martes, 29 de diciembre de 2020

THE SCIENTISTS - The Scientists [Australia punk rock 1981] 2015 Numero Group NUM1233

 


The Scientists’ 1981 wild debut bewildered Perth, Australia’s punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled “Pink Album” deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth’s swelling pool of musical talent, and to the promise of Salmon’s unwavering vision that would become one of the most celebrated acts of the Aussie underground.


THE LAISSEZ FAIRS - Marigold [USA mod, psychedelic 2019] Rumble Bar Records RUM048

 



The Laissez Fairs.....John Fallon and Joe Lawless.....the team....the dream...singers, songwriters. mult-instrumentalists, record producers...for the love of it...for the art of it...that is why. Cromm Fallon and Aaron Archer are there, as well, making it all happen. Yes, John was in The Steppes and that was a golden moment.....but that was then and this is very now... thanks to Joe Lawless and his magic studio. This is but half of the equation. The Laissez Fairs are an explosive live band...the sound of a psychedelic pressure cooker set on 11.....colours everywhere...pretty and hard." Blurt Magazine 

Laissez

TELEPHONE - Telephone [France punk rock 1977] 2006 EMI 094637117729

 


Telephone fused the swagger and energy of hard rock with the urban aggression of punk to emerge as the most admired and influential French band of the post-student revolt era. Their roots lie in Sémolina, an unheralded trio formed in late 1975 by singer/guitarist Jean-Louis Aubert, bassist Daniel Roux, and drummer Richard Kolinka. When their lone WEA single, "Et J'y Vais Déjà," vanished upon its mid-1976 release, Sémolina quickly split; Aubert and Kolinka remained roommates, however, frequently jamming in the cellar of their Paris home.

In late autumn of 1976, Kolinka secured a gig at Paris' American Centre, but when his regular band was unable to commit to the date, he and Aubert recruited Louis Bertignac, a gifted guitarist previously known for supporting singer Jacques Higelin, and bassist Corine Marienneau to assemble a set list comprised of classic rock hits and Aubert's first original compositions. On November 12, Telephone made their debut performance, playing a largely improvised set to a few hundred patrons; loud, snotty, and defiantly primitive, the band effectively reinvigorated French rock in one fell swoop. Though by no means the classic frontman, Aubert nevertheless transcended his limits as a vocalist and guitarist with sheer aggressive energy, becoming the poster boy for a new generation of French rock icons, while Bertignac's raw, electrifying guitar solos evoked antecedents from Keith Richards to Jimmy Page.

Crache Ton VeninAfter a famously raucous March 1977 appearance at the Paris Metro, Telephone toured in support of British act Eddie & the Hot Rods, followed by a date opening for the seminal American band Television. A June 8th performance at Paris' Bus Palladium yielded Telephone's debut single, "Hygiaphone." Six weeks later, the quartet signed to Pathé-Marconi, teaming with producer Mike Thorne for its self-titled debut LP, issued in November. Telephone supported the album's release with their first headlining tour, culminating in a free show at Paris' Pantin racecourse.


THE ROARING 420s - What Is Psych [Germany psychedelic rock 2014] Stoned Karma Records SK005CD

 


“If psych bands are for something they are for breaking down conceptions. The Roaring 420s do that with a wholesome and hedonistic twist merging the normally culturally constipated psych purists into fun loving party machines” – Far Out Magazine,UK

What is Psych?

sábado, 12 de diciembre de 2020

PROTAGONISTS - 1983-1985 [USA punk rock, power pop 1983-85] 2020 Alona's Dream Records ADR 12 034

 


Mid-1980’s suburban Chicago (Naperville!) punk. Includes the band’s hard to find 7” alongside unreleased studio tracks, demos & live cuts. Protagonists drew their motivation from sources as diverse as punk icons Buzzcocks, The Dickies and The Damned to prime era 50’s and 60’s teen anthems (Buddy Holly, Dell Shannon, and The Monkees). The group formed in a Naperville high school, played local talent shows and teen dance parties, and hooked up with older kids (Reaction Formation) who helped them get radio gigs and put out a tape recorded by Phil Bonnet, influential recording engineer and long time friend. The band followed up with a 7” for Reaction Formation’s label Nova which garnered positive reviews but they were shortly after pulled apart by the usual strains on the end of adolescent trajectories.

This compilation gathers their original tape, unheard outside of the suburban Chicago teen punk scene, and pairs it with the songs from their hard-to-find 7” EP (originally pressed in 1000 copies in 1985). The b-side features basement demos of original songs recorded by the band as well some great covers which show they could rock as a punk dance band.


CLOVER - The Sound City Sessions 1975 [USA pop, rock 1975] 2008 Sonic Past Music SPMECD103

 


Before the band headed from San Francisco to London to establish itself as one of the few American outfits on the pub rock scene, Clover cut some demo sessions at a studio called Sound City. These remained unreleased until 2006, when Sonic Past Music issued the aptly named The Sound City Sessions, a 16-track collection of these early recordings from the band that later went on to back Elvis Costello on My Aim Is True and still later spawned Huey Lewis & the News and a Doobie Brother in John McFee. Hints of these later incarnations can be heard throughout The Sound City Sessions -- there are a few sprightly pop sessions and a bit of boogie -- but for the most part this is friendly, slightly sloppy country-rock designed for mellow sunny afternoons, not dimly lit honky tonks. Sometimes, they sound designed for the radio, too, a giveaway regarding the participation of Keith Olsen, who would soon produce Fleetwood Mac's eponymous 1975 pop breakthrough, but make no mistake, these are demos, sometimes sounding just a little bit shy of full-blooded arrangements. Nevertheless, these recordings are pretty charming. Even if they didn't always put the pieces together in the best possible combinations, Clover had the songs and they had much of the bright pub rock feel that enlivened My Aim Is True, and that's enough to make this a worthy stroll through the past.


GIDIANS BIBLE - 1969, The Golden Voice Recordings [USA psychedelic rock 1969] 2017 Alona's Dream Records ADR CD 024

 


Gidians Bible got their start in the fertile 1960’s Illinois music scene. During their brief existence they recorded five heavy psychedelic originals at Golden Voice Recording Co. This EP features all their songs: two from their sought after Golden Voice 45 and all three of their other unreleased cuts.


THE STEVE MILLER BAND - King Biscuit Flower Hour Presents [USA rock 1973-76] 2002 King Biscuit Flower Hour Records 7930188001-2

 


By the early 70s Steve Miller was a beaten man. Still only in his mid-twenties, the precocious purveyor of acid-tinged blues rock had seen his stomping ground of the West Coast crumble at the hands of 'the man 'and had seen his band (which had featured a young Boz Skaggs) whittled away to nothing. His critically-lauded albums had made little money and Miller, himself injured in a car crash, was on the verge of quitting for good. Times were not good for the man once referred to by Miles Davis as a 'sorry-ass cat'. Yet a sabbatical spent licking his wounds and recapturing his muse was to prove his making. Within a year the 'Gangster of Love' was back with an album that was about to put him in the platinum league and sign his meal ticket forever. The album was The Joker and was rapidly followed by his masterpiece, Fly Like An Eagle. With a fresh band and a new fire in his playing, Steve was back. His return to favour is gloriously captured on this double live CD.

Taken from two shows separated by three years; this album is as good a testament to Miller's numerous strengths (and occasional weaknesses) as you could get. The first set, from 1973, has Steve retaining his stock in trade blues repertoire and blending it with the newer, fresher material. By the second set (from 1976) he's incorporated the stylish harp playing of the wonderfully monickered Norton Buffalo and has pushed further into the pop-rock that he was surely born to make.

Many people forget that his early work was coloured by a restless experimentation in the studio. Early successes such as Sailor were peppered with sound effects and state of the art electronics. Miller used this experience to good use in later years. The introduction to ''Fly Like An Eagle'', the floaty ''Wild Mountain Honey'' and the gorgeous re-versioning of ''Song for Our Ancestors'' bear witness to this.

He's also often accused of simplistic song writing, but the simplicity itself was a mark of sophistication. It's true that he wasn't above re-tooling his own back catalogue in search of new material. It's a technique made all too obvious when, on the first set, an early version of ''Fly...'' is immediately followed by ''My Dark Hour'', from which he nicked the opening guitar figure! Even ''The Joker'' contains references to characters from his previous work - yet it's his unerring sense of great pop dynamics that make one forgive his self-plagiarisation.

However it's his obvious joy at being back and playing to an appreciative audience that really comes across in this excellent album. The voice is wonderfully lithe; the guitar is as bluesy and funky as ever; and when he speaks of 'the pompitous of love' well - you just have to listen...


jueves, 3 de diciembre de 2020

LARRY BRIGHT - Shake That Thing! [USA rhythm & blues, rock and roll, 1960-64] 1997 Del-Fi Records DFCD 71253

 


Larry Bright was born Julian Ferebee Bright in Norfolk, VA, on August 17, 1934. His stepfather, a Navy man, nicknamed him "little Larry." The Bright family moved frequently around the South, finally settling in Corpus Christi, TX, where Bright learned to play the guitar. He was exposed to a musical diet comprised mainly of southern Texas blues, which later influenced everything he ever played or wrote. Bright moved to Southern California for his own somewhat brief stint in the Navy (he was released on a Section 8) and quickly established a reputation as both a dynamic guitarist and a performer with a penchant for odd behavior. He began jamming in the local clubs, including the Sea Witch, where, in 1959, he was scouted by producer Joe Saraceno (the Ventures, the Marketts), who invited Bright to lay down some tracks at Western Recorders. Once in the studio, Bright, inspired by Muddy Waters' "mojo song" (he didn't know the title) decided to make up a mojo song of his own: "Mojo Workout." After local black-owned Tide Records picked it up, the track received heavy airplay on KGFJ, the major R&B station in L.A. Jim Randolph, a black disc jockey at the station, thought Bright was a black artist and pushed him heavily. The song went on to hit number one on the black music charts in June 1960, and also charted, barely, on the Hot 100 at number 90.

After the Tide label refused to advance him any royalties (he intended to purchase a new suit for an upcoming American Bandstand appearance), Bright signed another recording contract, this one with Rendezvous Records. Tide found out and sued Rendezvous, retrieving the master tapes for a number of singles (Rendezvous, meanwhile, released Bright's "Twinkie Lee" single under the name Pete Roberts). Bright continued to record for Tide and released several more singles, including "Bloodhound," "One Ugly Child" (later covered by the Downliners Sect), and a great version of Andre Williams' "Bacon Fat." Tide later leased his contract to Del-Fi Records, which was already handling their national distribution. Del-Fi impresario Bob Keane attempted to have Bright cash in on the surf music craze of 1963, recording various surf and hot rod instrumentals, Johnny Rivers-style teen rock, and a Goffin-King penned dance number ("When I Did the Mashed Potatoes With You"). Bright continued to remain a fixture on the Sunset Strip scene and toured as the only white blues performer on an otherwise all-black tour headlined by Chuck Berry. He later worked with Lou Rawls and Roy Clark, and developed a bizarre friendship with Elvis Presley, who wanted to hire Bright as his guitarist, but eventually declined because of Bright's drinking problem. Bright remains an unknown due to his poor business dealings, legal problems, and alcohol-fueled madness. In 1997, Del-Fi collected most of his singles for a collection called Shake That Thing!

Larry

THE CONTENTS ARE - Four Each Other [USA psychedelic rock 1969] 2017 Alona's Dream Records ADR-12-021



Classic midwestern American psychedelic rock from Iowa legends The Contents Are. Recorded in 1969 at Golden Voice Recording Co. South Pekin, IL and unreleased until 2017. 

A lost late ’60’s psych gem produced by studio legend Jerry Milam. 



 

DR. JOHN - Medical School The Early Sessions Of Mac Dr. John Rebennack [USA blues, swamp, rhythm and blues '50s - '60s] 1999 Music Club 50103

 


Dr. John's early work as a producer, sessionman, and songwriter for Ace Records is legendary, not only among fans of Mac Rebennack but among devotees of New Orleans R&B. Unfortunately, there was no easy way to hear this material until Music Club's 1999 release, Medical School: The Early Sessions of Mac "Dr. John" Rebennack. Clocking in at 18 tracks, the disc isn't complete, but it is definitive -- all the best-known cuts are here, along with a generous selection of little-known gems. To anyone but scholars and aficionados, most of the names on the compilation will not be familiar (The Ends, Al Reed, Ronnie & the Delinquents, Sugar Boy Crawford, Bobby Hebb, among others), and many of these cuts have never been well-circulated, or even released, but that's what makes the compilation so special. Not only are these lost classics from Dr. John, but these are lost gems from the prime period of New Orleans R&B. And this is not hyperbole -- listening to Medical School, it's hard not to escape the feeling that almost every song is a hit you've never heard or have forgotten about. The instrumentals are not weak, the novelties (such as "Morgus the Magnificent") are fun, and cuts like "It Ain't No Use," "Bad Neighborhood," "You Don't Leave Me No Choice," and "Keeps Dragging Me On" are simply fantastic, sounding for all the world like classics, not throwaways. And that's the reason why Medical School isn't simply a necessary addition to Dr. John's catalog -- it's an essential addition to any New Orleans R&B library.

Medical School

REMEDY - The Golden Voice Sessions 1970-1974 [USA hard rock, psychedelic rock 1970-74] 2016 Alona's Dream Records ADR 12019

 


Remedy was one of the top live rock bands in Illinois in the early 1970s with a recorded legacy that has remained largely unheard until now. This previously unreleased album was puzzled together from the restored four-track masters. 

domingo, 29 de noviembre de 2020

ALEXIS KORNER - Both Sides [UK blues rock 1970] 2006 Castle CMRCD1417

 


By 1970, there were certain things you could count on with an Alexis Korner album. Those included an almost manic stylistic diversity that ran from near-trad jazz and blues to near-blues-rock; a top-notch cast of supporting musicians, and seriously inconsistent quality, in large part because of Korner's hoarse lead vocals. Both Sides has all of these, and remains one of his more obscure efforts, in part because it was issued only in Germany and Holland. Certainly Korner enlisted some top talent, including Free's Andy Fraser on bass; Paul Rodgers (also of Free) on backing vocals; Lol Coxhill on tenor and soprano sax; John Marshall on drums, and Ray Warleigh on sax. Give Korner credit, too, for trying to move with the times, including some nods to soul and heavy rock music along with the blues and jazz that were at his musical core, and making substantial use of a horn section within a loosely blues-oriented format. 

Both

MITCH RYDER - Sings The Hits [USA rock, pop, soul 1968] 2008 DBK Works dbk542

 


Mitch Ryder Sings the Hits has much better balance than What Now My Love, the album which yielded his last and least-potent of six Top 30 singles. Detroit rockers covering the Supremes' Motown smash "Come See About Me" seemed to be in vogue -- Mark Farner and Don Brewer's excellent version showed up on Monumental Funk -- and Ryder does the song justice as well, the two blue-eyed soul copies fun and worthy of comparison. There's only one Bob Crewe original on this collection of covers, and that tune, "Peaches on a Cherry Tree," is combined to good effect with Leiber & Stoller's "Ruby Baby," an R&B hit for the Drifters in the '50s, a post-Belmonts smash for Dion in 1963. The music has that extra something that eluded the What Now My Love album, a little more intensity on songs like "Let Your Lovelight Shine," and the pop/blues version of Rufus Thomas' 1963 hit "Walking the Dog." Crewe mixes vibes in with the earthy keyboard/guitar sound, and it's just great. There are intriguing black-and-white photographs of Mitch Ryder in his prime inside the gatefold, his trademark open-mouth howl on the cover, as it is on All Mitch Ryder Hits and What Now My Love. It's a distinctive voice and sound on these recordings, more refined even than "Devil With a Blue Dress On" and "Sock It to Me Baby." Bob Crewe certainly had the magic, and it is all over tracks like Toussaint's "I Like It Like That" as well as "Sticks and Stones." Ryder even takes on James Brown with very credible renditions of "Please, Please, Please" and "I Got You," and revitalizes the Bing Crosby/Ray Charles classic "You Are My Sunshine" with a uniquely identifiable arrangement that only Ryder could give it. Mitch Ryder Sings the Hits doesn't get the attention it deserves, but is a solid effort from start to finish and makes for a good party record.

Ryder

THE CLOCK WATCHERS - A Mind Blowing Trip Of Psychedelic Sound [USA garage, psychedelic 1990-2000] 2020 Gear Fab Records GF 294

 





21 songs written by Ron Kleim (and one by yours truly) on GearFab records, ClockWatchers original vinyl release in the mid 90's, now the reissue has 10 additional songs!

The Clock Watchers, an enigma in time; recorded in the great Pacific Northwest in a damp and dark garage comes this music, heavy on the farfisa and teenage angst. This is the 1990s or some other place in time their music has put you?



LA BARRA DE CHOCOLATE - La Barra De Chocolate [Argentina garage, psychedelic rock 1970] 2011 Munster Records MR CD 316

 



La Barra de Chocolate was the late 60s project of Pajarito Zaguri, a seminal figure in the birth of Argentina’s “rock nacional.” Their record is a dynamic mix of folk rock, garage rock, psychedelia, and socially conscious lyrics.

martes, 24 de noviembre de 2020

PETER LEWIS - Just Like Jack [USA rock, blues, country 2017] SteadyBoy Records SB-0050

 


Despite his 55-year musical career – starting in 1963 with The Cornells and continuing with West Coast Legends Moby Grape – this is just his 2nd solo album (the other one being a self-titled album in 1995), released as CD in America (SteadyBoy Records) and LP in UK (Shagrat Records), somehow celebrating the 50 years anniversary from Moby Grape’s debut album, June ’67! Album consists of 10 songs “painted” by Peter’s 6 and 12 string lead guitars and his “attractive” haunting deep but warm baritone voice! The album was recorded in Austin, Texas over the past few years presenting a variety of rock styles from blues folk to country. Typical Moby Grape! Of course, the highlight of this LP is “Sailing”, a song written by Peter and his fellow bandmate Alexander ‘Skip’ Spence back in the day (“Oar” period). Peter worked on the song with Skip whilst he was still alive. He added a few parts and the result is a mind-blowing west coast psychedelic mid-tempo shimmering tune! The CD version comes with different artwork while “Valley Music Festival” is replaced with an exclusive track “Screwball”. It deserves to be placed next to “Moby Grape”, “Wow” and “Grape Jam”, and I am happy for it.

Peter




DART - Presenting DART [USA garage soul 1968] 2020 Sundazed digital file

 


Pacific Northwestern Soul from Salem, Oregon! Unearthed originals, choice covers, and previously unreleased instrumentals guaranteed to fill the floor.


MOSLEY GRAPE - Live at Indigo Ranch [USA rock, blues] 1989 SF Sound SFS-04880

 

Bob Mosley is principally known as the bass player and one of the songwriters and vocalists for the band Moby Grape.

Singer/songwriter and bassist James Robert Mosley was born December 4, 1942, in Paradise Valley, CA, and spent his teens playing in a number of garage combos, including the Misfits, the Strangers, and the Frantics. the Frantics eventually morphed into Moby Grape, and with a lineup of Bob Mosley, Peter Lewis, Skip Spence, Don Stevenson, and Jerry Miller, the band recorded the brilliant but ill-fated Moby Grape album, released by Columbia in 1967.

If ever a band was snake-bitten, it was Moby Grape, and thanks to backfiring publicity stunts, poor management, and record company snafus, the band never found a steady mass audience. It didn't help, either, that at least two of the members – Spence and Mosley – begin to show sings of mental disorder. Moby Grape managed to record two more albums with its original configuration participating before Spence and then Mosley left the band.

In 1969 Mosley joined the U.S. Marines, making it through basic training, only to be diagnosed as a paranoid schizophrenic (a mental condition that also afflicted Skip Spence) and was discharged from the Marines nine months later. He rejoined Grape for 1971's 20 Granite Creek album, but the group splintered after the album was completed. Mosley next signed with Reprise Records and his solo album, Bob Mosley, was released in 1972. By 1973 Mosley was listed as a ward of the State of California. He resurfaced in the late '70s as a member of the Ducks, who backed Neil Young on a series of impromptu bar gigs around Santa Cruz in 1977. In 1989 the odd Live at Indigo Ranch by Mosley Grape was released, and Mosley joined former Grape members Miller, Stevenson, and Lewis as the Melvilles (they weren't legally allowed to use the name Moby Grape at this point) to record Legendary Grape, which was released on cassette that same year, and has floated around as a bootleg ever since. Eventually the album was reissued on CD with eight bonus tracks in 2003 by DIG Music.

Moby Grape has reunited in different configurations (and under a variety of names) several times for shows and other projects over the years, sometimes with Mosley and sometimes without him. A soulful singer whose songs deftly bridged the gap between country and blues, Mosley contributed "Mr. Blues," "Bitter Wind," "Rose Colored Eyes," "Trucking Man," "Hoochie," "Lazy Me," "Come in the Morning," and other solid songs to the Grape canon in the early years.

By the mid-'90s he was homeless, sleeping under a freeway overpass in San Diego. Other members of Moby Grape have attempted at various times to help Mosley, and he still occasionally surfaces to play a show, but he appears to prefer life on the street, either by design or as a result of his illness. An album he recorded in the 1970s with members of Buddy Holly's band, the Crickets, was released as Never Dreamed in 1999 by the German label Taxim Records.

Mosley Grape

jueves, 19 de noviembre de 2020

FAIRPORT CONVENTION - What We Did on Our Saturday [UK folk rock 2018] Matty Grooves MG2CD055

 

What We Did On Our Saturday offers 25 cuts, all but three dating from 1967 to 1973 and just one – the pleasant Our Bus Rolls On – from the last 20 years.

Proceedings open with a storming Time Will Show The Wiser from the 1967 debut album, reuniting original vocalists Judy Dyble and Iain Matthews and featuring Richard Thompson’s sublime guitar work. Fairport’s 1969 folk-rock classic Liege & Lief is represented almost in its entirety, with Chris While channelling the late Sandy Denny most effectively, and Thompson is heavily featured on a string of tracks from the follow-up Full House.

Ralph McTell performs a moving White Dress while Sally Barker, PJ Wright and Maartin Allcock pay tribute to the late Trevor Lucas with a rousing rendition of the Fotheringay track The Ballad of Ned Kelly.

There’s the usual Fairport ending of Meet On The Ledge, performed by practically everyone who has been involved with the band over the last 50 years (and are still alive) and supported by the massed vocal talents of the Cropredy crowd. We’ve heard it so many times before but those Thompson lyrics – “When my time is up I’m gonna meet all my friends… it all comes round again” – still bring a lump to the throat.

This is both a worthy document of an obviously successful festival and a fitting celebration of half a century of great music – Fairport could say Farewell, Farewell now and this recording would provide a fine finale.

Fairport


NICODEMUS & MATCHEZ - A Light In The Dark [USA folk, psychedelic rock 1996] Parallel World PW-CD3

 


"Nicodemus, Detroit's 'web-spinning madman of wisdom and space,' is a subcultural Renaissance Man. He and his brother Matchez have recorded, singularly and collectively, over 50 albums for Zedikiah Records, the record label Nicodemus started in 1970. He has published 14 book's of poetry, prose and fiction. He has sired three sons by as many wives and presided over the infamous Satan's Last Revenge Motor Club. He studied for 11 years the healing ways of the Mescalero Apache and is known as Whitecrow in Native American circles, proudly displaying the symbol of a healer over his left eye. He is a surrealist painter of some renown who signs his work 'Chongo'. Nicodemus and Matchez's recordings have long been held sacred by a worldwide cult of fanatics of esoteric music. Their sounds are eclectic, ranging from future folk to heavy rock and even acid house... Jello Biafra said about Nicodemus in Incredibly Strange Music: 'My runaway favorite space-folk artist... an instantly recognizable voice that'll send chills down your spine."

A Light In The Dark



MORNING REIGN - Taking Cover [USA garage, psychedelic 1968-69] 2020 Sundazed - digital file

 


His is the story of The Morning Reign, a band of young fellas who could have become famous and mentioned in the same breath as The Doors, Eric Burdon & WAR, and all the other music legends of the Garage-Rock era – if their songs had been released back in the day. Surprisingly, they have released only four 45rpm singles during their existence although they had recorded enough material for an entire album.


domingo, 15 de noviembre de 2020

THE PAUL COLLINS BEAT - Another World (The Best Of The Archives) [USA power pop] 2020 Alive Records 02II-I

 

“Another World – The Best Of The Archives” compiles 13 previously unreleased material going back to 1978 and the early days of the Paul Collins’ Beat. None of the recordings have been released before and all have been carefully remastered.

Paul

SCREAMING URGE - Impulse Control (Complete Recordings 1980-1981) [USA punk 1980-81] 2002 Hyped To Death ‎– Homework #101


Columbus, Ohio punk band formed in 1978. On this disc is only a small sample of the music created by the band. The playlist in 1980-81 alone was 120 original songs. "Hitler's in Brazil" is not just a song. It is a collective memory of the totalitarianism that was supposed to be without but that was always lurking within the fabric of our culture then and now. Hitler is everywhere (or is he?) as Screaming Urge will tell you to a pulsing, hypnotic beat. Bringing to consciousness in these songs through melody (or not) and words (or screams) what is latent and needs to be screamed, as in "War (Is Not O.K.)." The 1980 Blue Album was recorded through the enthusiasm of the engineers at the Recording Workshop in Columbus and Chillicothe, Ohio. They took the unprecedented step of recording the entire album for free for the band. Steve Garner was in no-way the producer of that album ­ the band didn't even meet him until after it was recorded. He plunked down the cash for the pressing of the album and threw his name and picture on the back. Plenty of Malcolm McLarens always around trying to claim credit. The 1981 Black and White album was recorded live, but due to the time constraints on vinyl, the clapping cheering rowdiness was removed. A glimpse of this audience can be caught on the track entitled "Hemophilia/Noise." The only overdubs on this recording are extra guitars on "You Make It Hard," "Skitzo Brain," "Hell Yes" and "Lovesick."

Impulse Control

LES OLIVENSTEINS - Les Olivensteins [France punk rock 1979-80] 2011 Born Bad Records BB0031

 


The best-ever French '77 punk band, next to Metal Urbain. Killer and cult and a true must-have. This is an official reissue, with a lot of unissued tracks. "In a particularly raw moment captured on the disk you are holding, the singer (whose name escapes me) shouts derisively at the audience, 'Vivement que je sois vieux, tout sec et tout rugueux?" (trans. 'I can't wait to be old, dried out and bumpy'). And indeed, it required not only the passage of three decades, with their corresponding toll on these two-bit heroes, but also the benevolent determination of JB Wizzz and the utilization of space-age technology to transform crusty cassettes, forgotten in a dusty corner, into something vaguely listenable that resembles an album of the Olivensteins. Obviously, this is not precisely the record that we dreamed of making in 1979. It certainly would not have contained bits of concerts. (But finally, who knows?) However, the sonic dabbling that you will discover on the demo of 'Euthanasie' and some rather strange tracks like 'Le Spécialiste' are surely examples of what we wanted people to hear at the time. All this will astonish you, proving that (yes, yes!) the Olivensteins possessed unsuspected abilities, had a taste for originality and could occasionally transcend being simple morons. Naturally, certain compulsive freaks, itching for their nerdy thrills, will complain that we have not unearthed other morsels from our repertoire for this album. But even if certain 'songs' like 'Le Doryphore,' 'Né Pour Dormir' or 'Pétain Darlan C'était Le Bon Temps' (which takes direct aim at the stupid 'Nazi Chic' that was trendy at the end of the '70s) are not found on this somewhat incoherent compilation, it is only because no version exists that is even close to listenable. If you don't manage to understand all the words, or if the wretched singing bothers you, don't worry about it: fortunately, this is not an album of syrupy French 'chansons!'" Eric Tandy

Olivensteins

jueves, 5 de noviembre de 2020

SPANN - Let The Hell Hang [Canada garage, blues psychedelic rock 1979] 1997 RD Records RD 3


A terrific third album by Montreal garage blues-rock band Spann, formed by guitarist Ray Gelbert, bass guitarist Henry Paul and drummer Ronald Crowne, later replaced by El Peterson after recording his debut album. The band recorded the first two records in 1979 in a small studio in Vancouver, Blues Light Records with a difference of several months. In July of the same year, they went to Memphis, where they recorded "Memphis Tapes" at the legendary studio of Sam Phillips Sun Records, which were included in the third and last album "Let the Hell Hang". 

Spann

HOJAS (PHOLHAS)- Hojas (Dead Faces) [Brasil soft psychedelic rock 1973] 2000 RCA, BMG Music Spain, S.A. 74321779612

 

Formed in 1969 in São Paulo, SP, Brazil, the Pholhas was named as a suggestion from a friend of the members Paulo Fernandes, Oswaldo Malagutti, Helio Santisteban and Wagner Benatti during their first rehearsal.

The band used to play at dancing clubs in the city in order to achieve popularity. And it happened quickly.

The first album was recorded in 1972 and released in 1973 by RCA Records, all sung in English in a time when this was not common in Brazil, where the language spoken is Portuguese.

The album DEAD FACES reached the # 1 position on the charts just 3 months after its launching, with 450,000 copies sold. This album won Pholhas' first gold album.

Hojas

JOHNNY GUITAR WATSON - Untouchable! - The Classic 1959-1966 Recordings [USA r&b, blues, soul] 2007 Ace CDCHD 1180

 



Like many a journeyman bluesman, Johnny "Guitar" Watson led something of an itinerant recording life during much of his career, wandering from label to label in the 1950s and 1960s with just a little chart success. Untouchable! does a great service to collectors by assembling 27 tracks from 1959-1966, many of which, surprisingly, had not only never previously come out on CD, but had never been reissued in any form. While in general these are blues/R&B crossover sides, there's more variety than one might think, and though the hopping between styles makes it a little uneven, it makes for a better listen in one gulp than you might expect. There's some relatively straight blues, particularly in the earlier sides; there are rather more blends of blues/R&B with pop than many blues fans might realize exist, sometimes on covers of pop standards, and sometimes employing strings; and there are cuts, particularly in the mid-'60s selections, that verge on out-and-out soul. It's true that the three songs most likely to be familiar to general blues and rock fans are among the very best material here, those being "Looking Back," which was covered by John Mayall's Bluesbreakers (with Peter Green on guitar); "Cuttin' In," a 1962 Top Ten R&B hit and one of Watson's most effective fusions of blues (with biting guitar) and orchestration; and "Gangster of Love," one of Watson's signature tunes (though this 1963 King single, fine as it is, is not his original version). But everything here is at least OK, and much of it is above average to excellent, even on some tracks where the influences of others like Clarence "Frogman" Henry, the Olympics, the Temptations, and Ray Charles are obvious. There might be a little less guitar pyrotechnics than some straight-ahead blues fans would like, and it's unfortunate that a few interesting cuts referred to in the liner notes from this period were not available for licensing. But overall it's a solid overview of a time when Watson was among the more interesting (and certainly overlooked) artists building bridges between the blues, R&B, and soul.

Watson

BO DIDDLEY, MUDDY WATERS & LITTLE WALTER - Super Blues [USA blues 1967] 1992 MCA MCD09168

 


In 1968, Chess Records' lesser known subsidiary Checker Records engaged in an interesting experiment. Perhaps inspired by similar blues supergroups such as Cream and Steampacket, or 1964's Two Great Guitars, which paired Bo Diddley recording alongside Chuck Berry, Checker brought together some of the best artists in their roster - Diddley, Muddy Waters, and Little Walter - to combine their talents into an album of hard-hitting, soulful Chicago Blues. The three bluesmen were brought together by legendary R&B producer Ralph Bass to record Super Blues, an informal jam session which featured a backing band of blues greats such as Buddy Guy on guitar, and Otis Spann on piano. Critics remain divided over the merits of Super Blues as an album, but most agree it occupies a remarkable place in history both as an experiment and as a shape of things to come. Recorded at a time when electric blues influence on the mainstream was at it s height, shades of Waters & Bo's future proto-funk experimentation can be heard throughout Super Blues' rough-at-the-seams, yet still loose and relaxed tracks. The main players sound as strong as ever, as impromptu vocals and humorous asides are tossed into off-kilter re-workings of classic tracks like Diddley's "I'm A Man", Waters' "I Just Want To Make Love To You", and Walter's "My Babe". A truly unique release to come from the ranks of Chess, Super Blues is a rare glimpse at three blues powerhouses from within the studio itself.

Super Blues

jueves, 29 de octubre de 2020

Δέλτα (Delta) - Μωβ (Mov) [Greece psychedelic 1981] Pan Vox 10237

 



Live Recorded in Studio 51 of Thessaloniki in 1981

In 2-12-1981 in the studio 51 of Thessaloníki was live recorded, in a special night with free entrance, this album with two groups Delta and Mov.

The band of Mov was one of the most popular groups of Thessaloníki city.

On the other hand Delta was a brand new band which proved there value with these four songs. They have been influenced by psychedelic rock.

This album remains one of the most collectible in Greece thought it was live recorded.

Δέλτα - Μωβ (rip by GalacticGarden)

LIED DES TEUFELS - Lied des Teufels [rock, psychedelic rock, blues rock 1973] 1994 Ohrwaschl Records OW032


After Hanuman released their one and only unique Krautrock album in 1971, the crowded world of the burgeoning progressive rock scene in Germany didn't exactly open up for them and with the lackluster response of their very good album came the first hemorrhaging of band members. The main instrumental leader and organist Wolf-Rüdiger Uhlig jumped ship and instead of replacing him with another keyboardist, the band carried on by not only replacing him with a guitarist (which the first album lacked) but also decided to go for broke and change the band name to LIED DES TEUFELS (Song Of The Devil). The change is profound as it totally changed the symphonic prog Krautrock aspects of the band into a more heavy blues rock style that still incorporated progressive rock elements but clearly put them on simmer as the songs on the second eponymous album under a different band name were more melodic and focused on catchy riffs rather than the kaleidoscope of Kraut that Hanuman utilized.

Lied Des Teufels

GRIT - Grit [UK hard psychedelic rock 1972] 2020 Sommor SOMM059


First ever reissue of this ultra-rare acetate (two copies pressed) from 1972, Grit's self-titled album. Featured in Hans Pokora's book with the maximum scale rarity. Psychedelic hard-rock with furious drumming and stunning lead guitar by this unknown until now London based band, Grit recorded a demo at SWM Studios and two copies of a one-sided 12" acetate were pressed for promo purposes. It featured four self-penned songs, the killer "Mineshaft" (pure underground fuzz hard-rock), and two lengthy numbers: "Child and the Drifter" (furious drumming, stunning leads, hard-prog moves), and the hard-psychedelic "What Do You See In My Eyes"/"I Wish I Was". 

Grit

THE ELECTRIC FLAG - Live From California 1967-1968 [USA rock, blues rock, soul] 2017 RockBeat Records ROC-3390

 


Two fantastic live shows from The Electric Flag at the peak of their career.

The first was performed at the famed Whisky A Go-Go, West Hollywood, CA in September 1967, just one week after their gig at Fillmore West opening for Cream

The second was recorded at the equally legendary Carousel Ballroom, San Francisco, CA in May 1968 and features the original band lineup: Mike Bloomfield, Nick Gravenites, Buddy Miles, Barry Goldberg, Harvey Brooks, Herbie Rich, Doubleday and Peter Strazza.

The Electric Flag was one of the premiere rock bands of the 1960's. Organized by Mike Bloomfield, who had just left the Paul Butterfield Blues Band, the band featured such notable talent as Buddy Miles, Elvin Bishop, Nick Gravenites and Barry Goldberg. The Flag was the first band to feature a full horn section in support of its searing blues and jazz based rock originals. 

The Electric Flag astounded both critics and the public, both of which proclaimed the band as the world's greatest. And they were, indeed! No one ever came close to their combination of brilliant musicianship and hard blues based commercial music. Sadly, egos prevailed and the group broke up after only two years of performing and recording. Their albums are still selling today and are regarded as essential albums for any rock library.

Flag

viernes, 23 de octubre de 2020

JEFF BECK GROUP - Twilight Of The Idols - Live 1967-1968 [UK rock, blues] 2019 Shockwaves SHOCK06CD

 


Classic Radio Broadcasts from San Francisco and London. Jeff Beck staggered out of The Yardbirds in early 1966 without a clear idea of where he was going next. Having walked out of the band after years of gruelling tour schedules with little in the way of either fame or fortune, he was initially launched as a solo artist by manager Simon Napier-Bell and producer Mickie Most. Although a chart hit, his debut single, Hi Ho Silver Lining, captured little of his instrumental talents or raw energy, and instead it was its B-Side, Beck s Bolero, which pointed to a possible future. Assisted by the cream of his contemporaries on the British music scene Jimmy Page, John Paul Jones, Nicky Hopkins and Keith Moon the track suggested Beck would still work better as part of an ensemble. In the early months of 67 he formed The Jeff Beck Group, and over the course of the year the band concentrated on building up their public profile, both domestically and internationally. In Britain, they were frequent guests on BBC radio, both on the long running Saturday Club and on John Peel s brand new show, Top Gear . Meanwhile, future Led Zeppelin manager Peter Grant had spotted the huge potential of the burgeoning live music scene across the Atlantic, and he convinced the band to undertake a US tour in the Spring of 1968. The tour proved to be a massive success, with gushing reviews following the Beck Group across the country from their opening show in New York to their closing night at the Fillmore West in San Francisco. By the time the curtain came down, Grant had secured them a new recording contract with Epic records, a few weeks later Jeff Beck s Group debut album, Truth, appeared. Twilight of the Idols showcases the key live performances from across this early chapter in The Jeff Beck Group s career. Presented here are the complete BBC sessions from 1967 and 68, including the initial appearances on The Saturday Club that featured the rotating cast of players, with Mickey Waller and Dave Ambrose on the first gig replaced by Ron Wood and Anysley Dubar by the time of the second. Following the collection of BBC broadcasts we bring you the legendary show at The Fillmore West on the 24th of July 1968 - last night of the Beck Group s first US tour and a seminal moment in Jeff Beck s career. 

Beck

DALTON'S FAMILY - Enxiety [Greece psychedelic rock 1981] private press SPR 208

 


Possibly the best secret of the greece psychedelic rock scene. The one and only release of this fantastic psychedelic soft rock band.

Released private press from the band at 1981. Very, very rare to find. 

Enxiety

VVAA - Cologne Curiosities · The Unknown Krautrock Underground, 1972-1976 [Germany kraut rock ] 2016 Mental Experience MENT005CD

 


“Cologne Curiosities” collects, for the first time on vinyl, all the otherwise unpublished/un-reissued material that firstly appeared on the three "Unknown Deutschland - The Krautrock Archive" CDs released on Virgin during 1996. 

The recordings included here were made between 1972 and 1976 using studios in and around Cologne, produced by Toby Robinson for his own amusement, just having fun on the studio. Inevitably, bands would come in for practice sessions, to record demo's, and during slack periods impromptu jams would happen. Most of these sessions were recorded by Toby, and they feature Toby himself plus a revolving cast of friends and musicians (some of them apparently big Kraut names under pseudonym).

Including lost-in-time bands / studio projects like Astral Army, Fuerrote, Spirulina and Baal among others, the music here ranges from killer proto-New Wave Kraut psych to wild space rock, proto-ambient electronic, dark psychedelia and raw Kosmische sounds with lot of analog synths / Moog.

It was during that time in Cologne, that Toby, along with Fluxus artist Robin Page, gave birth to the mysterious and controversial Pyramid label, for which these tracks were originally made for.

Cologne

LOU REED - Thinking Of Another Place (Live In Akron 1976) [USA classic rock] 2006 Easy Action EARS021

 


Recorded live at the Civic Theater in Akron, Ohio on October 23, 1976, Thinking of Another Place appeared first as an FM radio broadcast before getting remastered and restored in 2006. The two-disc set draws heavily from Reed's seventh solo album, Rock and Roll Heart, for which he was touring in support of, but the set list draws from his entire career, including his Velvet Underground days.

Lou

domingo, 18 de octubre de 2020

JOHNNY RIVERS - Summer Rain - The Essential Rivers 1964-1975 [USA rock and roll, por rock 1964-75] 2006 Raven RVCD-245

 


True, this 25-track, single-disc compilation isn't as extensive as the two-CD set usually hailed as the best Johnny Rivers collection, Rhino's Anthology, 1964-1977. It's also true that it's missing a few of the Rivers singles that tickled the bottom half of the Top 100, like "Cupid" and "These Are Not My People." If you're looking for the ultimate single-disc Rivers comp, however, this 77-minute CD is probably as close as anyone's going to come. Summer Rains: The Essential Rivers has every one of his Top 50 hits from between 1964-1975, of which there were many, adding up to 18 in all. The other seven cuts include some of his most interesting LP tracks, among them three early Jimmy Webb covers (from 1967's Rewind album); an orchestrated version of Gram Parsons' "Brass Buttons"; the late-'60s recording "Going Back to Big Sur," one of Rivers' relatively infrequent original compositions; and his 1968 cover of "Positively 4th Street," famously cited by Bob Dylan (in his Chronicles Vol. 1 book) as his all-time favorite interpretation of one of his songs. And, frankly, cutting away some of the flab from the later part of this period makes this a tighter, more consistent listen than the more comprehensive Rhino set. For most people, this will be all the Rivers you want and need, complemented by detailed liner notes.

Rivers new link


J.D. BLACKFOOT - Live In St. Louis - July 16,1982 [USA psychedelic rock 1982] Bison Record Co. B-44

 

Live in St. Louis was recorded July 16th, 1982 at the Keil Opera House in St. Louis, MO.

The show was sponsored by KSHE FM and was performed in front of a sold-out crowd of 3,800 of the most intense fans that a tape machine ever had the opportunity of capturing.

The album captured live performances of both ” The Ultimate Prophecy ” and ” The Song of Crazy Horse ” and listed almost 100 names of the audience that attended the show inside the album.


SALVATION - This City [USA North Caroline psychedelic rock 1979] JTO Records JTO-7-25-79



 Morganton, North Caroline mega rare private press from 1979 recorded in Marion, NC.

All songs, words and music by John Oxford. Great guitar.


This City

sábado, 17 de octubre de 2020

NIKKI SUDDEN & ROWLAND S HOWARDS - Kiss You Kidnapped Charabanc & Live In Augsburg [UK rock 1987] 2002 Secretly Canadian SC57

 


This extraordinary collaboration between former Swell Maps guitarist/vocalist Nikki Sudden and Birthday Party/Crime & the City Solution guitarist/vocalist Rowland Howard comes highly recommended to those following the post-punk axis that spawned Nick Cave, These Immortal Souls, and the Wreckery. The pair first worked together on Sudden's solo album, Texas, which was also released on Creation and featured brilliant performances from Howard in his trademark knife-edge blues guitar. Further collaboration seemed inevitable, as the duo incidentally shared many connections in the post-Birthday Party scene. Rowland Howard frequently worked with the late Epic Soundtracks in Crime & the City Solution and later in These Immortal Souls. The legendary drummer and vocalist was Nikki Sudden's brother and a key figure in the urban blues sound that grew out of the splitting of both the Birthday Party and Swell Maps. Kiss You Kidnapped Charabanc is an outstanding opus derived of the duo's shared love for the crafts of Alex Chilton and Big Star in their darker moments, Lee Hazlewood, Serge Gainsbourg, sinister country, and Delta blues. The reissue version contains the original album, which at the time of release in 1987 was a dark surprise from the post-punk underground. The album set the precedent for the formation of These Immortal Souls, where Rowland Howard would later present his best songwriting on record. This album holds its own next to later masterpieces Get Lost (Don't Lie) and I'm Never Gonna Die Again, while Nikki Sudden continued to mine the Rolling Stones and T. Rex's songbooks for inspiration with the Jacobites and the French Revolution. The extended reissue includes The Wedding Hotel EP plus the outtake "French Revolution Blues" and an incredible and unreleased 12-song live set from 1987 recorded in Germany, with Sudden and Howard both on guitar and vocals abetted by the Gun Club's infamous drummer, Desperate, and bassist Duncan Sibbald.

Nikki & Rowland

domingo, 11 de octubre de 2020

THE BEVIS FROND - Live From The 4th Psychedelic Network Festival 2011 [UK neo psychedelic 2013] Woronzow WOO 61CD

 

The Bevis Frond was the banner used by Nick Saloman, a neo-psychedelic Renaissance man and the sole constant writer, performer, and producer behind the cottage industry bearing the Frond name. The head of his own label (Woronzow) as well as the co-publisher of his own underground magazine (the highly regarded Ptolemaic Terrascope), Saloman was a quintessential English eccentric, a frighteningly prolific talent and a true anachronism purveying an archaic musical genre while simultaneously pioneering the lo-fi aesthetic. The Bevis Frond's influences were strongly rooted in the '60s, as Saloman's music blended elements of psychedelia, pop, early hard rock, and folk, with plenty of epic-scale guitar soloing laid over the top as he sang his lyrics that leaned to the pastoral and the engagingly addled. 

Live

THE HOLY MODAL ROUNDERS - Last Round [USA folk, country 1978] 2000 Adelphi Records Inc. GCD 1030

 


Unless, like the Holy Modal Rounders, you've spent a lot of time listening to Harry Smith's Anthology of American Folk Music while ingesting recreational drugs, their music might sound a bit odd to you. Actually, given the ramshackle performances, it sounds a bit odd in any case, but as with any humorously intended work, appreciation of it depends on one's sympathy with the artists. For initiates, this seventh (and, so it seemed at the time of its release, final) album was one of the Rounders' better ones, with Peter Stampfel, Chris Weber, and especially Robin Remaily turning out characteristic new work and covers of old songs like "Euphoria" and "If You Want to Be a Bird" backed by a rhythm section. "August, 1967 (Hippies Call It STP)," borrows its tune from "Fishin' Blues," while head Rounders Peter Stampfel and Steve Weber sing a paean to psychedelic drug use that breaks down into odd references such as this allusion to Amos & Andy: "'Splain dat to me, Kingfish, it ain't too clear/King it to me, 'splainfsh, said the engineer."The CD reissue released on June 27, 2000, added three bonus tracks. "TV Song" is a tribute to the addictive power of television; "Year of Jubilo" revives a Civil War victory celebration; and "Snappin' Pussy" is an appropriately bawdy follow-up to an earlier Rounders favorite, "Boobs a Lot."

Holy


THREE SOULS IN MY MIND - Rock & Roll Band, Mexico City 1970-71 [Mexico hard psychedelic rock 1970-71] 2010 Therapeutic Records THR-002

 



A rock band from Mexico City fronted by Alex Lora. The group is regarded as influential in the development of Mexican rock music.

Over the years, El TSIMM sound has touched on several different styles including rock, psychedelic rock, hard rock, acoustic rock, blues-rock, and blues. The group has enjoyed moderate success garnering numerous gold-certified albums in Mexico.