar, Vocals
Kevin Murphy – Drums
Les Gilbert – Bass Guitar
*1965/66 Live At The Fat Black Pussycat
*1966 Trend Studios Melbourne

John Bastow – Vocals
Malcolm Mcgee – Lead Guitar, Vocals
Kevin Murphy – Drums
Les Gilbert – Bass Guitar
Keith Barber - Drums (1966)

mercoledì 21 gennaio 2015

Relatively Clean Rivers - Relatively Clean Rivers (Radioactive Records) 1975

Biography:Many American rock LPs of the mid-'70s given very small pressings on tiny or vanity labels had something of a time warp hangover feel, as if the trends of hippie rock from about half a dozen years earlier were still in vogue. Relatively Clean Rivers' self-titled album is one such rarity, with an easygoing California folk-rock-psychedelic feel in which light-to-strong traces of Neil Young, the countrified Grateful Dead, and Quicksilver Messenger Service can be heard. It's different than the vast majority of such LPs, however, in that it's actually a fairly good collection of tunes with some decent songwriting and strong, professional playing and harmonizing. No one should investigate this under the illusion that it's nearly as good as the aforementioned influences, mind you. But it's quite alright, and also not as imitative as many artists from numerous eras were who claimed Neil Young and the Dead as influences. There's an attractive resigned, almost addled melancholy to the vocals and melodies that set this apart from the usual such fare, though some of the songs could certainly have benefited from more structured composing and arranging. There's some variety to the proceedings (and from the general folk-rock-psychedelic prototype) too, with some extended instrumental acoustic passages and a Middle Eastern influenced number, "The Persian Caravan," that recalls exotic early Country Joe & the Fish psychedelic excursions like "Section 43." Overall, the album almost gives the impression of documenting the dying embers of a band of hippies who've found refuge in one of the last safe places for souls of such a mindset, clinging to their credo as their species awaits oncoming extinction. The album became much easier to acquire following its CD reissue in the first decade of the 21st century. Review by Richie Unterberger

lunedì 19 gennaio 2015

Tongue - Keep on Truckin' with Tongue (Gear Fab Records) 1969 (Repost)

Biography:Yet another rock band that emerged out of the copious student population of countercultural Wisconsin, Tongue spent ten years developing into one of the most road-savvy ensembles in the state. But Keep on Truckin' was recorded near the beginning of their career, thereby capturing the band during the early peak of their powers. That power doesn't always manifest itself on their sole album, but it remains an enjoyable effort. There are significant similarities between Tongue and fellow Wisconsin band Tayles. Tongue doesn't dip into the good-time roll of Tayles' music too often, but they do have a blues-based, organ-heavy sound that is primarily earnest while verging at times on the musically whimsical, as on songs like "Get Your Shit Together" and the fabulous "Jazz on the Rag," a falsetto beauty like nothing else on the album. On the quickie country interlude "Slap Her Down Again Paw," they even show a comical side. There are bits of country-rock and jugband music (the title track cover of Donovan), and Jerry Garcia personally complimented the band on their version of Tim Rose's "Morning Dew." It is, indeed, a stellar effort, perhaps the best performance on the album, occasionally recalling the Bob Mosley folk-rock ballads of late-'60s Moby Grape. With lovely ringing acoustic guitars and suitably abrasive organ runs, the song is an epic accomplishment that gives some insight into the sort of prettiness Tongue was capable of. At other times the band utilizes some of the atmospherics of psychedelia to dress up its hard rock in an ambience that sounds more edgy than the songs actually are and despite the fact that the band shows itself perfectly adept at drumming up its own earthy brand of Midwestern psych on the momentous "The Earth Song" and the spacy acoustic ballad "The Prophet." Both songs are gorgeous from composition to execution and get at a kind of hazy acid rock that starts to show distinction from either the West Coast or the New York strains of psychedelia. The lead vocals have some of the homespun grit of the Band or Grateful Dead's Pigpen, and they ground the more cosmic qualities of the music, thus making it more palpable and accessible. Perhaps too accessible in the end. Although there is a lot to admire about Tongue, not a whole lot about their album sticks out. A good amount of the songwriting tends toward the unexceptional, and there isn't much production color added to bring out the best traits of the band. The music is certainly competent and the playing above average, and it is a good bet that Tongue was a pretty formidable live unit, but that doesn't come through on Keep on Truckin' strongly or often enough to make it more than a mildly interesting relic from the era. Review by Stanton Swihart

01.Homely Man Blues 3:44
02.Get Your Shit Together 2:28
03.The Earth Song 7:00
04.The Prophet 3:45
05.Sidewalk Celebration 3:13
06.Slap Her Down Again, Paw 0:26
07.Every Time 3:02
08.Get Down 3:00
09.Morning Dew 7:29
10.Jazz On The Rag 2:39
11.Keep On Truckin' 3:20
12.Hashish 0:04
13.Stained Glass Window (Bonus Tracks) 4:43
14.Hey Hey Moma (Bonus tracks) 2:13

Bob Collins - Bass,Vocals
Mick Larson - Organ,Vocals
Paul Rabbit - Guitars,Vocals
Dick Weber - Drums,Vocals

domenica 18 gennaio 2015

Potliquor - First Taste (Repertoire Records) 1970

Biography : Potliquor had its beginning in 1969 in Baton Rouge, Louisiana and played an intriguing mix of  country, blues- and southern rock. They released three excellent albums between 1970 and 1973 and on more in 1979 before finally breaking up. Yet these godfathers of southern rock never got the recognition they deserved.
Potliquor was formed in the late 60´s by George Ratzlaff (keyboards, rhythm guitar, vocals), Les Wallace (guitar, vocals), Guy Schaeffer (bass, vocals) and Jerry Amoroso (drums, percussion, vocals) and soon after that signed a deal with small Janus Records label. Their debut album, First Taste was produced by the band's manager, Jim Brown and came out in 1970. Potliquors´sophomore effort, Levee Blues was released in December 1971 and is considered as their best album by many. Lousiana Rock and Roll followed in 1973. Despite the Molly Hatchet type heavy boogie and horn section that occasionally reminds you of Atlanta Rhythm Section, Pot Liquor never raised to a level they deserved and stayed as a regionally touring band. In 1974 the band took a hiatus until original bass player Guy Schaeffer and drummer Jerry Amoroso put the band back together by adding Steve Sather  and Mike McQuaig to guitars and Pot Liquor released one more self-titled album through Capitol Records. Fans found their new, more radio friendly approach lacking the good ol´southern groove Pot Liquor had on earlier albums and the band broke up soon after that.

01.Down The River Boogie 2:50
02.Ol' Man River 4:39
03.Riverboat 3:16
04.Toballby 7:23
05.The Raven 5:04
06.You're No Good 4:59
07.Price 20 Cents A Copy 3:08
08.Driftin' 8:20

Jerry Amoroso - Drums, Vocals
George Ratzlaff - Guitar, Keyboards, Harp, Vocals
Guy Schaeffer - Bass, Vocals
Les Wallace - Guitar, Vocals

martedì 13 gennaio 2015

Bangor Flying Circus - Bangor Flying Circus (One Way Records) 1969 (repost on request)

Biography : Bangor Flying Circus was a progressive rock trio from Chicago, USA, formed in mid-1967 and breaking up in 1969. It is notable for being formed by members of the Shadows of Knight and H.P. Lovecraft and for being a predecessor band to Madura. Bangor Flying Circus consisted of David "Hawk" Wolinski (bass, keyboards, vocals), Alan DeCarlo (guitar, vocals), and Tom Schiffour (drums), who was replaced in late 1968 by former H.P. Lovecraft member Michael Tegza (drums, percussion). Wolinski and Schiffour had previously been in the Shadows of Knight. They put out one self-titled album in 1969, which peaked at No. 190 on The Billboard 200. After they broke up, Wolinski and DeCarlo formed Madura, while Tegza participated in two reconfigurations of Lovecraft, a successor band to H.P. Lovecraft.

01.Violent Men 6:08
02.Come On People 4:11
03.Ode To Sadness 6:07
04.Concerto Four Clouds 5:26
05.A Change In Our Lives 4:16
06.Someday I'll Find 5:15
07.Mama Don't You Know 3:20
08.In the Woods 4:20
09.Norwegian Wood 6:08

Bangor Flying Circus:
David Wolinski - keyboards, vocals, bass, percussion
Alan Decarlo - guitar, vocals, percussion
Michael Tegza - drums, percussion

domenica 11 gennaio 2015

Music Machine - The Bonniwell Music Machine (2014 Box 2CD Big Beat Records) 1967

Biography : The Music Machine were renamed the Bonniwell Music Machine when they went to Warner Bros., as the original lineup disbanded at some point, leaving only chief singer and songwriter Sean Bonniwell. Much of the material on Warner, however, was recorded by the original group, and this album was pasted together from some singles (some of which had appeared on Original Sound in 1967) and other tracks, both by the original incarnation and a second outfit that was pretty much a Sean Bonniwell solo vehicle. Accordingly, the tone of the album is pretty uneven, but much of the material is excellent. In fact, some of the songs rate among their best; a few are also found on the Rhino anthology, but other first-rate tunes ("Bottom of the Soul," "Talk Me Down," "The Trap") are not. Some of the cuts (presumably those recorded after the first lineup broke up) find Bonniwell branching out from psych-punk into a poppier and more eclectic direction, sometimes with very good results, sometimes not. Review by Richie Unterberger

01.The Music Machine - Astrologically Incompatible 2:36
02.The Music Machine - Double Yellow Line 2:09
03.The Music Machine - The Day Today 2:53
04.The Music Machine - Absolutely Positively 2:14
05.The Music Machine - Somethin' Hurtin' On Me 3:04
06.The Music Machine - The Trap 2:34
07.The Music Machine - Soul Love 3:39
08.The Music Machine - Bottom Of The Soul 2:01
09.The Music Machine - Talk Me Down 1:52
10.The Music Machine - The Eagle Never Hunts The Fly 2:47
11.The Music Machine - I've Loved You 2:49
12.The Music Machine - Affirmative No 2:08
13.The Music Machine - Discrepancy 2:36
14.The Music Machine - Me - Myself, And I 2:14
15.The Music Machine - You'll Love Me Again 1:52
16.The Music Machine - In My Neighborhood 2:21
17.The Music Machine - To The Light 2:12
18.The Music Machine - Everything Is Everything 1:52
19.The Music Machine - This Should Make You Happy 2:04
20.The Music Machine - Black Snow 2:32
21.The Music Machine - Tell Me What Ya Got 2:07
22.The Music Machine - Time Out (For A Daydream) 2:07
23.The Music Machine - Tin Can Beach 2:08
24.The Music Machine - Unka Tinka Ty 2:18
25.The Music Machine - 902 1:57

01.Sean Bonniwell - Gimme Gimme 2:24
02.Sean Bonniwell - Stand Aside 1:57
03.The Ragamuffins - Two Much 1:58
04.The Ragamuffins - Push Don't Pull 2:14
05.The Ragamuffins - Chances 3:03
06.The Ragamuffins - Talk Me Down 1:41
07.The Music Machine - Point Of No Return 2:41
08.Sean Bonniwell - I'll Take The Blame 1:53
09.Sean Bonniwell - The Life I Live 1:51
10.Sean Bonniwell - Would You Believe 2:20
11.Sean Bonniwell - Inside Eternity 2:56
12.Sean Bonniwell - Paper Mache 2:29
13.Sean Bonniwell - You'll Love Me Again 2:06
14.The Music Machine - Dark White 4:34
15.The Music Machine - King Mixer 3:04
16.The Music Machine - She Is 3:21
17.The Music Machine - Reach Me In Time 2:23
18.The Music Machine - Closed 2:11
19.The Music Machine - Temporary Knife 2:37
20.The Music Machine - Advise & Consent 2:57
21.The Music Machine - Mother Nature-Father Earth 2:16
22.The Music Machine - King Mixer 3:17
23.The Music Machine - Dark White 4:16
24.Sean Bonniwell - Citizen Fear 2:29

Music Machine:
Sean Bonniwell - Guitar, Vocals
Ron Edgar - Drums
Mark Landon - Guitar
Keith Olsen - Bass
Doug Rhodes - Organ

venerdì 9 gennaio 2015

Poets - Scotland's No.1 Group (2000 DynoVox) 1963 - 1967

Biography: For most purposes, this is a fine and definitive overview of the output of the band that was indeed Scotland's number one group in the 1960s, in quality if not commercial success. Both sides of all six of the Poets' 1964-1967 singles are here, as well as no less than 11 demos that were not released at the time. One flaw worth noting is that the singles are not mastered from the best possible tapes; however, the difference in fidelity between this and a compilation from more, shall we say, above-the-board sources is so minimal as to be almost meaningless. Fans of the Poets (and they are more numerous than one might suppose) might well already have another, quite similar compilation, In Your Tower, which includes much but not all of the contents from Scotland's No. 1 Group. So, how does one choose? Well, that's a tough one. Each disc has the essential core of the band's discography: both sides of those half-dozen singles. Each also has the quite good, if a little scratchy and muffled, 1965 demos "I'll Keep My Pride" and "It's So Different Now." In Your Tower, however, does have some items not on Scotland's No. 1 Group, and although some of those are pretty dispensable, two are noteworthy: the hypnotic George Gallacher post-Poets track "Dawn," and the mysterious unreleased late-'60s song "Never Thought She Would." Scotland's No. 1 Group, however, has no less than nine 1963-1964 demos not on the other compilation, and although their fidelity veers from substandard to downright treacherous, these include some very good originals: the folk-rockish "Love Is Fading Away," the doomy pseudo-Merseybeat of "This Woman Mine," and the chipper "With You By Me" (the last two of these songs are each presented in two different versions). Those interested enough in the Poets in the first place to want a compilation should throw in the towel and get both. It's still frustrating that the optimum Poets anthology which would include all the singles from the master tapes, everything from these two discs, and other unreleased tracks rumored to exist in the vaults has yet to be assembled. Review by Richie Unterberger

01.With You by Me
02.Why You Still Go On
03.Miss Queen Bee
04.This Woman Mine
05.Love Is Fading Away
06.Now We're Thru
07.There Are Some
08.That's the Way It's Got to Be
09.I'll Cry With the Moon
10.I Am So Blue
11.I Love Her Still
12.I'll Keep My Pride
13.It's So Different Now
14.Some Things I Can't Forget
15.Call Again
16.I'll Come Home
17.Baby Don't You Do It
18.Wooden Spoon
19.In Your Tower
20.With You by Me (Demo)
21.Why You Still Go On (Demo)
22.This Woman Mine (Demo)
23.Why Willows Weep (Demo)

George Gallacher - vocals
Hume Paton - lead guitar
Tony Myles - rhythm guitar
John Dawson - bass guitar
Alan Weir - drums

mercoledì 31 dicembre 2014

Stan Zipperman Everyhead - A Rock Opera (2009 Akarma) 1975

The now notorious Everyhead, inspired by the medieval miracle play "Everyman", was first performed on stage in Hollywood, California in 1975 in secret underground venues in order to protect the identities of its cast who wore ornate masks of their characters.

The Everyhead two-disc 26-song album, also recorded in 1975, was immediately banned from American radio airplay because of three controversial songs, including the protest anthem "Iffa Wanna", "America is a Pig" and "The Ballad of the F***ing Trees" as being too obscene and sexually explicit for United States broadcasting moral standards and guidelines, thus forcing the album to be withdrawn from distribution.

Everyhead, which captures the human experience of every man literally from womb to tomb, "finds its historical status as one of the very first rock music expressions of anti-establishment attitudes of the eventual "punk rock" movement at least one year before the term "punk" was even coined or used anywhere."

The Everyhead album features the lead guitar work of famed Steppenwolf band guitarist Michael Monarch, and was originally mastered by Kent Duncan, who mastered albums for such notable recording artists as the Jefferson Starship, Joe Cocker, Reo Speedwagon, Neil Diamond, Van Morrison, the Doobie Brothers, the Isley Brothers, among others.

It is reported that Stevie Nicks was interested in singing the part of the girl next door while she was still in Buckingham Nicks, but her new commitment to Fleetwood Mac interfered and she was forced to withdraw from the recording sessions.

The original 1975 Everyhead album was finally released decades later in limited vinyl collector editions, but only in select parts of the world, and never officially released in the United States where it was often bootlegged during the last 35 years.

The original Everyhead punk rock opera production was composed and orchestrated by Kenneth Cottrell, who sings the leading role of Everyhead. The album was produced by Stan Zipperman.

A - Spring:
01. Overture 03:55
02. When Your Soul's Your Own 00:59
03. Ballad Of The Fucking Trees 03:39
04. The Garage 02:05
05. Mommie Love 02:27
06. Saturday Night 01:40
B - Summer:
07. The Dream 04:49
08. The Nightmare 04:26
09. Iffa Wanna 07:22
C - Autumn:
10. Hold On To Yourself 01:09
11. Trying 03:08
12. Daddie Sir 02:40
13. Fidelity 02:37
14. You Stole Away My Head 02:45
15. America Is A Pig 04:06
D - Winter:
16. The Ballet Of The Deadly Sins 10:39
17. Last Recourse 01:26
18. There Could Have Been More 03:03
19. Everyman's Hymn 03:38
20. Put Away The Masks (Finale) 02:51


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body