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

giovedì 7 agosto 2014

Jellybread - Sixty-Five Parkway 1970

Formed at England’s Sussex University by pianist Pete Wingfield, Jellybread was originally completed by Paul Butler (guitar/vocals),John Best (bass),and Chris Waters (drums).In 1969 the quartet secured a recording contract with the exemplary Blue Horizon Records label and although largely unadventurous, their albums offered a highly competent grasp of black music, including both blues and soul. They provided stellar accompaniment on Lightnin’ Slim's London Gumbo and B.B. King in London, but the unit dissolved in 1971 with the departure of Wingfield and Waters. Newcomers Rick Birkett (guitar, ex-Accent) and Kenny Lamb (drums) joined for Back to Begin Again, but Jellybread broke up when the set failed to make commercial headway. However, Wingfield enjoyed success as a solo artist, session pianist, and member of Olympic Runners.
01.Faded Grace 2:59
02.Old Before Your Time 7:03
03.Sally Hotlips 3:36
04.Go Through The Motions 4:02
05.Full Circle One 1:57
06.Old Man Hank 3:43
07.The Missing Link 6:10
08.Samuel Taylor 2:58
09.Try 3:33
10.Full Circle Two 2:10
Bonus Tracks (Studio Recordings 1969)
11.That's Alright 2:07
12.Evening 6:53
13.Don't Want No Woman 2:58

Paul Butler: guitar, vocals
Pete Wingfield: keyboard, vocals
John Best: bass
Chris Waters: drums

mercoledì 6 agosto 2014

Alan Price - A Price On His Head (Edsel) 1967

Biography:Alan Price's second album consolidated the change of direction he'd started in early 1967, when his cover of Randy Newman's "Simon Smith and His Amazing Dancing Bear" became a big British hit. Moving away from the jazzy Animals-styled R&B-rock that he'd presented on his first album and singles, Price moved into a more original, if less powerful, brand of Newman-influenced vaudevillian pop. The Randy Newman influence isn't a matter of conjecture; about half of the songs were covers of songs by Newman (who had yet to release his first album at the time A Price on His Head was issued), often of tunes that remain obscure even to serious Newman fans. The effect is something like hearing an even jauntier, more lighthearted Georgie Fame, as even Price's own compositions bore a strong Newman influence in their emphasis on poppy craft and wit. Breaking up the Newman and Price songs were covers of Bob Dylan's "To Ramona" and the little-known Gerry Goffin-Carole King number "On This Side of Goodbye." For a long time the material on this album was difficult to find, particularly in the United States, where Price's early work was virtually unknown. But the CD era has seen it reissued several times, both on its own and as part of the compilation The House That Jack Built: The Complete 60's Sessions.

01.The House That Jack Built
02.She’s Got Another Pair Of Shoes
03.Come And Dance With Me
04.On This Side Of Goodbye
05.So Long Dad
06.No One Ever Hurt So Bad
07.Don’t Do That Again
08.Tickle Me
09.Grim Fairy Tale
10.Living Without You
11.Happy Land
12.To Ramona
13.Biggest Night Of Her Life

Alan Price:
Alan Price - vocals, keyboards
Clive Burrows - baritone sax
Steve Gregory - tenor sax
John Walters - trumpet
Peter Kirtley - guitar
Rod Slade - bass
Roy Mills - drums

martedì 5 agosto 2014

Alan Price Set - The Price To Play (Edsel) 1966

Biography:Price's first album (released in the U.K. only, although some tracks would come out in the U.S.) is a rather routine set of club R&B/soul. Fronting a six-piece that includes three horns, Price sticks mostly to covers of familiar American tunes like "Mercy Mercy," "Ain't That Peculiar," "I Can't Turn You Loose," and "Barefootin'" on this amiable, but hardly remarkable, set. Price's voice is appealing, but lacks power, and in all it sounds like a clump of covers ground out hurriedly to get an album on the market. Georgie Fame did this kind of thing better, though Price's approach isn't as jazz-oriented. The CD reissue on Repertoire doubles the length of the original LP by adding 12 bonus tracks from 1965-1967 singles, including the brilliant British hit "I Put a Spell on You." The other singles cuts, alas, aren't in the same league, though in general they're better than the ones that constituted The Price to Play. His cover of "Any Day Now" is decent, and the interpretation of Randy Newman's "Simon Smith and the Dancing Bear" (presented in two versions) would both give him a British hit and foretell a move into a much poppier direction.

01.Medley Barefootin', Let'S Go Baby, Land Of 1000 Dances
02.Just Once In My Life
03.Goin' Down Slow
04.Getting Mighty Crowded
05.Honky Tonk
06.Move On Drifter
07.Mercy Mercy
08.Loving You Is Sweeter Than Ever
09.Ain'T That Peculiar
10.I Can'T Turn You Loose
11.Critic'S Choice
12.Hi Lili Hi Lo

Alan Price Set:
Alan Price - vocals, keyboards
Clive Burrows - baritone sax
Steve Gregory - tenor sax
John Walters - trumpet
Peter Kirtley - guitar
Rod Slade - bass
Roy Mills - drums

domenica 3 agosto 2014

Stephen Stills - Manassas 1972 (Repost)

Biography:A sprawling masterpiece, akin to the Beatles' White Album, the Stones' Exile on Main St., or Wilco's Being There in its makeup, if not its sound. Rock, folk, blues, country, Latin, and bluegrass have all been styles touched on in Stephen Stills' career, and the skilled, energetic musicians he had gathered in Manassas played them all on this album. What could have been a disorganized mess in other hands, though, here all gelled together and formed a cohesive musical statement. The songs are thematically grouped: part one (side one on the original vinyl release) is titled "The Raven," and is a composite of rock and Latin sounds that the group would often perform in full live. "The Wilderness" mainly centers on country and bluegrass (Chris Hillman's and Al Perkins' talents coming to the forefront), with the track "So Begins the Task" later covered by Stills' old flame Judy Collins. Part three, "Consider" is largely folk and folk-rock. "Johnny's Garden," reportedly for the caretaker at Stills' English manor house and not for John Lennon as is often thought, is a particular highlight. Two other notables from the "Consider" section are "It Doesn't Matter" (later redone with different lyrics by the song's uncredited co-writer Rick Roberts on the first Firefall album) and "Move Around," which features some of the first synthesizer used in a rock context. The closing section, titled "Rock & Roll Is Here to Stay," is a rock and blues set with one of the landmarks of Manassas' short life, the epic "The Treasure." A sort of Zen-like meditation on love and "oneness," enlivened by the band's most inspired recorded playing it evolves into a bluesy groove washed in Stills' fierce electric slide playing. The delineation lines of the four themed song groupings aren't cut in stone, though, and one of the strengths of the album is that there is a lot of overlap in styles throughout. The CD reissue's remastered sound is excellent, though missed is the foldout poster and handwritten lyrics from the original vinyl release. Unfortunately, the album has been somewhat overlooked over the years, even though Stills considers it some of the best work he has done. Bill Wyman (who guested on "The Love Gangster") has said he would have quit the Rolling Stones to join Manassas. Review by Rob Caldwell.

(A) The Raven

01.Song Of Love
02.(a) Rock And Roll Crazies; (b) Cuban Bluegrass
03.Jet Set (Sigh)
05.Both Of Us (Bound To Lose)
(B) The Wilderness
06.Fallen Eagle
07.Jesus Gave Love Away For Free
09.So Begins The Task
10.Hide It So Deep
11.Don't Look At My Shadow
(C) Consider
12.It Doesn't Matter
13.Johnny's Garden
14.Bound To Fall
15.How Far
16.Move Around
17.The Love Gangster
(D) Rock & Roll is Here to Stay
18.What To Do
19.Right Now
20.The Treasure (Take One)
21.Blues Man

Manassas :
Stephen Stills - guitar, bottleneck guitar, vocals, keyboards
Chris Hillman - guitar, vocals, mandoline
Al Perkins - guitar, steel guitar, vocals
Joe Lala - congas, timbales, percussion, vocals
Sydney George - harmonica
Paul Harris - keyboards
Jerry Aiello - keyboards
Calvin 'Fuzzy' Samuels - bass
Bill Wyman - bass
Roger Bush - acoustic bass
Byron Berline - fiddle
Dallas Taylor - drums


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Welcome to the Electric Music for a Mind and Body

Welcome to the Electric Music for a Mind and Body