27-08-06 - 03-09-06

Saturday, September 02, 2006

The Robbs - 1967 - Same

Your Download-Link :
http://rapidshare.com/files/986952/Robbs1967Robbs.rar

DINO VALENTE-Same (1968)


Producer: Bob Johnston. Reissue producers: Barry Feldman, Dave Nives.Recorded at Columbia Record Studios, Los Angeles, California from November1967-April 1968. Originally released on Epic (26335). Includes liner notesby Ralph J. Gleason & Arthur Levy.

The 1968 solo album from the Quicksilver Messenger Service lead singer.Moving away from the trademark QMS guitar pyrotechnics, this is a reflective album with a country folky feel that includes a fine version of "Me And My Uncle".Produced by Bob Johnston (the man who oversaw much of Dylan's classic 60's output) it's sound is stripped down to haunting minor acoustic chordsswelled by wads of studio reverb. Chemically deranged b ut incredibly
charming. Fully detailed sleevenotes round off the package with some great shots of Dino busking.

This album typifies the hippie-folk-troubadour syndrome with strumming, everb-laden 12-string guitar and romantic odes of passion and heartbreak. Valente's pliant warble practically floats alone on these 12 strange songs. While this music is folkish in nature, Valente's vocals display an offbeat, almost jazzy inflection reminiscent of the late Tim Buckley.

One of my favourite voices in 60's in an amazing solo effort, with hippy psychedelic touch !

I really enjoy this album !!


Chester William Powers, Jr. (7 August 1943–16 November 1994), better known as Dino Valente, and credited sometimes as Jesse Oris Farrow, was an American singer/songwriter.


He was born in New York City, and died in Santa Rosa, California. In the early 1960s, while a member of the Greenwich Village folk scene, he wrote "Get Together", a quintessential 1960s love-and-peace anthem, later recorded by Jefferson Airplane, The Youngbloods, and many others. While in Greenwich Village, he played often with singer-songwriter Fred Neil. He was
an original member of the Quicksilver Messenger Service, but his career was blighted by frequent drug busts. Powers (or one of his pseudonyms) is sometimes erroneously credited as the author of the rock standard "Hey Joe".

Dino Valenti started out as part of the bi-coastal early '60s folk scene. He befriended and briefly shared a houseboat with David Crosby, and let Mike Clarke accompany him on bongos. During those years, Valenti recorded some songs with Byrds manager Jim Dickson, which led to Dickson recording Crosby.
Around this time, Valenti wrote the folk-rock classic "Get Together," the first song published by Tickson Music, Jim Dickson and Eddie Tickner's music publishing company. The song was a monster hit for the Youngbloods in 1967 and the theme song for the National Conference of Christians and Jews in 1969.
Valenti also copyrighted a version of the song "Hey Joe" under his real name, Chester Powers. Crosby often sang the song with the Byrds, well before they recorded it on Fifth Dimension, and is responsible for popularizing it on the West Coast. In 1964 Valenti helped found the San Francisco band Quicksilver Messenger Service, but he got thrown in jail on a drug bust before they ever recorded.He rejoined them in 1970, just in time for their one big hit, "Fresh Air."


Dino Valente journeyed ahead on Wednesday, November 16, 1994 at home in Santa Rosa, California. He was 57.


PS: If you would like to find out everything about Dino Valente, you could try at this link
http://www.power-pro.com/dinovalenti/gettogether.ht

grab and enjoy !!!

MY INDOLE RING - 1969

"The home base for My Indole Ring was The Retinal Circus in Vancouver B.C. An album planned for Vanguard Records is now released for the first time. Acid Westcoast rock with trippy guitars, soundeffects and vocals with soul. With bonus tracks. In 1966 a rock band whimsically named The Jabberwock was formed in Vancouver, British Columbia. This group evolved into the unique acid/blues/rock phenomenon My Indole Ring. Most of the songs on this LP are original Ring compositions and soon became signature tunes for the band, such as Orange Float Petals. This is a selection of raw cuts recorded in just one or two takes in the studio -- giving them a spontaneous feel, reminiscent of the era. The exception is the last three songs -- 'Wake Me Shake Me', 'Come See Me in the Morning', and 'Orange Float Petals -- all recorded live at the Retinal Circus. You can sit back and imagine yourself in the midst of the sunken dance floor with the pulsating light show swirling about your head and the floors and walls literally vibrating with the movement and sound. This is a unique insight into the unbridled energy and excitement of the Retinal Circus, a venue that became legendary in the West Coast music scene. A glimpse into a piece of music history."

GRAB IT

Friday, September 01, 2006

BIGROUP-Big Hammer (1971)

This is a repressing of the legendary Big Hammer by The Bigroup,
a library record from a group made up of UK studio musicians, originally released by Peer International in 1971 and licensed to Olympo in Spain.
The original pressing of Big Hammer by The Bigroup has been very much
in demand by crate diggers and progressive rock collectors and one listen to it will tell why - pretty much every track is a killer!

One of the strongest albums in it’s field, choked with goodies: great psych organ mayhem on "Big Hammer", burning acid leads on "Burnilation", sitar action on "Annapurna" plus the ill drum-break of "What’s Coming?" or the dope, stoned ,
beat-heavy "Devil’s Stronghold" & "Heavy Lift"...

I love this LP!

You have just got to hear this LP, it's bloody great!

Highly recommended.

While in the US there were many movie soundtracks, in the UK and much
of Europe most of the film and TV industry used music library LPs. These LPs - which were not on sale to the general public - were madeby experienced studio musicians, often recording an album's worth of material in one session, and the music was later matched to the relevant programme.
This remains a rich source of good funky music with albums being made by artists such as Herbie Flowers, Keith Mansfield, Alan Hawkshaw, John Cameron and Eddie Warner.
There are also many useful records for people looking for samples with breaks, percussion tracks and many stripped down versions of tunes with just bass and drums or bass and piano. Often the music was created for a movie; commercial and so on, but when published it was not specifiedon the record. Now often it can't even be traced back.
Apart from the many library LPs which are considered obsolete, some have gained quite a status amongst collectors. Specifically those LPs that were made in specific genres such as the "jazzy groovy beat", the "progressive rock", "the psychedelic folk"...
The Bigroup is one of these bands that did do only 2 albums. Actually 1 album, with two
different titles and labels but the same music. The most collectible one (we leave finding details on the alternative up to you as this is quite a challenge) is the original release on "Peer International" from 1971 (presumably).
This library label actually does have some more collectible releases. Always the details on the release are very scarce and little is known on the musicians. We know the LP was made
by Johnny Scott, aka Patrick J. O'Hara Scott, and some personnel. We
also know is that this LP has nothing but pearls of "Progressive" tracks included with as best track amongst only good tracks : "Heavy Lift".

Peer, as said, is known to be one of these collectible classy library labels but a problem is that all LPs only got very limited pressings.
This LP really has it all : a lot of mistery around the artists, great
music with multi-instruments, heavy rock and fuzz, incredible drum
breaks,... Most prominent instruments are the bass, the hammond and
the drums. It is the bridge between 60's beat and 70's progressive and psychedelic rock.

grab and enjoy it !!!

Thursday, August 31, 2006

NOVA LOCAL-Nova 1 (1967)

Nova Local's Personnel:

PHIL LAMBETH gtr
BILL LEVASSEUR drms
JOE MENDYK ld gtr
JIM OPTON bs
CAM SCHINHAN organ
RANDY WINBURN gtr

ALBUM: 1(A) NOVA I (Decca DL 74977) 1967

NB: (1) issued on MCA (MUPS 377) 1969 in the UK.
45s: 1 Games/If You Only Had The Time (Decca 32138) 1967 2 Other Girls/John Knight's Body (I Wanna Get Out) (Decca 32194) 1967

This band were students at University of North Carolina in Chapel Hill. Their album, which was recorded in New York in December 1966, is definitely worth investigating and is a minor collectable. Its very Anglophile sound garnered it a U.K. release, although the band had split by April 1967.

Bassist Jim Opton told U-Spaces:- "We were a band that was making a pretty good living playing fraternity parties around the campus, and a few cellar clubs in Chapel Hill. My fraternity, Phi Mu Alpha, was sponsoring a charity concert for our scholarship fund, and we decided to go for broke that year and book a big name. We contacted William Morris Agency in New York, and booked Chad and Jeremy. We needed an opening act, so I booked my own band... got us real cheap. The deal was that Rob Heller, who was with the Morris Agency would come and hear us play. He signed us immedately after the concert. A week later he hooked us up with Elliot Mazer, who became our producer. Elliot also worked as a song peddler for E.B. Marks Music, who published the music. We got a recording contract with Decca, I don't know how, but Rob put that deal together with Elliot, and the next thing I know, we are in the studio with all kinds of famous people that had us in awe for the first 35 seconds or so. I do know that somebody thought we were kind of special, because the studio was absolutely closed to visitors while we were there, and we were not allowed to take home raw tape to play for anyone. We did a lot of things that were pretty advanced for our time. Listen carefully to Morning Dew for example. The strange vocal effects were done by feeding the vocals through a Leslie Tone Cabinet from a Hammond B3. Also, the bass lead is the first bass feedback lead I think I can remember in a rock song. I blew up the amp doing it!! Cost me $750 (a LOT of money I didn't have in 1966)!! But, it was a hell of a lick. The album was essentially recorded by five of us: Randy, Bill, Joe, Cam and me. Phil had departed for law school. I believe he is alive and well, and practicing law in Charlotte, N.C."

"Actually, there is one little piece or two of rock and roll history that goes with that album. It was the first ever recorded using the very new, and relatively unknown, Dolby NR System. It took up a good size room at the time. The engineer for the album, Fred Catero, was also the engineer for Simon and Garfunkel."

Joe Mendyk had earlier played in Tri-Power, The Better Days and The Warlocks (with an excellent 45 on Decca). The 'A' side of their first 45, excellent harmony pop-punk, can be heard on Echoes In Time, Vol. 2 (LP) and Echoes In Time Vol's 1 & 2 (CD), the flip is on the album. Forgotten Man, also from the album, has resurfaced on Baubles - Down To Middle Earth (LP).
(Vernon Joynson / Max Waller)

GET IT

Wednesday, August 30, 2006

ANANDA SHANKAR-And His Music (1975)


What a marvellous exotic album!

This is an classic 1975 LP Ananda
Shankar and his Music, by - you guessed it - Ananda Shankar.
Ananda Shankar was Ravi Shankar's Nephew and was one of the first
musicians to mix Indian music with western pop styles back in the
1960s.
Ananda Shankar and his Music expertly mixes 70s funky grooves with
Sitar and Indian instruments. Along with the
fantastic up-tempo numbers, we also get treated to a few lovely tracks
that are more on the chilled side.
Ananda Shankar & his Music became legendary in the 1990s simply
because Capitol picked "Streets of Calcutta" and "Dancing Drums"
for a Blue Note break-beat compilation.
But there is plenty more material of the same caliber, even on that album.

Ananda Sankar (1942 – 1999)




In the late 1960s Shankar travelled to Los Angeles, where he played
with many contemporary musicians including Jimi Hendrix. There he was
signed to Reprise Records and released his first self-titled album in
1970, featuring original Indian classical material alongside
sitar-based cover versions of popular hits such as The Rolling Stones'
Jumpin' Jack Flash and The Doors' Light My Fire. This album has become
an enduring cult classic.
After working in India during the late 1970s and 1980s, Shankar's
profile in the West began to rise again in the mid-1990s as his music
found its way into club DJ sets, particularly in London. His music was
brought to a wider audience with the release of Blue Note Records'
popular 1996 rare groove compilation album, Blue Juice Vol. 1.,
featuring the two standout tracks from Ananda Shankar And His Music,
"Dancing Drums" and "Streets Of Calcutta".
In the late 1990s Shankar worked and toured in the United Kingdom with
London DJ State Of Bengal and others, a collaboration that would
result in the Walking On album, featuring Shankar's trademark sitar
soundscapes mixed with breakbeat and hip hop. Walking On was released
in 2000 after Shankar's sudden death from heart failure the year
before.

To most people, "India's greatest musician" means Pandit Ravi Shankar,
whose ragas briefly pacified the world in the tumultuous 1960s. And
there are those who say Ravi's wife was better than he. But it was
Ravi's nephew Ananda who became the voice of modern India in all its
contrasting elements. In ways never previously imagined --much less
executed even by other master musicians-- he alone merged Indian and
western, classical and rock, lyrical and funky, exotic and commercial,
traditional and progressive. Given the enormity of the task and the
sharp contrast between his success and the failures of so many "raga
rock" practitioners, Ananda Shankar can be seen as one of the greatest
musical figures of the twentieth century.
The son of famous arranger-choreographer Uday Shankar & dancer Amala,
Ananda had all of the expertise, talent, and perfectionists'
dedication of the previous generation. He studied five years under Dr.
Lalmani Misra, head of the Department of Music at Benaras Hindu
University; following his intense tutelage, he spent two years abroad,
where he studied western classical and pop as well as multi-media.
While his ability to perform and compose rivalled that of his famous
father and uncle, he identified more with his own generation.

His 1970 debut album on Reprise featured covers of tunes by the
Rolling Stones and the Doors as well as his own (better) music. The
album's success led to an expansion of his orchestra including dancers
and multi-media effects. His wife Tanusree choreographed. After his
first Indian LP was released, Ananda's music became a fixture on
radio, television, and in theatre. Airlines, fashion shows, and the
film industry recognized his as the modern sound of India. Even years
after his death, his music can be heard at least on U.S. radio and in
fashion shows, thanks largely to a reissue and a compilation.
Ananda was the great modernizer of Indian music, as influential as
Mighty Sparrow and Kui Lee were in updating and promoting their
respective traditions. He won the Indian equivalent of a Grammy Award
for the score of "Chorus" in 1974. Other soundtracks featuring his
work may have been released in India. Throughout his career, his sound
remained fairly consistent, and his vision never flagged until his
untimely death. Yet India and the world still have not completely
caught on to his talent and significance.

Ananda Shankar & his Music became legendary in the 1990s simply
because Capitol picked "Streets of Calcutta" and "Dancing Drums" for a
Blue Note break-beat compilation. But there is plenty more material of
the same caliber, even on that album. Later, rarer albums yield even
more impressive music, and there are plenty of tracks waiting to be
discovered and played by adventurous DJs. Sa-Re-Ga Machan, a funky,
strange, and exotic madhouse ("Jungle King" even reprises "Streets of
Calcutta" a bit), may be the true masterpiece.

The beat of the tabla is as vital to Indian music as the conga to
African and Latin. While the Moog, sitar, and Western themes
distinguish Shankar's music as fresh and original, the cacaphony of
tabla beats grounds the music in simmering Bombay, timeless ragas, and
the splendor of Shankar musical royalty. In other places, such as the
Missing You tribute to Uday, Ananda uses vibes and flute to great
effect. And still elsewhere the elements of Indian soundtracks, such
as occasional female voice and strings, add power and excitement.
Call it futuristic exoticism or Indian soul music. Like other examples
of the best revolutionary music, the wonders of Ananda Shankar will
sound forever ahead of their time: definitely far out, and yet as
familiar and comforting as Mom's cooking.


grab and enjoy it !!!

Monday, August 28, 2006

IT'S ALL MEAT - Same (1970)

(Canadian psychedelia)

It's All Meat came from Toronto, Ontario and released a superb, but little known album on the Columbia label in 1970 .

The band consisted of :

RICK ASTON (bass),
JED MacKAY (organ, piano),
RICK McKIM (drums),
WAYNE ROWORTH (guitar)
NORM WHITE (guitar)

MacKay and McKim both previously played together with Toronto's Underworld, whose lone single, "Go Away", released in 1968, is considered one of Canada's most sought after garage bands songs.

This package is an excellent example of early 70's keyboard-dominated psychedelia, garage punk, and haunting keyboard sounds.The sound of this reissue has been digitally remastered and for the most part it appears to have been taken from a vinyl source as there is an occasional vinyl static in places. Overall the sound quality is fairly good. Considering the rarity of the original "It's All Meat" album this release is welcomed by any fan of the early 70's garage and psychedelic sounds.

Your Download-Links :
http://rapidshare.com/files/9369214/It_s_All_Meat.part1.rar
http://rapidshare.com/files/9371981/It_s_All_Meat.part2.rar

Sunday, August 27, 2006

MOTIONS-Introduction To The Motions (1965)

(Havoc records,HJH 2)

SIDE 1 :

1. Love Won't Stop (R.Van Leeuwen)
2. I've Waited So Long (R.Van Leeuwen)
3. I'll Follow The Sun (R.Van Leeuwen)
4. The Girl From New York City (J.Taylor)
5. You Bother Me (R.Van Leeuwen)
6. I Want Someone Love (R.Van Leeuwen)

SIDE 2:

1. It's Gone (R.Van Leeuwen)
2. No matter Where You Run (R.Van Leeuwen)
3. Be The Woman I Need (R.Van Leeuwen)
4. I've Got Misery (R.Van Leeuwen)
5. Who'll Save My Soul (R.Van Leeuwen)
6. For Another Man (R.Van Leeuwen)

In 1965 released this classic monster beat/garage album !!
Great debut LP of the dutch Motions featuring future Shocking Blue guy Robbie van Leeuwen.
Included mix of beat, garage and moody tunes that consist of one of the superb albums in all over the world 60's music area !

The Motions from The Hague were one of the bigger groups of the 1960s Dutch beat explosion. They were formed out of the remnants of Ritchie Clark and the Ricochets in 1964 and went on to become hitmakers for the next several years in the '60s. The Motions were much loved abroad, even in the USA. The Walker Brothers even recorded a song The Motions had written and helped in the production of the group's second LP; The Motions were also brought to the USA in 1968 and presented to the public as one of the world's top hit-making pop groups! The single, "Freedom", reached high in the American charts.

Although the group disbanded in 1971, the most imporant members have met each other again and again in new groups such as Crossroad, Greenhorn, Jupiter and Galaxy Lin.

From 1964 till 1967, the line-up remained the same: Rudy Bennett (i.r.l. Ruud van de Berg - vocals, earlier as Ritchie Clark and the Ricochets), Robbie van Leeuwen (guitar, ex-Atmospheres & Ricochets, later the founder of both Shocking Blue and Galaxy Lin), Henk Smitskamp (bass, ex-Willy & Giants, later to Livin' Blues) & Sieb Warner (drums, ex-Ricochets, later to Golden Earrings).

In 1967, Robbie left to form Shocking Blue and was replaced by Leo Bennink (ex-Mack); Henk was replaced by Gerard Romeyn (ex-Tee-Set, later with Nico Haak, Image), who, in turn, was replaced by Paul van Melzen (ex-Haigs, later in the Mailer McKenzie Band) after just six months. The last line-up of the group (up 'til 1971) was: Rudy, Leo, Jan Vennik (sax, flute & organ, ex-Jayjays, later to Rob Hoeke & Ekseption), Han Cooper (organ, bass & vocals, ex-Bobby Green Selection, later with Leo, to Fisher & Friends) and Bobby Green (drums, ex-Bobby Green Selection, also to Fisher & Friends).

After the breakup, Rudy Bennett, Bobby Green & Gerard Romeyn all released solo singles.

This vinyl ripped by Optical Sound in bitrate of 256

grab and enjoy it !!!

LOS PEYOTES- Cavernvcolas (2006)

( Argentinian garage rock )

David Lider: voz, guitarra rνtmica y maracas
Oscar Hechomierda: bajo y coros
Pablo Peyote: baterνa y coros
Quique Melena: teclados
Rolando Bruno: guitarra y coros

Track List :

1.I caverman and you?
2.Fuego
3.Cry baby
4.Mocker
5.Satanic rite
6.El humo te hace mal
7.When I arrive
8.Jack the ripper
9.Te pegaré
10.The brotherhood
11.I don't mind
12.The Witch + bonus track Scream

Discography:

Psychotic Reaction, 2002

Sudamerican Garage Punk (EP), 2003

Cavernvcolas, 2006

Influences : Fuzztones, Chesterfield Kings, ? & The Mysterians...


Your Download-Link:

Get It !!

20-08-06 - 27-08-06

Saturday, August 26, 2006

INDIANS IN MOSCOW - Same

(80's UK Synth Pop)

Originally a cult UK electronic indie band in the early 80s, Indians In Moscow had a No.1 indie hit in 1983 with "Naughty Miranda", followed by "Jack Pelter and his Sex-Change Chicken" and the "Big Wheel e.p.". The original band split after acrimonious management arguments just as their first album was released.

On a grim Friday evening in November 1983 the weekend is once more beginning with Channel Four's legendary Tube. Jools Holland pauses on the threshold of a public lavatory and says "...and now Indians in Moscow." Is this some hip new expression along the lines of "Once in a blue moon"? Well, no. A music video explodes onto the screen - a psychotic blonde singing a gruesome ditty about killing and eating her father to the backing of a crazed synth-punk calypso. Indians in Moscow have entered the building...
Over the next nine months this Hull band would repeatedly mug the music business, culminating in a storming gig at the Camden Palace in August 1984, before abruptly splitting up on the brink of fame and fortune. If they had continued, who knows what shape mid-to-late eighties music would have had?

Get It Here

BIRDMEN OF ALKATRAZ - From The Birdcage (1989)

(Neopsych Italian Group)

Track List :

1. puzzle of a downfall child
2.beggar girl
3.codeine
4.April dancer
5.lord of flies
6.harshness day
7.jack o' diamonds
8.birdcage
9.anxious colour
10.sea of shadows
11.a musical tribute

Group Members:

Stefano Magni - g
Daniele Caputo - voc, dr, perc
(Standarte, London Underground) Francesco Bocciardi - g
Gianfranco Migliaccio - b

Discography :

Glidin' Off (1987 EP)
From The Birdcage (1989 LP)

Excellent Italian 80s neo psychedelia. They create a very full sound with vibrant guitar buzzing, stinging and generally pervading every inch of precious vinyl. This record could easily be mistaken for the out-pourings of some time-shrouded acid crazed combo of the late 60's although some songs like "sea of shadows" betray their 80s roots...

Your Download-Link

Edip Akbayram (Great 2CD Compilation )

First readily available reissue/compilation of material by this famous Turkish psych musician from the early '70s. Edip Akbayram is the top of the BIG three of Turkish delights (Erkin Koray, Baris Mancho & Edip).

This release includes the best psych tracks from his first two albums and many singles -- 22 tracks, 90 minutes of music.
His band Dostlar formed the songs into something which takes you on an Eastern trip, full of fuzz guitar, electric sax and great percussions.
Edip's dark voice makes you shiver and you feel like dancing right away. This is as good as Erkin Koray -- deeply spiritual and charged with politically powerful lyrics.
This release stands as one of the Shadoks reissue classics.

Track Listings

Disc : 1
1. Ince Ince Bir Kar Yagar (Little Snowflakes Falling)
2. Deniz Üstü Kopürür (Spraying Ocean)
3. Gam Üstüne Gam Yapilir (Sorrow and More Sorrow)
4. Degmen Benim Gamli Yasli Gönlüme (Don't Touch My Sad Soul)
5. Anam Aglar Bas Ucumda Oturur (Mother Cries About Me at the Head of My B)
6. Bosu Bosuna (In Vain)
7. Garip (Miserable)
8. Yakar Inceden Inceden (It Burns)
9. Daglar Dagladi Beni (The Mountains Made Me Sad)
10. Dumanli Dumanli Oy Bizim Eller (Our Village Is Full of Smoke)
11. Sev Beni Beni (Love Me)
12. Kükredi Cimenler (Roaring Grasses)

Disc: 2
1. Kolum Nerden Aldin Zinciri (My Arm, Where Do You Got the Bracelet From)
2. Aldirma Gönül (Don't Bother My Soul)
3. Kaslarin Karasina [Your Black Eyebrows]
4. Arabam Kaldi Yolda (My Car Broke Down)
5. Affetmen Seni (I Will Not Forgive You)
6. Adam Olmak Dile Kolay (To Be a Man Is Easy to Speak)
7. Dar Agaci (Gallows Pole)
8. Mehmet Emmi (Uncle Mehmet)
9. Haberin Varmi (Do You Know?)
10. Zalim (Tyrant)
11. Ayrilik (Separation)
12. Birak Beno (Let Go of Me)

Glad tidings for Turkish psych freaks, or those soon to become Turkish psych freaks (just give this a listen!): here's a new must-have collection crammed full of swirling, fuzzed-out electric saz, impassioned vocals, and traditional Turkish folk gone funk! If you are indeed into the groovy East-meets-West psychedelia that flourished in Istanbul back in the '60s and '70s, artists like Mogollar, 3 Hur-el, Baris Manco, and Erkin Koray, chances are you may already be familiar with Edip Akbayram and his band Dostlar (formed in '73). This new Edip Akbayram double disc on the Shadoks label contains 24 tracks, including ten of the 14 cuts found on that previous reissue (meaning, if you already have that cd, you still will want this for the whole disc and then some of songs you don't have... and you can't get rid of the Nedir reissue either if you want those four songs that don't overlap). So this is definitely the Edip set to get at any rate.

The colorful music of Edip Akbayram and Dostlar is pretty much the hardest-rockin' all the Turkish psych acts of the era I've heard...darn heavy in spots. The Anatolian folk-rock of the sixties is blended with a polyester '70s wah-wah funked-up progginess here. It's vibrant and colorful music to make you feel like you're in some smoky, swinging nightclub on one of the warren of narrow, twisting side-streets off of the hip main drag Istiklal in the Beyoglu neighborhood of Istanbul, back in the day, sweating on the dance floor or sitting back, sucking on a hookah.

The cd booklet is full of cool photos, and a page of liner notes, giving Edip's bio but no info on the tracks themselves, I'm just told that they're from his first two albums and singles. However, they do include English translations of the song titles, which should give some idea of Edip's seemingly dire outlook on life (or the outlook shared by his Turkish folk sources), with such songs as "Sorrow And More Sorrow", "Miserable", "In Vain", "Our Village Is Full Of Smoke", "Don't Touch My Sad Soul", "Tyrant", "Gallows Pole" and even "My Car Broke Down"! Sounds like a bummer, yet many of these tracks are amazingly upbeat musically!
Edip definitely belongs high up in the reissued ranks of all the incredible, obscure, groovy sixties/seventies psych sounds from all around the world that I can't get enough of: Os Mutantes, San Ul Lim, Mogollar, Blo, Bango, Brincos, Krysztof Klenzon, Juan de la Cruz, Los Dug Dugs, He 6, the stuff on comps like Cherrystones Rocks, Welsh Rare Beat, Prog Is Not A Four Letter Word, Studio One Funk, etc. etc. etc.

Enjoy !

Edip_Akbayram_Disc_1.rar
Edip_Akbayram_Disc_2.rar

Friday, August 25, 2006

HUMAN EXPRESSION-Love At Psychedelic Velocity

GREAT 60' PSYCH GARAGE BAND !

Because of their masterpiece track that called "Optical Sound",
I choose my user name.
Of course included it in this album (CD), as all their fantastic singles that issued in decate of 60's (4 singles in total).
All Humans Expression's singles (a & b sides) are great garage/psychedelic tunes !!
However, in 1994 the Collectables records, released an CD ''Love At Psychedelic Velocity'', which compiles all the band's singles, plus demos and four post-Human Expression solo tracks cut by Jim Quarles. The CD also includes excellent liner notes, from which this entry has largely been taken, and is recommended to fans of the band.
Unfortunately for me, till now there is any vynil re-issue and even if I don't like to buy Cds, I have done for this lovely obscure and most desirable 60's garage psych groups !

Human Expression's story and discography:

Singles (45's):

1 Readin' Your Will / Everynight (Acetate Demo) Summer 1966 Singles
2 Love At Psychedelic Velocity/Everynight (Accent 1214) Summer 1966
3 Optical Sound / Calm Me Down (Acetate Demo) Winter 1966
4 Optical Sound/Calm Me Down (Accent 1226) Winter 1966
5 Sweet Child Of Nothingness / I Don't Need Nobody (Accent 1252) Summer 1967


The band was formed in 1966 by Jim Quarles (lead vocals), Jim Foster (rhythm guitar), Martin Eshleman (lead guitar), Tom Hamilton (bass), and Armand Poulin (drums), with Quarles providing the name and Foster's father as their manager.

Hailing from Westminster and Tustin, California, this psychedelic punk band were formed early in 1966 and played around the L.A. area, at clubs such as Gazzari's and USO clubs.

They good deliver on stage what most groups scarcely achieved on record, an intensely virtuoso musicality coupled with punk defiance and a charismatic projection of all of these elements. In a different reality, they might've been a more mature and serious competitor to the Seeds, perhaps even succeeding at doing what the Doors did, only without the literary pretentions or personal excesses--equally impressive was the fact that most of the songs that the Human Expression played were originals by Quarles and Foster, who were entirely self-taught songwriters; Quarles later admitted that he wrote from his heart and instinct, without over-intellectualizing any of it, and the results seemed to pay off when coupled with the band's musicianship--their demos were as good as many contemporary groups' released singles

An acetate Readin' Your Will / Everynight cut in the Summer of '66 got them a deal with Accent, who released two awesome acid-punk singles in the shape of Love At Psychedelic Velocity and Optical Sound. Both singles were mixed by Wally Heider who also worked for the Grateful Dead, and are now extremely sought-after and impossibly hard to find.

"Optical Sound" b/w "Calm Me Down," released in 1967, showed the group becoming more experimental, utilizing studio electronic effects. "Optical Sound" itself, as a title, was extremely clever, carrying with it connotations out of both psychedelia and film. It was impressive, but that single wasn't the breakthrough that the band had hoped for.

After Optical Sound proved too far-out for the Charts, the band's manager offered them the opportunity to record two tracks by what he described as "an up-and coming songwriter".

The first demo Sweet Child Of Nothingness would become their third single, and the other track was turned down because Jim Quarles' didn't think lyrics like "Get your motor running / Head out on the highway" were any good. The song was of course Mars Bonfire's Born To Be Wild which Steppenwolf would later cover!!

The Human Expression's downfall came with the decision over what was to be their third single. Offered a pair of songs to choose from, they selected a number called "Sweet Child of Nothingness." The one they rejected was a song authored by Mars Bonfire called "Born To Be Wild," because Quarles had some doubts about the lyrics.
By the time the Sweet Child Of Nothingness / I Don't Need Nobody single was recorded, both Jim Quarles and Martin Eshleman had left the band.

This decision, which proved disastrous when Steppenwolf took their version of the song to the top of the charts, coincided with a major personnel shake-up--lead guitarist Martin Eschleman was injured and had to be replaced, and Quarles didn't like the new line-up and exited.
The Human Expression's history ended.

Jim Quarles is still active in the music business, working in a studio as a technical engineer, and writing and recording songs.



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Thursday, August 24, 2006

THE KNACKS (1966-1970)

The Great Obscure Argentinian Band



Before a time ago, I bought this issue in vinyl and I realized that
THE KNACKS was an excellent obscure 60's garage/ beat band from Argentina, who released a handfull of singles,all included here,
and who had a pile of unreleased tracks, also all included here.
Some songs sung in english and I would like to present this marvellous band that wrote some brilliant tracks with a flavour of garage/beat and psychedelic tunes !!

So, I if you don't aware on them, it will be very great chance for you, to be familiar with them.

This vinyl ripped by Optical Sound in mp3 (Bitrate 320)

Strongly Recommended !!

grab and enjoy it !

Bo Grumpus - 1968 - Before The War

Bo Grumpus - Before The War (1968)

Bo Grumpu's Personnel:

RONNIE BLAKE drms
JIM COLEGROVE bs, gtr
JOE HUTCHINSON gtr, bs
ED MOTTAU gtr


This band's album was produced by the late Felix Pappalardi and includes N.D. Smart (of The Remains) on drums. Sparrow Time and Think Twice have good fuzz guitar but it's predominantly a soft folk-rock LP. Mottau, Colegrove and Blake went on to form the rockier Jolliver Arkansaw.
Jim Colegrove was originally from Springfield, Ohio, and was co-founder of Teddy and The Rough Riders, a rock'n'roll outfit who made three singles and an album for Tilt/Huron/Mega City labels in the early sixties. In '66 he was with the intrigingly named Thee Rubber Band, and the same year moved to New York to play with The Hobbitts (whether the same act as The Hobbits... is unknown). In '67 he switched from guitar to bass, and joined Bo Grumpus. Subsequently, he's recorded with Hungry Chuck, and The Juke Jumpers,. Jim's story also sees him play alongside Canadian act Ian and Sylvia, as part of their backing group Great Speckled Bird (also with N.D. Smart), Todd Rundgren, Paul Butterfield and Allen Ginsberg amongst many others. Anyone remotely interested, should check out his website, for more info:
www.dfw.net/~coolg

Ed Mottau later played with Elliot Murphy, David Peel and John Lennon on his Walls And Bridges and Rock & Roll albums.


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Wednesday, August 23, 2006

SUMMERHILL

"Summerhill" 1969 (Tetragrammaton t-114) This album goes for the kitchen sink approach, kind of like the Sundowners and Condello albums. It mixes over-orchestrated popsike with semi-heavy rock and sparkling guitar rock. The combination of styles is a bit off-putting, and by the time you get used to it you'll realize that only two or three songs really rise above, though those (especially the killer guitar pop tune "It's Gonna Rain") are very good indeed. I don't expect anyone to like the whole thing, but if you prefer a spotty album with a few great songs to a consistent one with no standouts, this is worth picking up. [AM] w*w.lysergia.com

T R A C K S
01. Soft Voice
02. Friday Morning's Paper
03. Bring Me Around
04. The Last Day
05. Follow Us
06. The Bird
07. My Way (Hard for You )
08. What Can I Say
09. It's Gonna Rain
10. Summer Days

Larry Hickman - Rhythm Guitar, Banjo
Alan Parker - Lead + Rhythm Guitar, Banjo
Del Ramos - Bass , Doug Burger - Drums
D. Briggs, D. Blumberg, C.Tugg - Keyboards
Phoote, S. Butterfly, Portebo - percussion
Rusty Young - Steel Guitar,

One and only album by late '60's USA psych band Summerhill, which was originally released in 1969. Often compared to HP Lovecraft and sometimes Euphoria (Texas) this is a lush orchestrated, melodic and dynamic album featuring atmospheric 60's psychedelic-pop/rock with diverse influences. The sound get's heavy in places with a dash of acid drenched 60's guitar based rock and weird backward effects whilst elsewhere such as during "The Last Time" there is a laid back country rock vibe. A great undiscovered album!

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Tuesday, August 22, 2006

Skip Bifferty - The Story Of Skip Bifferty

SKIP BIFFERTY - THE STORY OF SKIP BIFFERTY

WHERE JOHN LENNON lead the way, with his books like "In His Own Write", here comes Colin Gibson, 17-year-old bass guitarist with SKIP BIFFERTY, with two collections of fantasy due for publication at the end of the year.Colin's literacy---chiefly poetry, stories and drawings and entitled "Bananas and Society" and "The Last of the Fake Women"---all stem from the character after which the group is named---Skip Bifferty. He explains: "I was just doodling one day and out came this little man called Skip. I drew some cartoons of him, aimed at kids, but it seems that 30-year-old kids like him the most. Anyway, the idea caught on, and here we are---Skip Bifferty!"While Skip the cartoon soldiers on, and so do Skip the group. Watch for them on television and on disc shortly.

About the Album:
Skip Bifferty (RCA RD/SF 7941)
Skip Bifferty (album) : Well, well, well.....isn't this a goodie! A true psychedelic treasure. For fans of the poppier side of the psych sound this is must-own long player! Skip Bifferty grew out of another Newcastle group called the Chosen Few, but changed their name when trippier times arrived. They started recording the album in 1967 and finished by the end of the year, but apparantly RCA was reluctant to release it due to the poor chart action of the groups 45 releases. As I said before, an undisputed psych classic with a whole range of sounds, effects, and gimmicks, but never overdone. The songs range from the social commentary Kinks type track, "Jeremy Carabine" to the heady , ultra - psych drum-laden sound of "Guru" and back again to the pop sound of "Money Man". Almost all the songs feature a complicated mix with guitars and voices switching back and forth, coming and going, etc. Throw in some good harmonies, imaginative arrangements and a good measure of hipness and you've got a great record.

Skip Bifferty--The Story Of Skip Bifferty (Sanctuary/ Castle CMEDD 518) 2003 2CD

Musicians:
Graham Bell: vocals (all)
Mickey Gallagher: keys (1-37)
Tommy Jackman: drums (1-35)
Colin Gibson: bass (all)
John Turnbull: guitar, vocals (1-37)
Alan Hull: vocals (21, 22)
Paul Nicholls: drums (36, 37)
Pete Kirtley: guitar (38-40)
Kenny Craddock: organ (38-40)
Alan White: drums (38-40)

Produced by Vic Smith (a.k.a. Vic Coppersmith-Heaven) (1-14, 16, 17), Ronnie Lane (15), Guy Stevens (36, 37), Alan Price (38, 39)
Engineered by Roy Thomas Baker (16, 17)
Compiled by John Reed and David Wells

Tracks:
Disc 1 - The Album
1. Money Man [Bell/Turnbull/Gallagher/Gibson/Jackson]
2. Jeremy Carabine [Bell/Turnbull/Gibson]
3. When She Comes to Stay [Turnbull/Bell]
4. Guru [Bell/Gallagher]
5. Come Around [Bell/Gallagher/Turnbull]
6. Time Track [Bell/Turnbull]
7. Gas Board Under Dog (Part 1) [Bell/Turnbull/Gallagher]
8. Inside the Secret [Bell]
9. Orange Lace [Bell/Turnbull]
10. Planting Bad Seeds [Smith/Gallagher/Turnbull/Bell]
11. Yours for at Least 24 [Bell/Turnbull/Gallagher]
12. Follow the Path of the Stars [Smith/Bell/Gallagher]
13. Prince of Germany the First [Gibson/Turnbull]
14. Clearway 51 [Bell/Gibson/Gallagher]

Bonus tracks
15. Man in Black [Gibson/Bell/Turnbull/Gallagher; arr. Steve Marriott]
16. On Love [Gibson/Bell/Turnbull/Gallagher]
17. Cover Girl [Gibson/Bell/Turnbull/Gallagher]
18. Happy Land [Gibson/Bell/Turnbull/Gallagher]
19. Reason to Live [Gibson/Bell/Turnbull/Gallagher]
20. Round and Round [Gibson/Bell/Turnbull/Gallagher]

Alan Hull/Skip Bifferty
21. This We Shall Explore [Gibson/Bell/Turnbull/Gallagher]
22. Schizoid Revolution [Gibson/Bell/Turnbull/Gallagher]

Disc 2 - BBC Sessions
23. The Hobbit [Turnbull]
24. Man in Black [Gibson/Turnbull/Gallagher/Bell]
25. Once [Gibson/Bell/Turnbull/Gallagher]
26. Aged Aged Man [Gibson/Bell/Turnbull/Gallagher]
27. Higher Than the Clouds [Gibson/Bell/Turnbull/Gallagher]
28. The Lion & the Unicorn [Gibson/Bell/Turnbull/Gallagher]
29. Disappointing Day [Gibson/Bell/Turnbull/Gallagher]
30. Money Man [Gibson/Bell/Turnbull/Gallagher]
31. I Don't Understand It [Gibson/Bell/Turnbull/Gallagher]
32. Don't Let Me Be Understood [Benjamin/C/M]
33. In the Morning [Gibson/Bell/Turnbull/Gallagher]
34. Follow the Path of the Stars [Gibson/Bell/Turnbull/Gallagher]
35. When She Comes to Stay [Gibson/Bell/Turnbull/Gallagher]

Heavy Jelly
36. I Keep Singing the Same Old Song [Gibson]
37. Blue [Bell]

Griffin
38. I am the Noise in Your Head [Kirtley/Gibson/Craddock]
39. Don't You Know [Kirtley]
40. Shine (BBC Session) [Bell/Gibson/Craddock]

Notes: (***) Tracks (20)-(22) and (40) are previously unreleased. I presume the writing credit on track (1) is in error and should be Jackman rather than Jackson.

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CD1 CD2