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