29-10-06 - 05-11-06
Friday, November 03, 2006
The Meanie Geanies
The Meanie Geanies - 1998 - I'm On My Way [single7'']
01 I'm On My Way
02 You Left Me Blue
The Meanie Geanies - Live [02-02-2004]
01 Won't Be By Your Side
02 Every Night
03 Love Has No Tyme
04 Anglo Girl Desire
The Meanie Geanies , the only New Greek 60's garage girl band, were formed in the Spring of 1996, in Athens/Greece, by girls that shared the same love for the mid 60s spirit, music, styles, movies and philosophy. They got their name from Tony Brook's and The Breakers song named “Meanie Geanie”, when they listen to it played as a cover from their favourite band The Sound Explosion.
A female 60's Garage - Punk band was the dream and Meanie Geanies is the dream came true. Their music was a mixture from the innocent and primitive 60's Garage!!! Back From The Grave style, row surf and moody 60's punk.
The band's sound was the… purest possible, using equipment and recording techniques straight from the 60's. .
Meanie Geanies performed in several live shows with bands like Cardinals , Walking Screams and Outtasites . At the end of 1998, after some necessary changes in formation , they recorded their first 7” 45 rpm single for Action Recs (I'm On My Way / You Left Me Blue ) and in 1999 they stopped playing together . After that , the singer and the Farfisa player made another band ( Six Tin Trash) and the bassist formed the Teardrops. In spring of 2002 they met again (!) deciding to reform M eanie Geanies.
Since then they have performed in several live shows with many international bands like Fuzztones , Electralane , Sky Saxon & The Seeds as well as with main Greek bands like Sound Explosion , Frantic V , Psykicks , Teardrops in the greatest live spaces ( Gagarin , Mylos, An Club… ) and festivals ( Garage Festival , Vavel Comics Festival , Indie Free Festival ...). In the last three years they have visited several cities all over Greece for performing ( Thessaloniki , Komotini, Florina, Agrinio, Kalamata …).
In July 2005, they recorded their first LP ( Bloody Date ), that would be released in late 2006 . Recently they recorded a live bootleg in order to present their favorite covers . The title of this release could not be other than … Cover Ups !.
Their sound is more wild and primitive than ever before, full of swirling farfisa sound, tons of fuzz, pounding drums, screams and tambourines!
The Meanie Geanies are :
Mary Jane : Vocals, screams, tambourine
Eve deVille : swirling Farfisa organ
Angel LoVerde : fuzz Guitar, backing vocals
Nandia Insane : Bass, backing vocals
Rigo Starr : pounding Drums
Thursday, November 02, 2006
Dr Z - Three Parts To My Soul - 1971
Review:This album is quite a concept. I guess you really have to be a professor to write such lyrics and know so much about "the voyage of the soul" and the afterlife. Musically, this record reminds me of early Black Widow stuff, but with some exceptions. The voice of the singer sounds more sinister and pissed off, or evil for that matter, on this record. The voice is sung double on the tracks "Evil Woman's Manly Child" and "Burn In Anger". By double I mean one ordinary voice and one whispering one. The whispering one is quite creepy. Also, the music is of course very harpsichord dominated (since no guitar is used), and that gives this band their own sound in a way. There are actually some flute (may be a keyboard-flute) on the song "Burn In Anger", which is quite a nice touch. The song "Spiritus, Manes Et Umbra" has a cool intro, with a choir (echo) voice singing "Spiritus, Manes Et Umbra" over and over again. Later the track falls apart by a long, uninteresting drumming part, like a drum solo that goes on for 5 minutes...it is far from the best part of this album. The best part is saved to the last track, "In A Token Of Despair", which is a pretty, calm and peaceful song. It also includes some choir parts where the soft choir (echo) sings "Dies Irae, Dies Illa" - my favorite part of the album. Very beautiful.... In all I would recommend this album if you like what you've read here, might be interesting to give it a listen. B. E. Eide
V.A. - Greasy Truckers Live at the Dingwalls
Greasy Truckers Live at the Dingwalls
Dingwalls Dance Hall, Camden Lock, on October 8th 1973
SIDE 1
CAMEL
God of Light Revisited (Parts One, Two and Three)
SIDE 2
HENRY COW
Off The Map
Cafe Royal
Keeping Warm In Winter
Sweet Heart Of Mine
SIDE 3
GLOBAL VILLAGE TRUCKING CO.
Look Into Me
Earl Stonham (The Gunslinger)
You're A Floozy Madame Karma (But I Love Your Lowdown Ways)
Everybody Needs A Good Friend
SIDE 4
GONG
General Flash Of The United Hallucinations
Floating Anarchy (Part 32)
Part I
Part II
Info Here
Labels: Opa-Loka, Various Artists 
Chris Lucey - Song Of Protes And Anti-Protest
Ripped By @rcadium @320kbps from cd.
Chris Lucey
Personnel:
ROBERT PARKER JAMES aka CHRIS LUCEY/BOBBY JAMESON hrmnca, vcls A
ALBUM:
1(A) SONGS OF PROTEST AND ANTI-PROTEST (Surrey SS 1027) c1965/6
NB: Mono and stereo versions exist. There were also two different label colors: red and purple, red being the somewhat rarer one and the purple label crediting "Chris Ducey". Mint copies can fetch upwards to $150-300. (1) also issued in the UK as by Bobby Jameson, but entitled Too Many Mornings. Also issued in Canada, some copies say "Chris Lucey" on cover and labels, some say "Chris Ducey" on cover and labels!
Robert Parker James was born in Tucson, Arizona but took the pseudonym Bob Jameson and was most likely based in California. In the US, this album was released under the alternative pseudonym Chris Lucey, but in the U.K. it was released as Too Many Mornings as by Bob Jameson. Produced by ex-surfer Marshall Lieb and issued in the U.S. on the same budget label as The Leaves debut, no info is given on the cover other than the picture of a Byrd look-alike with his mouthharp(*). The album also includes an excellent version of Girl From The East similarly featured on the Leaves album.
The music is laidback folk/rock with echoes of Byrds, Tim Buckley, Steve Noonan and Lovin' Spoonful. Many of the songs feature charming guitar parts, dreamy arrangements, jazzy even Lee Underwood-ish backing. Some of the highlights are I'll Remember Them and Girl From Vernon Mountain, both of which are excellent introspective pieces. Most of the album is filled with a haunting atmosphere and all the tracks are originals.
Collectors may wish to note that the Mono copies differ considerably to the Stereo ones.
Surrey was a sort-of subsidiary label of VeeJay operated by their West Coast promo team, led by Randy Wood and Steve Clark (the link between BJ and Boettcher). They cut Hoyt Axton and various others on the budding folk-rock club scene in L.A. According to Axton, he went over to the office one day, and everything was gone, even the desks and chairs!
Jameson's records were promoted by Tony Alamo, who also worked with many other artists and John and Bobby Kennedy. L.A. musician Denny Bruce recalls: "To introduce Bobby Jameson to the 'industry' Tony Alamo took out a 7-page fold out ad (four color in Billboard) that showed Bobby standing on top of a limo somewhere on the Pacific Coast Highway. With the ocean in the background, so he was not lit, you just saw this guy with a cowboy hat, with his staff next to the limo: very much like the Village People- wearing the very obvious uniforms of their jobs: chef, nurse, barber, bodyguard, driver, etc. There were at least 10 of them. Tony arranged for Bobby to be the opening act for another new act that had signed to Atlantic and were getting a buzz. The showcase was to be at lunch time, so with food being served, everyone came. The act was Caesar and Cleo, wearing togas with olive wreaths in their hair. They of course, became Sonny and Cher. They went on first. Needless to say, when Tony took the mike and had Bobby backlit, behind some see-through screen and was saying "Ladies and gentlemen, here's an act that can act as well as James Dean, sell as many records as the Beatles, on and on, everybody got up and started walking out while a four-track demo was playing, with Bobby is lip-synching to an almost empty house."
NB: (*) This picture, according to Denny Bruce, was actually a photograph of Brian Jones, pictured at a Hollywood club called 'The Action'.
(Claus Frisenberg Povlsen/John Paul Jones/Michael Johnson/Joe Foster)
Track List
01 That's The Way This World Has Got To Be
02 I'll Remember Them
03 Girl From Vernon Mountain
04 I Got The Blues
05 Saline
06 That's The Way This World Has Got To Be (Part Two)
07 With Pity, It's Too Late
08 You Came, You Saw, But You Didn't Conquer Me
09 Girl From The East
10 Don't Come Looking
Bonus tracks never before released:
11 Metro Man
12 There's a War Going On
13 Insecure Little Person
14 World War 3
Enjoy
Wednesday, November 01, 2006
V.A. - Greasy Truckers Party
Chalk Farm, The Roundhouse, London
13th February 1972
SIDE 1
MAN
Spunk Rock
SIDE 2
MAN
Angel Easy
MAN:
Martin Ace--Bass guitar, Vocals
Michael Jones--Guitar, Vocals
Roger Leonard--Guitar, Vocals
Terry Williams--Drums
ANDY DUNKLEY (Speech Only)
POWER CUT
BRINSLEY SCHWARZ
Wonder Woman
It's Just My Way of Saying Thank You
I'm Ahead If I Can Quit While I'm Behind
SIDE 3
BRINSLEY SCHWARZ
Midnight Train
Surrender To the Rhythm
Bob Andrews Keyboards, Vocals
Billy Rankin Drums
Nick Lowe Bass, Vocals
Brinsley Schwarz Guitar, Vocals
Ian Gomm Guitar, Vocals
MAGIC MICHAEL
Music Belongs to the People
SIDE 4
HAWKWIND
Master of the Universe
Born to Go
HAWKWIND
Bob Calvert: vocals
Dave Brock: guitar, vocals
Lemmy: bass guitar, vocals
Nik Turner: saxophone, vocals
Dik Mik: audio generator, electronics
Del Dettmar: synthesisers
Simon King: drums
Stacia: mime & dance
Get It Here !!!
part I
part II
Info Here
Labels: Opa-Loka, Various Artists
Tuesday, October 31, 2006
The Wylde Mammoths - Go Baby Go
"The Wylde Mammoths" -a swedish 80s garageband sounding like an original 60s one- released two albums on the American label, Crypt Records. Crypt, had up to that point in time, solely released different compilations with the obscure sixties-bands, for instance "Back from the Grave". When Tim Warren (from Crypt), heard "The Wylde Mammoths" for the first time, he was totally knocked out and realised he had to help out the band. "The Wylde Mammoths" made two LPs and a handful of singles before they called it a day.
Discography
7”s
Four Wolly Giants EP, Mystery Scene Records, 1986
Tracklist:
All The Birds Are Gone/I’ve Been Hurt (And She Don’t Care)/I Got You/You Gonna Need Me When I’m Gone
Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Johan Maniette, drums
Help That Girl EP, Crypt Records, CR-45-3, 1987
Tracklist:
Help That Girl/Nothing I Can Do/You/In My Lonely Room
Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Stellan Wahlstrom, drums
I Can’t Go Without You/Deep Down In Misery, Splendid magazine #3, CH 002, 1988
Before It’s Too Late/I Can’t Win, Unique Records, UNR 45002.3, 1990
Personnel:
Peter Maniette, vocals/guitar
Thomas Sodergran, guitar
Jens Linberg, bass
Patrik Sjorvist, drums
You Gotta Go EP, Misty Lane Records, MISTY 017, 1994
Tracklist:
You Gotta Go/Drivin’/Bloodhound/I Can’t Change
Albums
Go Baby Go!!, Crypt Records, CRYPT 011, 1987
Tracklist:
Hooked/Enough Of your Love/Gone Away/I’m Going Out/Don’t Stop It Baby/Day And Night/Do-Da Do-Da/Pretty Baby/Plane To Chicago/The Night Is Black/Thinkin’ Of Her/I Never Loved Her/Won’t Make Up Her Mind
Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Johan Maniette, drums
Things That Matter, Crypt Records, CRYPT 012, 1988
Tracklist:
Things That Matter/Run From Her/Ain’t No Use/Have You For My Own/Make Up Your Mind/Good Love/It’s The Same All Over The World/C’mon Little Girl/Someone Like Me/Down And Out/Two Kinds Of People/I Need You/I Cried Like A Child
Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Stellan Wahlstrom, drums
Your Download-Link :
http://rapidshare.com/files/1436902/mammoths.rar
Labels: innocent76, W
Bob Mosley - Bob Mosley -1972
45: 1 Gypsy Wedding/Gone Fishin' (Reprise REP 1096) 1972
NB: (1) double headed promos also exist.
Born in December 1942 at Paradise Valley, California, James Robert "Bob" Mosley played bass with the Misfits and The Strangers before joining Moby Grape in 1966. In 1969, Mosley left the group to join the US Marines (one of the very few San Francisco musicians to do this!) but after nine months and a fight with an officer, he had to return to civil life. He rejoined Moby Grape in 1971 for their fifth album and, when the group disbanded again, he went solo and co-produced his first album with Michael O'Connor (a friend of Chris Darrow). The sessions were held in November 1971 in Hollywood with a backing group including Allen Wehr, the former drummer of Morning Glory, and Ed Black (ex-Superfine Dandelion). The Memphis Horns also played on three tracks. The album is interesting overall, with good vocals and strong instrumental parts displayed on various styles: rock, West Coast, country rock and white soul. The best moments are probably The Joker and Gone Fishin. The album included a new version of Gypsy Wedding also recorded on Moby Grape's 20 Granite Creek.
After this, Mosley played for a while with Chris Darrow but nothing was released. In October 1973, he teamed again with the Moby Grape guitarist Jerry Miller to play the Californian bars and clubs circuit under various names (Maby Grope, Original Grape...). The group finally managed to get a contract with Polydor and released a decent album as Fine Wine in 1976. For obscure reasons, the LP was only released in Germany. Miller then left Mosley to play with the other ex-Grape members Lewis and Spence.
In 1977/78, Mosley returned playing the clubs circuit with John Craviotto and Jeff Blackburn (ex-Blackburn and Snow) as The Ducks. During several weeks, they were joined by Neil Young (some tapes and bootlegs exist). Between various Moby Grape reformations, Mosley would later have severe personal problems (he spent several years homeless) and had to wait until the late eighties to release some other solo records: Wine And Roses (Niteshift) 1986, Mosley Grape, Live at Indigo Ranch (San Francisco Sounds) 1989 and Never Dreamed (Taxim) 1999. In recent years, he has played several live dates with Moby Grape.
(Stephane Rebeschini)
Sunday, October 29, 2006
Merseybeats - I Think Of You
The Merseybeats were one of the better quartets to come out of the British Invasion without ever making a dent on the charts in the United States -- along with the Roulettes, the Chants, and the Undertakers, they represent an undeservedly lost chapter in early-'60s British rock & roll. Although they enjoyed a little less than a year of serious chart success, the Merseybeats were unable to pull together the various facets of their sound into a cohesive, coherent whole in the manner of the Beatles or the Hollies, and into something lasting, in part because of a lack of original songwriting ability in their ranks. The group's roots go back to the early '60s in Liverpool, and a band originally known as "the Mavericks," comprised of Tony Crane (lead guitar, vocals), Billy Kinsley (bass, vocals), David Elias (rhythm guitar, vocals), and Frank Sloane (drums). They were doing well but soon found the name to be a drag on their success, making people think that they were a country & western band. They briefly used the name "the Pacifics," and then became the Merseybeats -- evidently their timing was such that they grabbed the name, previously a local music reference, ahead of anyone else in a city boiling over with musical activity.
By the end of 1962, the Merseybeats lineup had solidified around Crane and Kinsley, with Aaron Williams joining on rhythm guitar in place of Elias and John Banks succeeding Sloane. The group made their recording debut around this time as part of the Oriole label's Liverpool showcase, This Is Merseybeat. With the help of the manager of the Cavern Club, they were formally signed to Fontana Records in mid-1963, and made their debut in August of that year with a single of "It's Love That Really Counts" b/w "Fortune Teller" -- the A-side, a Bacharach/David tune, was a solid piece of British Invasion pop/rock in the best Beatles/Hollies/Searchers mode, with memorable guitar hooks and a memorable chorus, and it reached number 24 on the U.K. charts. They were later signed up by the Beatles' legendary manager, Brian Epstein, but the fit was an awkward one, owing to differences in musical sensibility -- the group was a fairly hard rock & roll outfit, but their singles tended much more to the pop side of rock & roll, and the A-sides never represented their real sound very well. In early 1964, the Merseybeats released a second single, "I Think of You" backed with the pop/rock standard "Mister Moonlight," which reached number five in England. In both of these instances, the B-side was closer to the band's sound than the A-side and, in both instances, the band had latched onto the material first -- but was eclipsed by rival versions by the Rolling Stones and the Beatles.
Though it had come along a little late, "It's Love That Really Counts" turned the group into a major pop/rock act, and the future looked good for them. But there were problems on the horizon, starting with the fact that neither of those singles had made even the slightest impact in the United States, which was where the real fortunes were to be made; and, much more seriously, the decision by Billy Kinsley to leave the band in 1964 in order to form his own group, the Kinsleys. In his place, they got John Gustafson on bass and vocals. formerly of Liverpool's Big Three trio, who also contributed some songwriting. In April of 1963, they released "Don't Turn Around" b/w "Really Mystified," which -- despite a beautifully catchy, harmony-and-hook-laden A-side that was heavily influenced by the work of Roy Orbison, and an original B-side co-authored by Crane and Gustafson -- didn't do quite as well, peaking at number 13. A third single in July, "Wishin' and Hopin'" b/w "Milkman" (the latter another Crane/Gustafson original), also reached number 13. The band released a pair of extended-play singles, including "I Think of You" and "Merseybeats on Stage," the latter capturing their real sound in concert and included "Long Tall Sally" and "You Can't Judge a Book by Its Cover" in early 1964. They also worked their way into two rock & roll featurettes, Swinging UK and UK Swings Again -- one of their clips, "Don't Turn Around," was nicely staged, the band miming to the single on a platform that, on the chorus of the title, starts to rotate.
The Merseybeats were successful enough to get an LP release, and the resulting self-titled album showcased their limitations as well as their virtues. Amid a few inspired moments, mostly on the single-sides (such as "Milkman") picked up for the LP, there were some "originals" that were highly derivative of Bo Diddley and Little Richard, interspersed with some decent Liverpool-style adaptations of American R&B ("Bring It on Home to Me," "He Will Break Your Heart,") and a strange choice of show tunes, one ("Hello Young Lovers") partly successful and the other not. Apart from a lack of originality in their sound, the album pointed to the group's very thin in-house songwriting -- they were almost wholly dependent on Peter Lee Stirling, who had written their three biggest, single A-sides, for success. And to judge from the weak diversity on their album, one couldn't tell if the Merseybeats wanted to sound like the Beatles, the Fortunes, or the Pretty Things, and as a consequence gained very few fans from the release.
Their fall 1964 single "Last Night I Made a Little Girl Cry" b/w "Send Me Back," barely made the British Top 40, peaking at number 40, and it wasn't long after this that Gustafson left the band and was replaced by Kinsley, whose return to the lineup coincided with their last round of success as the Merseybeats. By 1965, the Liverpool sound synonymous with the term "Merseybeat" was considered old-hat, and the name that had helped gain the group some vital recognition was now weighing them down. Following "I Love You, Yes I Do" b/w "Good, Good Lovin'," and "I Stand Accused" (later covered by Elvis Costello) backed with "All My Life," which peaked at numbers 22 and 38, respectively, the group seemed to have run its course for commercial success by early 1966. They were rescued by the interest of the members of the Who, whose members knew Crane and Kinsley, and got them under the management of Chris Stamp and Kit Lambert.
In mid-1966, Crane and Kinsley became the Merseys and scored a huge hit with "Sorrow" later that year, reaching number four in England. They'd still never charted a record in America, however, and their next single, a fine rendition of the Who song "So Sad About Us," never charted. The duo called it quits after the release of their single "Lovely" b/w "Loretta Drifting." Kinsley went on to form Rockin' Horse, while Crane later re-fomed the old band -- after a fashion -- as Tony Crane & the Merseybeats during the '70s and '80s, with Bob Packham on bass and vocals, Alan Cosgrove on drums and vocals, and Colin Drummond on keyboards and vocals. The original group was fondly remembered and the band did well embracing its own past; in the meantime, David Bowie covered "Sorrow" on Pin Ups in 1973, an acknowledgment of the lingering appeal of their best work. By the '90s, Kinsley was working with them again as the Merseybeats, built around that same core lineup except for Dave Goldberg on keyboards. In 2000, Crane's son Adrian joined on keyboards and guitar, and Lou Rosenthal took over on drums. ~ Bruce Eder & Richie Unterberger, All Music Guide
Your Download Link:
http://rapidshare.com/files/1026075/merseybeats.rar.html
Labels: innocent76, M
