01-10-06 - 08-10-06

Saturday, October 07, 2006

Geeza - 1977 - StreetLife

Geeza - 1977 - StreetLife

(Australian Hardrock)

track list:
01 Sydney City Ladies
02 You Can't Do That
03 Song To Warilla
04 Streetfighter
05 Dragon Queen
06 Run 'N' Hide
07 Too Much Goin On Here
08 The Jean Genie

LINE UP
Terry Halliday (vocals)
Gabriel Vendetti (guitar)
Lee Martin (bass)
Alan Fraiel (drums)

This band only did the one album but it has some brilliant songs. The cover of Bowie`s Gene Genie is the best i`ve heard. Hope you enjoy the album.

Link-
http://rapidshare.com/files/9389749/Geeza_1977_StreetLife.rar

Posted by Sadness

Friday, October 06, 2006

V.A. - Aliens, Psychos and Wild Things

Aliens, Psychos And Wild Things Vol. 1

01. Satellites - When Will You Stay
02. Satellites - The Next Boy
03. Wild Cherries - I Cried Once
04. Wild Cherries - Baby, Baby
05. Heart Attacks - Babba Diddy Baby
06. Swinging Machine - Do You have to Ask
07. Swinging Machine - Comin’ on Back Home
08. Lenis Guess - Workin’ for My Baby
09. Wild Thing - Weird Hot Nights
10. Swinging Machine - Do You Have to Ask
11. Proverbial Knee Hi’s - Crying for Her
12. Proverbial Knee Hi’s - Watch Out
13. Rude Awakening - A Certain Girl
14. Denis and the Times - Flight Patterns
15. Reactors - 1-A
16. Banana - There She Goes Again
17. Banana - She’s Gone
18. Dean Kohler - Gooseberry Pie
19. Beachnuts - What Makes You think
20. Psychos - Black River
21. Aliens - Love Someone
22. Journey Back - Runaway Baby
23. Journey Back - Synthetic People
24. New Directions - Springtime Lady
25. Steve Peele Five - Frankie’s Got It!
26. New Directions - Springtime Lady

This compilation follows in the vein of many similar regional '60s garage/psych collections that surfaced towards the end of the 20th century, thanks to a combination of ever deeper interest in obscurities and the general proliferation of cheap CD runs for a small but obsessive market. Like the best of the bunch, from Nuggets on down, a combination of liner notes, photos, and general stories provides a good amount of the appeal. This particular disc focuses on bands from the Tidewater area of Virginia, named after three of the groups featured here. All are pretty well unknown outside of the occasional appearance on a similar comp or two, and generally speaking the performances are an obvious mix of derivative originals and good-spirited covers dedicated to raising a fun cheap racket, like so many other regional hits and misses of the era. So coming to this for revelations isn't at all a good idea, but listening in for the heck of it often turns up some rough and ready fun. The higher octane numbers make this a good party disc and the various ballads are sweet enough, and as the compilers are proud to say, it's different from the regional "beach music" that the area is known for. Wild Thing are probably the most notable of the bunch, not only for their mighty fine "Weird Hot Nights" (dig the crazed laughs on the breaks) but their utterly insane look of huge silver pompadours and general alien decadence. It must have taken sheer chutzpah to even think of a look like that in 1966. Another noteworthy cut is from the Electrical Banana -- it's a fair cover of "There She Goes Again" by the Velvet Underground that suddenly breaks into a peppy, kick-up-your-heels ending. Not only was it probably one of the first remakes of that band ever, the actual recording was done via a gas-generator powered deck in Vietnam, where bandleader Dean Kohler, veteran of the Satellites (also featured on this collection) had ended up to serve his tour of duty! ~ Ned Raggett, All Music Guide


Aliens, Psychos And Wild Things Vol. 2

01 The Panics - No More
02 Live Wires - Scrambled Eggs
03 The Roaches - Someone With A Heart
04 Miller Brothers - Jump,Jack,Jump
05 Smacks - Reckless Ways
06 Smacks - Nobody Else Is Gonna Do
07 Smacks - There'll Come A Day
08 The Flys - The Way Things Are
09 Nite Beats - You're A Better Man Than I
10 HazzardsHey Joe -
11 The Barracudas - I Can't Believe
12 The Escorts - My Only Love
13 Phantom - I Want To See Her Cry
14 Minuteman - Why Do I Cry?
15 Uprisers - Let Me Take You Down
16 Uprisers - Nine To Five
17 The Changing Times - Go Your Own Way
18 The Changing Times - Keeper Of Souls
19 Kool Kuzzins - Love Can Be True
20 Sound On Sound - Girl You've Got To Turn Me On
21 Shades, Inc. - Fragile Fruit
22 Creations - Better Watch Out
23 Creations - I'm Mad
24 Creations - Soul And Feelin'
25 Creations - To Whom It May Concern

Like the first compilation in this series, the focus of this collection of regional garage/psych singles from the '60s covers Virginia, in this case looking more at the north of the state, near the D.C. area and elsewhere. As with the predecessor, it's a fun labor of love -- besides packing the disc full of goodies, including a slew of never released cuts, the compilers have a lot of photos and band stories to offer. One statement says it all: "True fans want the human side, not just the sides on old 45s." There are a few numbers that cropped up elsewhere, but the liner notes promise cleaner transfers and indeed everything sounds pretty darn good throughout, given both the recording conditions and the need to transfer from vinyl at points. The general musical flavor remains pretty much the same -- there's nothing really deathless throughout the 25 songs on the compilation, but all the vaunted energy and good times ascribed to the American garage explosion has a fine echo here. Standouts include the nervy "Jump, Jack, Jump" by the Miller Brothers, with some just threatening enough vocals on the verses, and a fairly echoey but still excitable enough take on the Yardbirds' "You're a Better Man Than I" by the Nite Beats. There are a lot of numbers that were clearly designed first and foremost for the local dances and gigs just about all these bands thrived on -- the Live Wires' "Scrambled Eggs" and the murkily recorded but still sharp "Let Me Take You Down" by the Uprisers are two good examples. Two brothers, Larry and Stanley Burnell, crop up in a number of bands and as producers along the way -- being a pretty good rhythm section obviously made their services in demand! ~ Ned Raggett, All Music Guide


Aliens, Psychos And Wild Things Vol. 3

01 Shades, Ltd. - Frog Hunt on Mars
02 Del-Fi's - Now It's Time
03 Perpetuated Spirits of Turpentine - I'm a Lucky Guy
04 Perpetuated Spirits of Turpentine - I'm a Double Naught Spy
05 Rejects - Just a Little Bit of You
06 Wanted & Co. - Why
07 IV Pak - Whatzit
08 Lost Souls - Minds Expressway
09 Lost Souls - For You
10 Changing Tymes - The Only Girl I Love
11 Banana - I'm a Man
12 Clover - Way She Smiles
13 Baracudas - Days of a Quiet Sun
14 Bosom Blues - Hippie Queen
15 Morning Disaster - Song of Innocence
16 Morning Disaster - Black Leather Books
17 Morning Disaster - Urban 44
18 Velvet Haze - Last Day on Earth
19 Shirley Hughey - Pink and Green
20 Plague - Cherry Road
21 Wilson Castle - Party
22 Wilson Castle - The Greatest Moments
23 Wilson Castle - Instrumental

The third installment of Arcania International's exhaustive overview of Tidewater/Richmond Virginia garage and psych from the mid-'60s is chock-full of bands that -- well -- no one has ever heard of. Like the folks at specialty labels like Gear Fab and Norton, Arcania recognizes the appeal of unknown, unsigned bands from yesteryear. And though much of this material is extremely lo-fi (Velvet Haze's fuzz-drenched "Last Day on Earth") and amateurish (Banana's disastrous "I'm a Man"), there are several gems to be found. Some tunes, like Wilson Castle's "Party" and The Bosom Blues Band's "Hippie Queen" reveal legitimately sincere attempts at musical sophistication, posing the question; what could some of these bands have accomplished with a skilled producer and first-class recording gear? The surprisingly good CSN&Y-soundalike psych-ballad, "Cherry Road," by a band called Plauge is just another fine example of this. What is, perhaps, most interesting about these bands, though, is to hear their imitation of the more popular sounds of the day. Shades of the Animals, Yardbirds, Jefferson Airplane, Iron Butterfly, and the Byrds are clearly evident. And while this collection proves that a fuzz box in the wrong hands -- or at the wrong feet -- can be a room-emptying disaster, there is no denying the exuberance, innocence, and bittersweet naivete of rock's under-the-radar bands of the 1960s. Compilations such as this, however, are perhaps most interesting to the un-initiated as -- at best -- social anthropology. This is not for the average vintage rock enthusiast, but dive right in if you are looking for something slightly strange but surely fun. ~ John Duffy, All Music Guide

Thursday, October 05, 2006

Chad & Jeremy - Of Cabbages And Kings - 1967

Album Review It is said that finding someone who has actually listened to this album is harder than locating the rabbit hole that led Alice down into Wonderland. The '60s were indeed a wonderland in musical terms, especially when one got past the middle of the decade, at which point any recording artist with a contract was expected to create a deep, complex, and provocative masterpiece that could be compared to Sgt. Pepper's Lonely Hearts Club Band. It is ironic that the entire second side of this late-period Chad & Jeremy album would be entitled "The Progress Suite," since for most listeners the music on this album hardly represented any kind of progress. This duo had been known for their beautiful harmonies and romantic, wistful music. Many a teenage couple had held hands to the sound of these British lads crooning the lines "Trees, swaying in the summer breeze." A case could be made that the efforts of Chad & Jeremy were just as important to the ambience of early-'60s radio as Mick Jagger and the lads, but the only kind of hands being held when it comes to Of Cabbages and Kings might be someone preventing someone else from putting it on. Yet it really isn't all that bad. True, it would be a lie of the first order to call it a masterpiece, which is often the temptation when a listener cradles the attractive cover in one's hand or thinks about what nice personalities these two performers seem to have. The biggest problem with the record is not that it aspires falsely toward greatness, but that the music composed by Jeremy Clyde and arranged and scored by Chad Stuart sadly lacks what is sometimes referred to in composition class as attractive melodic kernels. The writing tends to be drab and, worse, sounds like something one has heard thousands of times already. And this is really quite remarkable, considering the amount of trouble the artists went to gaudying it up with all manner of orchestral trickery, all professionally done and sounding crystal clear in the mixes. Chad Stuart might write "big deal" on the liner notes under his credit for playing a variety of string and keyboard instruments, but it is something of a big deal when the performer in question was thought of previously as "just" a cute guy with a good voice and cool glasses. He is talented, and took on much work putting together the arrangements throughout this album. The end result is similar to, for example, the music performed by the high school orchestra at the conclusion of the film Mr. Holland's Opus. Or it may remind some of a performance by their own high school orchestra doing an original composition by everyone's favorite professor. The influence of the Beatles is a bit much, as some of the music is almost directly lifted from "A Day in the Life" and "Eleanor Rigby." One might also want to blame the Indian music influence on the Fab Four as well, but other listeners may find Chad Stuart's use of sitar as a regular part of the orchestra diverting, and perhaps even more relaxed than the Beatles' own blotting up of classical Indian influences. The song material that enters off and on through the long suite has some effective moments, as well as showing the vocal timbre and harmony singing style that made this duo popular in the first place. There is also skilled use made of various sound effects and voices, none of which makes the material any less pretentious. The set of songs on the first side also doesn't slouch when it comes to ambition, mixing in a variety of pop music styles, including some heavy guitar. There is excellent bass playing throughout the record, sometimes pushed to the top of the mix. One of the songs is written by James William Guercio, a musically pompous character who went on to great success with Chicago -- the band, not the city. In summation, the album seems to make a case for tolerance; repeated listening with an open mind will reveal more substance here than might seem the case based on the type of quick dismissals this record often gets. But only an extremely tolerant individual, with lots of time on their hands, is going to bother. The 2002 CD reissue on Sundazed adds five bonus tracks, including the single versions of "Rest in Peace" and "Painted Dayglow Smile" (the latter of whose LP version appeared on the 1968 album The Ark, not Of Cabbages and Kings); the 1968 single "Sister Marie"; a previously unissued instrumental version of "The Gentle Cold of Dawn"; and the previously unissued Jeremy Clyde originals "Manners Maketh Man" and "Cautionary Tale," both recorded in September 1966, a few months before any of the material that made it onto Of Cabbages and Kings. ~ Eugene Chadbourne, All Music Guide

Chad & Jeremy - Of Cabbages and Kings 1967 (2002 Bonus Tracks)

1 Rest in Peace (6:50) 2 Gentle Cold of Dawn (3:53) 3 Busman's Holiday (3:27) 4 Can I See You (3:50) 5 Family Way (2:49) 6 I'll Get Around to It When and If I Can (2:43) 7 Progress Suite: Prologue (5:51) 8 Progress Suite: Decline (4:09) 9 Progress Suite: Editorial (2:58) 10 Progress Suite: Fall (8:33) 11 Progress Suite: Epilogue (5:11) 12 Manners Maketh Man (*) (2:15) 13 Cautionary Tale (*) (1:37) 14 Gentle Cold of Dawn (*)(Instrumental) (3:43) 15 Rest in Peace (Single Version)(*) (3:20) 16 Painted Dayglow Smile (Single Version)(*) (2:31) 17 Sister Marie (*) (3:00) Album Credits Chad Stuart Arranger, Score Gary Usher Engineer Jud Cost Liner Notes Bob Irwin Mastering Don Thompson Quartet Engineer Kip Smith Mastering Joyce Rainboldt Cover Photo Tim Livingston Project Manager Jeff Smith Design Stephanie Kennedy Production Coordination Bill Dhalle Design Tom May Engineer Jeremy Clyde Performer Chad & Jeremy Main Performer

GRAB IT 1 2

Janis Joplin - 1968 - Live at Winterland

Great live album! But, unfortunately (or fortunately), Janis live and Janis in the studio are exactly the same thing.

Janis Joplin (Big Brother & The Holding company) - 1968 - Live at Winterland
part I
part II

Track 8

Track listing:
01) Down On Me (version 1)
02) Flower In The Sun
03) I Need A Man To Love
04) Bye Bye Baby
05) Easy Rider
06) Combination Of The Two
07) Farewell Song
08) Piece Of My Heart
09) Catch Me Daddy
10) Magic Of Love
11) Summertime
12) Light Is Faster Than Sound
13) Ball And Chain
14) Down On Me (version 2) Big Brother mostly built their reputation on live shows, playing lots of venues in San Francisco and all over the States, so that they didn't even bother about recording their new material properly in the studio (Cheap Thrills mostly consists of live material). Therefore, this album can easily serve you as a good substitute for both of their original LP's, as well as for the later Farewell Song: practically all of Janis' big hits and lots of smaller, but none the less interesting tunes are included. The CD is actually a complete recording of their two shows played in Mid-April at Winterland, San Francisco, with everything to recommend it and practically nothing to despise about it. The sound quality is quite tolerable, maybe even excellent at times. The only possible pick is that there are two versions of 'Down On Me' on here - opening and closing the album; but this, together with all the stage banter, even the most boring bits of it, being preserved, only confirms the idea that both of the sets are included in their completeness - a thing rarely cared about by record companies.

Chronologically, this is the band's next album after the self-titled one, and it's really important, because this is the era when Janis finally made the ultimate transgression and got completely loose on stage. Both shows are rather short, with seven songs in each performance, but it's fairly obvious every such show had to leave the poor girl completely exhausted, and not just because it was hard to get her lungs overcome the double guitar distortion, of course. This is where Janis becomes the unstoppable live monster, the 'give-it-yer-all' epiphany of American rock, together with Hendrix.

TRUTH - OF THEM & OTHER TALES

TRUTH

OF THEM & OTHER TALES
Part I
Part II

I was surprised to learn that this magnificent CD, one of the best retrospective releases of the mid-1990s, is still in print. Apparently a second run was made for a licensing deal which then fell through, leaving the good people at Epilogue with a big stack of CDs for a release that had already run its course on the home market. The good news is that 8 years down the line a new generation of heads have an equal opportunity to jump into this exhilarating roller coaster ride of west coast-style guitarpsych at its finest. TRUTH is one of the more obscure twigs on the amazingly vast tree that grew out of a 1964 Belfast hoodlum r'n'b act first (and last) known as Them. You've heard the great Van-era recordings, the even greater Belfast Gypsies recordings, the inconsistent but occasionally brilliant Texas-era recordings -- but prior to this CD you're unlikely to have heard this Chicago-based franchise, featuring guitarist Jim Armstrong and vocalist Kenny McDowell from the Belfast/Texas incarnations of the band, lured back to the US by a music biz impresario circa 1969. The ex-Themers teamed up with two local musicians and Truth was born, rehearsing like crazy and playing local Windy City gigs with some success. I'll refer to John Berg's very detailed liner notes for the full story and move on to the music. The bulk of the 14 songs contained on the CD are 1969 recordings made for a movie titled "College For Fun And Profit" in which the band can actually be spotted in one scene. The remaining tunes come from a 3-track acetate recorded for a prospective Epic LP that never happened. According to Jim Armstrong "Truth was the best band I ever played in. There was no pulling in different directions". It's not hard to believe him, because that's what Truth sounds like -- skillful musicians delivering music that radiates warmth, harmony and synchronization. If this sounds a bit like vintage Grateful Dead then all the better, because there is a distinct similarity between the Dead of, say, "China cat sunflower", and the airy, good-natured guitarpsych of Truth. Not much is said about the band's influences in the liner notes but if I were to define them in terms of a pin placed on a wall-map of the USA, the spot would be Highway 1 halfway between LA and the Bay Area. There is already a pin there, marked Stalk-Forrest Group, and apart from the Dead that's one band that Truth remind me of. Impressive credentials for sure, but Truth needn't be embarrassed in this company, because their music is faultless and at its best outright stunning. So very few bands manage to play music that allows space for the members full range of versatility without degrading into prog or fusion; Truth manage to do so and still deliver melodic, open-ended music. The opening "Music is life" is a program declaration as good as any; complex rhythms and bold chord shifts, yet as inviting as a Byrds 45 with McDowell's joyful vocals setting the tone for all that follows. "6 O'Clock Alarm" is your standard white-collar grind lament except with a 5-minute Garcia/Lesh-style jam in the middle, before the vocals pull you back to planet Earth. I have to refrain myself from describing every track in detail but all of it progresses along the superb '69 Dead/Stalk-Forrest axis described above; an exquisite sitar track adds a foreign flavor, while the 10-minute revisit to the Texan Them's "Square room" shows just how good raga rock can be if done with serious intentions -- like a sequel to "East-West" by the Butterfields 3 years earlier. There is another great track called simply "HIGH!" which is how you feel when hearing it, and a take on "Circle round the sun" that suits the band very well. The CD closes with the 3 tracks off the aforementioned acetate, and they're just as swell, bringing in organ and flute and a slight British influence (think Traffic) to produce one of the very best tracks on the entire CD, the powerful "Castles in the sand" that is likely to blow anyone's head off. There is some very minor surface noise on the acetate tracks while the earlier recordings are crystal clear and can be played loud as fuck! Most of the unreleased 1960s-70s stuff that appears is disappointing and shows mainly why it wasn't released in the first place, but this Truth CD is the perfect antithesis of that cynicism -- just like Stalk-Forrest Group it's better than almost anything that WAS released at the time. from lama reviews

PS THANKS TO NIKOS FOR THE INFO

Wednesday, October 04, 2006

Teen Trash Series

This series full of independent newcomer-bands from all over the world, with one foot in the 60's and the other in the year 2000. A tribute to a cult that refuses to die. Cover artwork has been drawn by RUDI 'ACTION' PROTRUDI of the 'fabulous' FUZZTONES; the first eleven releases show you a typical drive-in movie theater in the usa out of the best days of rock 'n' roll, the second TEEN TRASH cover will scare you with a monstereous cover out of the best days of 50's B-movies.
My aim is to support all those local new acts, so they are able to present some vinyl or CD's to a much wider audience, than just the area where they come from. please find below a listing of all available TEEN TRASH products so far, hopefully to be continued..........

[because this post is to big......
I remove it HERE]

Enjoy !!!

Dave Bixby - Ode to Quetzlcoatl

Moody drug damage reflections loner xian folk psych.

lp (70?, no label D-24 700320) Ode to The Quetzalcoatl [3?]


01. Drug Song
02. Free Indeed
03. I Have Seen Him
04. Mother
05. Morning Sun
06. Prayer
07. Loneny Faces
08. Open Doors
09. 666
10. Waiting For the Rains
11. Secret Forest
12. Peace

[ Strange enchanting dreamy acoustic custom of slow melodic tunes sleepily adrift in a hazy stereo-echoed blur of ethereal guitar work and sedated vocals, heavy on the lost loner “real people” vibes. Bixby’s story is detailed on the back cover – how he destroyed his life with substance abuse (recounted in ‘Drug Song’), cried out to God for his sanity, and eventually received a testimony of Jesus Christ. Ode To Quetzalcoatl contains twelve of his post-conversion songs, featuring titles like ‘Free Indeed’, ‘I Have Seen Him’, ‘Morning Sun’, ‘Open Doors’, ‘666’ and ‘Waiting For The Rains’. Occasional cosmic weirdity in the lyrics, as on ‘Prayer’ (“pick out a cloud, and speak very loud, and that cloud will be yours forever”). Sometimes joined by a second guitar, plus onetime appearances of harmonica (‘Secret Forest’) and spacey flute (‘Peace’). The mysterious album title reference to the ancient Mexican serpent god isn’t explained anywhere, nor is it mentioned in any of the songs. Some highly unusual yet very captivating stuff here, guaranteed to make yourself ask “where is this guy coming from?”. -- Ken Scott, Archivist ]

I've been on a mild "'70s Jesus hippies" kick lately; there's the same post-apocalyptic comedown quality that's on all the folk records of the time, but some of the Jesus music is especially morose, not like today's "haha you blue-state pussies, WE WON (burrrrrrp)" cheerleaders for Team Goodbook. No, actually, with Bixby being a loner and all, it's not surprising that Quetzalcoatl is pretty solipsistic and self-absorbed -- if he were coming of age in the '80s instead, surely he'd be cutting his musical teeth doing covers of "Sanitarium" and "How Soon is Now?" at open mic nights.

The link
Ode to The Quetzalcoatl

Tuesday, October 03, 2006

The Chesterfield Kings

Who Are the Chesterfield Kings?

During the late 70's and early 80's while most bands were trying to ride the New Wave, Rochester New York's Chesterfield Kings set their own course into the past... destination 1966. Since their first single ("I Ain't No Miracle Worker" b/w "Exit 9" Living Eye Records, LSD-1), released in 1979 on their own Living Eye label, the Chesterfield Kings main objective has always been to record their own collectible garage 45's. With a repertoire recognized by only a handful of 60's garage-rock-fanatics, and by keeping the early pressings small (only 500 of the first single, a mere 50 of the third), the Kings not only have achieved their goal, but in the process became the pioneers of the then flourishing garage rock revival, and continue to this day to raise the bar on the once again reborn scene.

The first release was followed in 1981 by a track on Greg Shaw's Bomp Records compilation Battle of the Garage (1981Bomp Records). Walking away with the "Battle" crown the Kings traveled from Rochester, for what would be a series of dates at the Peppermint Lounge in New York City, where they would carve out their statue, educate the next crop of bands, and draw the praise of rock journalists and New York "hipsters" alike.

1982 Here Are the Chesterfield Kings


01. Hustler
02. You Better Look Now
03. Outside Chance
04. Little White Lies
05. Won't Come Back
06. I'm Going Home
07. Expo 2000
08. No Way Out
09. Come With Me
10. Fluctuation
11. Satisfaction Guaranteed
12. 99th Floor
13. Time to Kill
14. 60 Second Swinger

~~~~~~~~~~~~~~~~~~~~~~~~~

1979 I Ain't No Miracle Worker [7'']

01 I Ain't No Miracle Worker
02 b/w Exit 9

Derroll Adams - Feelin Fine 1972
VTS17

Derroll, like so many of the more technically gifted performers we booked, was introduced to us by Ian A. Anderson (it was only afterwards he told us an album was about to be released on his label - joke Ian honest!).
He was born in Portland, Oregon on 27th November 1925.
Derroll was first brought to Europe by Ramblin' Jack Elliott and his wife June in 1957. They toured together for four years before Elliott returned to the States leaving Derroll to fend for himself, something he did pretty well finally marrying Danny and settling in Antwerp.
He was a man with style and presence reaching legend status in Europe with his unique banjo style. Meeting Pete Seeger after the war persuaded him to take up the banjo.

He was a friend of the stars including the Animals, Them, the Small Faces, Rod Stewart, Bob Dylan, Joan Baez and Donovan. Baez indeed made his song 'Portland Town' famous. He appeared in Dylan's famed documentary 'Don't Look Back' in 1965.
Our very own Allan Taylor wrote of Derroll: 'Though now over 70 years old, his opinions, his ideas and his street learned philosophy is as fresh and to a certain extent idealistic as a young man of twenty. He never lost sight of the dream that we all shared when we started out 'on the road'. Not for him fame or glory or money, just the joy of playing music and getting by.'
Derroll Adams passed away on February 6, 2000 in Antwerp, Belgium. He remains unjustifiably better known in Europe than in the country of his birth. Bruce Eder, All Music Guide

"This guy is what i call troubadour and a great personallity. Not psychedelic, mostly southern banjo stuff but with great meanings."

Link:
http://rapidshare.com/files/9214386/Derroll_Adams-Feelin_Fine.rar

Enjoy!!!

Sunday, October 01, 2006

The Stillroven - Cast Thy Burden Upon The Stillroven

Tracks:
01 • I'm Not Your Stepping Stone
02 • She's My Woman
03 • Hey Joe
04 • Sunny Day
05 • And My Baby's Gone
06 • Little Picture Playhouse
07 • Cast Thy Burden Upon The Stone
08 • Tell Me Have You Ever Seen Me
09 • Have You Got A Penny
10 • Cheating - (previously unreleased)
11 • Little Games - (previously unreleased)
12 • Love Is A Beautiful Thing - (previously unreleased)
13 • Under My Thumb - (previously unreleased)
14 • Signed D.C. - (previously unreleased)
15 • Come In The Morning
16 • Necessary Person
17 • Tell Me Have You Ever Seen Me - (previously unreleased, Version 2)
18 • Freakout - (previously unreleased)

The band known as the Stillroven began in the Minneapolis suburb of Robbinsdale, MN. It was 1965, and their original name was "the Syndicate," a name they thought should be changed when original guitarist Mark Moorhead left the band in 1966. The original lineup also consisted of bassist Rock Peterson, guitarist John Howarth, keyboardist Dave Dean, and drummer Phil Berdahl. When Moorhead left, they recruited Dan Kane to take his spot and changed their name, eventually recording "She's My Woman"/"(I'm Not Your) Stepping Stone" for Falcoln that year. There were only 50 copies printed for radio stations, but their next single was the first one that the public had access to. "Hey Joe"/"Sunny Day" was a hit in their hometown, but that was not enough for Peterson and Kane, who departed the same year. The band found a new bassist and guitarist in Dave Berget and Jim Larkin respectively, and soon was recording their next singles. "Little Picture Playhouse"/"Cast Thy Burden Upon the Stone" was hailed as a hallucinogenic masterpiece by garage rock enthusiasts, but the average music fan did not catch on to the regional popularity they enjoyed in Minneapolis. Their manager moved to Tucson, AZ, where he continued to guide their career from a distance. Larkin and Berget left the band as quickly as they came, being replaced by bassist Mike Flaherty and guitarist Mike O'Gara. They recorded a fourth single under this lineup, "Come in the Morning"/"Necessary Person," but after the first 100 copies printed there was enough internal dissension to have "Come in the Morning" pulled from the single and replaced with a cover of the Small Faces' "Tell Me Have You Ever Seen Me." This would be the last release from the band, as they quietly broke up toward the end of 1968. A career retrospective, Cast Thy Burden Upon the Stillroven, was released in 1996 to appease garage band enthusiasts who had been waiting for more material from the group. The album included many unreleased songs, as well as a few tracks that were originally on compilations. Rumor has it that the band has an entire album recorded from 1968 that has never seen the light of day, and Sundazed Records has even promised a release of the album. ~ Bradley Torreano, All Music Guide