19-11-06 - 26-11-06
Saturday, November 25, 2006
Kaleidoscope (Mexico) - 1967 - Kaleidoscope
Kaleidoscope (Mexico) - 1967 - Kaleidoscope
01 - Hang Out
02 - P.S. Come Back
03 - A Hole In My Life
04 - Let Me Try
05 - I Think It's All Right
06 - Colours
07 - Once Upon A Time There Was A World
08 - A New Man
09 - I'm Crazy
10 - I'm Here, He's Gone, She's Crying
The Mexican Kaleidoscope's sole, self-titled album is like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars. Yet mucho eccentricity and spontaneity make it more interesting than many such relics. That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility. Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands. And some goofy psychedelic touches appear without warning, like the cheap outer space signals in "Colours"; the Harpo Marx-like horn interjections in the same tune; the atomic explosion that ends "Hang Out"; the out-of-nowhere distant, cornered-wolf yells of "A New Man"; the weird, slightly off-key plunks of "I Think It's All Right," which ring like a tapped wine glass; and the funk rock guitar of "I'm Crazy," which sounds halfway between a chicken-scratch and a drawer being opened and closed, giving way to a harem organ. Then there's the eight-minute "Once Upon a Time There Was a World," which sounds like an unwitting parody of suicidal teenage angst in its over-the-top sorrow for itself, yet backed with a creepy organ-fuzz arrangement of almost funereal grandeur. Review~by Richie Unterberger~AMG
Not to be confused with the U.K. band of the same name
or the US Kaleidoscope !!!
01 - Hang Out
02 - P.S. Come Back
03 - A Hole In My Life
04 - Let Me Try
05 - I Think It's All Right
06 - Colours
07 - Once Upon A Time There Was A World
08 - A New Man
09 - I'm Crazy
10 - I'm Here, He's Gone, She's Crying
The Mexican Kaleidoscope's sole, self-titled album is like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars. Yet mucho eccentricity and spontaneity make it more interesting than many such relics. That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility. Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands. And some goofy psychedelic touches appear without warning, like the cheap outer space signals in "Colours"; the Harpo Marx-like horn interjections in the same tune; the atomic explosion that ends "Hang Out"; the out-of-nowhere distant, cornered-wolf yells of "A New Man"; the weird, slightly off-key plunks of "I Think It's All Right," which ring like a tapped wine glass; and the funk rock guitar of "I'm Crazy," which sounds halfway between a chicken-scratch and a drawer being opened and closed, giving way to a harem organ. Then there's the eight-minute "Once Upon a Time There Was a World," which sounds like an unwitting parody of suicidal teenage angst in its over-the-top sorrow for itself, yet backed with a creepy organ-fuzz arrangement of almost funereal grandeur. Review~by Richie Unterberger~AMG
Not to be confused with the U.K. band of the same name
or the US Kaleidoscope !!!
The Smell Of Incense
Smell Of Incense (Norway) - 1994 - All Mimsy Were The Borogoves
part I
part II
01 Intro
02 Alice
03 Faerie Emerald
04 Fancy
05 Christopher's Journey
06 (The Smell Of) Interstellar Overdrive
07 Witch's Hat
08 Shrine
09 Outro
Bumble B. - viola, voc
Ernie Chung - g, b, voc
Han Solo - b, org, mell
Cool Kat - dr
Lumpy Davy - g, sitar, voc
Some info~from Planet Mellotron
Until I heard them, I was under the impression that The Smell of Incense were 'just another Scandinavian prog band'. Not a bit of it. They mix'n'match influences from all over, but are most easily described as 'psychedelic', whatever you take that to mean. Some of the members had known each other since the mid-'70s, unbelievably, and after putting out various odd releases in the '80s as Famlende Forsøk, they put the SoI together in the mid-'80s with a remit to be as 'psychedelic' as possible, with the intention of recording an album of '60s psych classics.
Somewhere along the line, however, they started writing their own material, ending up with the compromise that is All Mimsy Were the Borogoves (Lewis Carroll's 'Jabberwocky', of course). Of the seven tracks on board, they ended up with three covers (The Kinks' Fancy, The Incredible String Band's Witch's Hat and a heavily customised version of Pink Floyd's Interstellar Overdrive), plus another three where they put their music to someone else's lyrics (Faerie Emerald, from Edmund Spenser's 'Faerie Queen', Christopher's Journey from A.A.Milne's 'Winnie the Pooh' and a late-'60s Peter Hammill poem, Shrine, previously not set to music).
The band obviously refuse to use any equipment produced later than, say, 1972, with the end result being a marvellously 'authentic' late-'60s album. Well, nearly. Mellotron choirs didn't exist until 1972, but who's arguing when they sound this good? Their only wholly 'in-house' number, Alice, has some very background 'Tron strings, but the flute melody and strings on Faerie Emerald are right at the front of the mix, with background choirs. More choirs on Christopher's Journey and Shrine, although Interstellar Overdrive is more of a trippy organ jam, different enough from the original to justify the band's collective co-writing credit. Incidentally, the 'Tron (it seems they own one) was played by 'Han Solo', one of several nom-de-plumes used by the band, for reasons best known to themselves.
The band have released a handful of singles, in various formats, all of which consist of covers of obscure psych classics. 1994 brought their version of the West Coast Pop Art Experimental Band's The Smell of Incense (wondered where they'd got their name), backed with HMS Bounty's A Visit With Ashiya ('67 and '69 respectively). As I've heard neither track in its original version, comparisons are not so much pointless as impossible, but they both sound pretty damn' good here, with some 'Tron strings and a smattering of choirs on the 'b'.
Band's Story Here
Smell Of Incense (Norway) - 1994 - A Visit With Ashiya [7'']
01 - The Smell Of Incense
02 - A Visit With Ashiya
Smell Of Incense (Norway) - 1995 - Why Did I Get So High [7'']
01 - Why Did I Get So High
02 - If Not This Time
03 - Coming Down
Get the above 2 Singles
Here !
part I
part II
01 Intro
02 Alice
03 Faerie Emerald
04 Fancy
05 Christopher's Journey
06 (The Smell Of) Interstellar Overdrive
07 Witch's Hat
08 Shrine
09 Outro
Bumble B. - viola, voc
Ernie Chung - g, b, voc
Han Solo - b, org, mell
Cool Kat - dr
Lumpy Davy - g, sitar, voc
Some info~from Planet Mellotron
Until I heard them, I was under the impression that The Smell of Incense were 'just another Scandinavian prog band'. Not a bit of it. They mix'n'match influences from all over, but are most easily described as 'psychedelic', whatever you take that to mean. Some of the members had known each other since the mid-'70s, unbelievably, and after putting out various odd releases in the '80s as Famlende Forsøk, they put the SoI together in the mid-'80s with a remit to be as 'psychedelic' as possible, with the intention of recording an album of '60s psych classics.
Somewhere along the line, however, they started writing their own material, ending up with the compromise that is All Mimsy Were the Borogoves (Lewis Carroll's 'Jabberwocky', of course). Of the seven tracks on board, they ended up with three covers (The Kinks' Fancy, The Incredible String Band's Witch's Hat and a heavily customised version of Pink Floyd's Interstellar Overdrive), plus another three where they put their music to someone else's lyrics (Faerie Emerald, from Edmund Spenser's 'Faerie Queen', Christopher's Journey from A.A.Milne's 'Winnie the Pooh' and a late-'60s Peter Hammill poem, Shrine, previously not set to music).
The band obviously refuse to use any equipment produced later than, say, 1972, with the end result being a marvellously 'authentic' late-'60s album. Well, nearly. Mellotron choirs didn't exist until 1972, but who's arguing when they sound this good? Their only wholly 'in-house' number, Alice, has some very background 'Tron strings, but the flute melody and strings on Faerie Emerald are right at the front of the mix, with background choirs. More choirs on Christopher's Journey and Shrine, although Interstellar Overdrive is more of a trippy organ jam, different enough from the original to justify the band's collective co-writing credit. Incidentally, the 'Tron (it seems they own one) was played by 'Han Solo', one of several nom-de-plumes used by the band, for reasons best known to themselves.
The band have released a handful of singles, in various formats, all of which consist of covers of obscure psych classics. 1994 brought their version of the West Coast Pop Art Experimental Band's The Smell of Incense (wondered where they'd got their name), backed with HMS Bounty's A Visit With Ashiya ('67 and '69 respectively). As I've heard neither track in its original version, comparisons are not so much pointless as impossible, but they both sound pretty damn' good here, with some 'Tron strings and a smattering of choirs on the 'b'.
Band's Story Here
Smell Of Incense (Norway) - 1994 - A Visit With Ashiya [7'']
01 - The Smell Of Incense
02 - A Visit With Ashiya
Smell Of Incense (Norway) - 1995 - Why Did I Get So High [7'']
01 - Why Did I Get So High
02 - If Not This Time
03 - Coming Down
Get the above 2 Singles
Here !
Crystalagur - 1972 - Terranaut
The story of Crystalaugur is a strange one: the obscure Native American band Crystalaugur recorded this album in Singapore between 1972 and 1973, orginally pressing a mere 200 copies for a private label (Warped Rec) and the ridiculously small pressing made the original album an unbelievable rarity. The fuzz guitar and space rock vocals definitely put this LP in the psychedelic realm with an interesing primitive backdrop. Dodo Rec.-I)
Reissue of recently discovered album, released in 1974 by BMI SINGAPORE of a one-off album done as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. A weird mix of Kaleidoscope / Velvet.
Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album.
01 - terranaut
02 - i'll remembered
03 - cosmic journey
04 - you've got to rap
05 - uppachit creek
06 - easy term pleasure
07 - pams song
08 - number 4
09 - goodbye
Reissue of recently discovered album, released in 1974 by BMI SINGAPORE of a one-off album done as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. A weird mix of Kaleidoscope / Velvet.
Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album.
01 - terranaut
02 - i'll remembered
03 - cosmic journey
04 - you've got to rap
05 - uppachit creek
06 - easy term pleasure
07 - pams song
08 - number 4
09 - goodbye
your download link
Discolor - 2001 - III
Discolor - 2001 - III
Track List:
01 Psychedelic Rain
02 Glass Keys To Open
03 As Light As A Feather
04 When I See You
05 And Wonder
06 Garden Fair
07 What Remains Of Her
08 Sparkle Plenty
09 Solar Bird Fly
10 Sirius
11 El Strings
Discolor is the solo project of Stefan Lienemann alias Limo of Shiny Gnomes and Fit + Limo (supported by friends on moog, cello, violin). Discolor combine new space travelogue with Fit + Limo folk sensibility.
Review:
Released by the Italian label’s Mizmaze and Lizard, III is essentially a solo album by this prolific musician, who for the last 15 years has been producing Psych, Folk, Electro, Dub, Space, Krautrock in the Shiny Gnomes and other projects like Weltraumservice and Fit & Limo.
On this disc he sings, plays guitars, bass, sitar, keyboards and drums, and with the assistance of Harald Streckor (Micromoog), Lotsi Lapislazuli (additional vocals) and The Nereide Neith Trio (strings), he has created a great new work in the already impressive Limo discography. Highlights include the opening Psychedelic Rain, the gentle and hypnotic neo-folk of Sparkle Plenty and the elegiac Solar Bird Fly, which combines haunting piano with the stings of The Nereide Neith Trio. Different parts of the album evoke Yeti-era Amon Duul II, Nick Drake, Sonic Boom and Melodic Energy Commission.
Highly recommended.
Reviewed by Dr. Sandoz - December 2001
Enjoy !
Hoola Bandoola Band - 1972 - Vem Kan Man Lita Pa?
Hoola Bandoola Band - 1972 - Vem Kan Man Lita Pa?01 Herkules
02 Vem Kan Man Lita På?
03 Dansmelodi (T. Wiehe)
04 Keops Pyramid
05 Man Måste Veta Vad Man önskar Sej
06 1789+0
07 Maya
08 Rocksamba (Vi Klara Det)
Hoola Bandoola Band was, together with Nationalteatern, the biggest band of the Swedish progg movement. And where Nationalteatern put social realistic lyrics to rock songs, Hoola Bandoola had more political lyrics and swerved further from traditional rock.
The name is inspired by a fictional language spoken by ants in a Donald Duck short cartoon, most likely "Tea for Two Hundred", directed in 1948 by Jack Hannah, with ant language spoken by Pinto Colvig.
In 1971, they had their first radio hit and were immediately contacted by two record companies, one commercial and one alternative, MNW. In the political climate of the 1970s, the choice of side was crucial, and by choosing the alternative company, Hoola Bandoola came to be the most well-known band on the alternative side in Sweden.
Their debut in 1971, Garanterat individuell, (Guaranteed to be individual) was hailed as the start of a new era for Swedish pop and was elected the album of the year. It was not overly political when it came to lyrics, but on the second album Vem kan man lita på?, (Who can you trust?) released the next year, the socialist message was clearer. It still sold very well and included long-lasting hits like Keops pyramid.
With På Väg, (On the way) recorded with a balalaika orchestra, Hoola Bandoola became one of the best-selling groups in Sweden. In 1975 they released the forth album Fri information (Free information), where the socialist message was more outspoken than ever before. And this time, Afzelius had written half of the songs, where before it had been Wiehe writing almost everything.
In 1975, the alternative moment gathered in opposition to a tennis game played between Sweden and Chile, which at the time was under the military dictatorship of Pinochet, and for that event, Hoola Bandoola released Stoppa matchen (Stop the game) as a single. This was to be their last studio recording. Next year, the band broke up and Wiehe and Afzelius started very successful careers as singer/songwriters, both together and by themselves.
After 20 years' absence, Hoola Bandoola reunited in 1996, playing warmup for Bob Dylan and going on their own nationwide tour. On this tour, the live album För dom som kommer sen (For those who come later) was recorded. But in 1999, Björn Afzelius died, making further reunions more unlikely.
Enjoy !
Unicorn - 1974 - Blue Pine Trees
Unicorn - 1974 - Blue Pine Trees
01. Electric Night (Baker)
02. Sleep Song (Baker)
03. Autumn Wine (Smith, St. John, Waters)
04. Rat Race (Smith, St. John, Waters)
05. Just Wanna Hold You (Baker)
06. Holland (Baker)
07. Nightingale Crescent (Baker)
08. The Farmer (Baker)
09. In The Gym (Baker)
10. Blue Pine Trees (Baker)
11. OOH! Mother (Baker)
Tracks 1, 2, 3, 5, 7 & 8 Feature David Gilmour
Unicorn - Blue Pine Trees (Capitol, 1974)
David Gilmour had a band. A little group, went by the name of Pink Floyd. Anyway, he bought a giant mansion and built a studio inside it and invited unknown UK country rock group Unicorn to record their second album there. The result is a rich, heartfelt song cycle of British folk/country/pop that draws from Fleetwood Mac, Neil Young and (thanks to Gilmour's production) the polish of Pink Floyd. Features the ultimate 70s drum sound: tight, simple, clear, present and warm. Plus, Gilmour plays pedal steel all over it. A revelation.
Enjoy
The Steppes - 1987 - Drop Of The Creature
The Steppes - 1987 - Drop Of The Creature
Voxx Records
01. A Play On Wordsworth
02. Somebody Waits
03. Holding Up Well
04. Sky Is Falling
05. Make Us Bleed
06. Cut In Two
07. See You Around
08. Lazy Ol' Son
09. Bigger Than Life
10. Black Forest Friday
11. More Than This
12. History Hates No Man
John Fallon - Vocals, Guitars
David Fallon - Vocals, Bass Guitar
Tim Gilman - Lead Guitar
James Bailey - Drums, Percussion
Produced by The Steppes.
Engineered by Brett Gurewitz, John Girdler.
Executive producer: Greg Shaw.
Recorded at Westbeach Studio, Los Angeles, USA.
The Steppes were a 1980's Irish Psychedelic Rock band led by the gifted brothers David and John Fallon (whose memorable track Summers End In San Francisco is featured on the Psychedelic Psauna In 4 Parts compilation, which eventually led me to inquire further more about The Steppes). Drop Of The Creature, The Steppes' second musical endeavour, saw their transformation into a darker sound than their first more more acoustic EP.
One slightly overwhelmed critic had this to say,
Can this be for real? Does this record really have a 1987 datestamp? Can some men wear such ruffled shirtfronts and still walk outside? All these questions are blown away by yet another startling psychedelic-timewarp. The Steppes play the most blissful folk-into-psychedelia music, like the moment when Syd Barrett fronted The Byrds and then Jefferson Airplane, or when Roger McGuinn slung 12 strings over Pink Floyd's first album. The Steppes even manage to crystallise the essence of beat-pop. Brilliant poetic-hurt wimp visions scatter a field of tripped melodies, as inspired as Rain Parade's debut: occasionally The Steppes go all dopey but otherwise, they're excessive, outrageous, ecstatic--better this than Sergeant Pepper any day. No more questions. (Martin Aston)
Voxx Records
01. A Play On Wordsworth
02. Somebody Waits
03. Holding Up Well
04. Sky Is Falling
05. Make Us Bleed
06. Cut In Two
07. See You Around
08. Lazy Ol' Son
09. Bigger Than Life
10. Black Forest Friday
11. More Than This
12. History Hates No Man
John Fallon - Vocals, Guitars
David Fallon - Vocals, Bass Guitar
Tim Gilman - Lead Guitar
James Bailey - Drums, Percussion
Produced by The Steppes.
Engineered by Brett Gurewitz, John Girdler.
Executive producer: Greg Shaw.
Recorded at Westbeach Studio, Los Angeles, USA.
The Steppes were a 1980's Irish Psychedelic Rock band led by the gifted brothers David and John Fallon (whose memorable track Summers End In San Francisco is featured on the Psychedelic Psauna In 4 Parts compilation, which eventually led me to inquire further more about The Steppes). Drop Of The Creature, The Steppes' second musical endeavour, saw their transformation into a darker sound than their first more more acoustic EP.
One slightly overwhelmed critic had this to say,
Can this be for real? Does this record really have a 1987 datestamp? Can some men wear such ruffled shirtfronts and still walk outside? All these questions are blown away by yet another startling psychedelic-timewarp. The Steppes play the most blissful folk-into-psychedelia music, like the moment when Syd Barrett fronted The Byrds and then Jefferson Airplane, or when Roger McGuinn slung 12 strings over Pink Floyd's first album. The Steppes even manage to crystallise the essence of beat-pop. Brilliant poetic-hurt wimp visions scatter a field of tripped melodies, as inspired as Rain Parade's debut: occasionally The Steppes go all dopey but otherwise, they're excessive, outrageous, ecstatic--better this than Sergeant Pepper any day. No more questions. (Martin Aston)
posted by Hannah
Labels: S, sonicdeathsound 
PREMIATA FORNERIA MARCONI (PFM) - 4 ALBUMS
Outside UK, in the rest of Europe the most important music scenes of 70’s was in German (Kraut Rock) and in Italy (Italian Prog).I think that Italian Prog has some excellent bands and albums a lot of people ignored.
I am really deep in this scene maybe cause the island (Corfu) that i live is so close to Italy and the Italian culture remains in the island from ages and especially in music. But mainly cause i am a progressive rock lover.
I am proud to present the best 4 albums (320 kbps with covers) one of the leaders of Italian Prog.
PFM
Enjoy ! nikos1109
Much has been written and said in Italy about Premiata Forneria Marconi, and they have surely been the most popular band here for many years. No one who was in his teens in Italy during the 70's, doesn't know È festa or Impressioni di settembre. They were also the first (and last, probably) italian band to have some success abroad, playing some good european and american tours, and even playing the popular Reading festival in England.
The band was formed in Milan around 1970 when the ex-Quelli (a popular beat band during the 60's) Mussida, Premoli, Piazza and Di Cioccio met multiinstrumentalist Mauro Pagani from Dalton.
The four Quelli had a change in their musical style near the end of the 60's and even made a single as I Krel, before the new name was adopted.
The new band had a long name, as it was the tendency for the prog-oriented italian bands of the time, and were usually referred to as "La Premiata" and later PFM. Their live beginnings, recently documented in the 10 anni live 71/81 box set, included many covers, especially by the likes of King Crimson and Jethro Tull that were among their strongest influences.
In June 1971 Premiata Forneria Marconi were invited at the first "Festival d’Avanguardia e Nuove Tendenze" in Viareggio, and they won it, along with Osanna and Mia Martini.
But their first single, coupling La carrozza di Hans with Impressioni di settembre, began a highly original musical style, where the foreign influences had been mixed with classical music and some typical mediterranean sounds, creating the distinctive "italianprog" sound that has been later perfectioned by many others.
But their first single, coupling La carrozza di Hans with Impressioni di settembre, began a highly original musical style, where the foreign influences had been mixed with classical music and some typical mediterranean sounds, creating the distinctive "italianprog" sound that has been later perfectioned by many others.
Storia Di Un Minuto 1972 (gatefold cover)premiata_forneria_marconi_-_1972a_-_storia_di_un_minuto.rar
First album, Storia di un minuto in 1972 is a milestone in the genre, the quintessence of the italian prog, and few others can be compared with this that's surely one of the top five italian LP's for its contents and energy. Tracks like the two on the single, È festa and Dove.. quando are still among the finest example of their distinctive sound. The fine playing of Mauro Pagani, Franco Mussida and Flavio Premoli, despite the lack of a good role singer (always one of their limits), create a highly regarding sound that's still valid today.
This album is always in the top 10 of italian prog lists and in the most important of them is in the 3rd place (www.italianprog.com)
Per Un Amico 1972 (gatefold cover)
Download link
The same year saw the release of their second LP, Per un amico, containing the same elements as the previous one with cuts such as the title track, Generale, Il banchetto. Both the albums were very successful and, along with the first Banco del Mutuo Soccorso album, opened the way to a large audience recognition of the new musical style.
Download link
Third album, Photos of ghosts, contained mostly reworkings of old tracks in english version, and represented the first attempt by italian rock bands to break the foreign markets. The LP was released abroad by ELP label Manticore (just like Banco's fourth eponymous album) and gave the band a huge success in the USA.
Download link
In 1974 the fourth album, L'isola di niente, also had an english version released with the same track listing, called The world became the world. A new bass guitarist had joined the band, Patrick Djivas from Area (Giorgio Piazza formed the short-lived Crystals), and english lyrics were by Pete Sinfield. The album was again very successful and the band embarked in their first US tour, documented in their Live in USA album.
The lack of a lead singer in the band had always been marked by the press as PFM's main defect, and for this reason the group enroled Bernardo Lanzetti from Acqua Fragile. Lanzetti had lived in the States and with his distinctive voice could solve the major problems for the band, singing and speaking english! The first (and sadly the only) release by the new six-piece was Chocolate kings, the first album only released with english lyrics (and their least successful so far for this reason in Italy). Containing some very good songs such as the title track and Out of the roundabout, the album had probably lost some of the typical italian feel of their previous works, going closer to the foreign markets' taste. A successful album abroad, it gave the band new chances to play in foreign countries, with new tour in Europe, USA and Japan.
But after the long tour, Pagani, tired of the hard life on the road, decided to quit the band. The band tried to replace him with american violinist Greg Bloch (from Flock and It's a Beautiful Day) but their decline had started. Jet lag, released in 1977 on the new Zoo label, still has very discordant reviews, its sound being very far from past glories, and Passpartù in 1978, with lyrics written by italian songwriter Gianfranco Manfredi, saw a strong turn towards pop music.
In 1979 a successful tour brought PFM all over Italy as backing band to the singer-songwriter Fabrizio De André, and two live albums were released by Ricordi (Fabrizio De André e la PFM In concerto voll. I & II).
The band released the good Suonare suonare in 1980 with new member Lucio Fabbri (on violin and keyboards, from Piazza delle Erbe) but some low level albums followed during the 80's, wit the group still continuing its successful live activity in Italy, and members Mussida and Di Cioccio also released solo albums.
After Miss Baker in 1987 PFM officially split.
www.italianprog.com
More information and full discography :
Official site : http://www.pfmpfm.it/eng/main.htm
http://www.gaudela.net/pfm/index2.html
Revolutionary Army of the Infant Jesus
Revolutionary Army of the Infant Jesus - 1994 - The Gift Of Tears_Mirror
This is a double CD collection of the LPs "The Gift Of Tears" (1987) and "Mirror" (1991). The last two tracks on the second disc are grouped together as "La Liturgie Pour La Fin Du Temps".
Tracklisting:
The Gift Of Tears
1-01 Come Holy Spirit (9:28)
1-02 Tales From Europe (4:07)
1-03 The Miller (4:09)
1-04 De Profundis (3:37)
1-05 The Singing Ringing Tree (2:06)
1-06 Beauty After The Fall (9:17)
1-07 Dreams (Awakening Of A Child's Mind) (4:46)
1-08 Lament (Ashes In The Water) (3:11)
1-09 Transfiguration (5:31)
1-10 Communion (3:11)
Mirror
2-01 Shadowlands (4:24)
2-02 Immaculado (8:19)
2-03 Joy Of The Cross (1:44)
2-04 Hymn To Dionysus (2:53)
2-05 Nostalgia (6:07)
2-06 Theme De "L'Homme Qui Ne Croyait Pas En Lui-Meme" (3:53)
2-07 Psalm (4:32)
2-08 Nativity (5:17)
2-09 Man Of Sorrows (6:03)
2-10 Theme Reprise (2:05)
La Liturgie Pour La Fin Du Temps
2-11 Le Monde Du Silence (5:04)
2-12 Dies Irae (8:13)
This record is easily one of my favorite albums of all time. It's proof of an unjust world that this album has scarcely been available over the past ten years. Except those rare copies offered at prices of an arm and a leg.
Eschewing economics, the beautiful music of RAIJ has bucketloads of passion, mystery, innocence, and is rife with an adventurous spirit of experimentation. You can literally hear the joy in their musical discoveries, from track to track. In it, you'll hear a valid attempt invoking the spirit of Europe: From otherworldly Gregorian-style chants to madrigal acoustic guitars/flutes to echo-chamber percussion and floating electronic soundscapes, even excerpts from Cocteau's movie ORPHEE. That is, a musical journey from medieval times to our electronic era. And it's breathtaking to hear such imaginal leaps through their sound.
It wouldn't be too off the mark to consider their music in the "apocalyptic folk" tradition of, say, Current 93, Death In June, etc. And like this style, it takes acoustic instruments and collides them with electronic manipulations. But this collison is done in a way that is totally singular and without peer.
Only an anarcho-Christian collective like them could have brought all of these elements together: Acoustic-electronic, innocence-wisdom, lucidity-confusion, Christian-pagan.
Reviewer:Michael Thomas Jones (Huntington, WV)
The RAIJ Double CD Collection
part I
part II
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - The RAIJ Double CD Collection / Paradis
(2CD / CD, Apocalyptic Vision, 1994 / 1995)
C.S. Lewis once wrote "Holy places are dark places." If his sentiment could be expressed physically, it would undoubtedly find embodiment in the music of the Revolutionary Army of the Infant Jesus. These English musicians appear well-versed in the western liturgical music tradition which seems to be the basis of their beautifully reverent and dark compositions. In addition to simple chant-like vocals sometimes haunted with an ethereal, childlike female voice, RAIJ incorporates such an array of musical elements it's impossible to name them all. They combine folk, celtic, world beat, tribal percussion, Eastern European, and some Middle Eastern influences into a truly original sound. RAIJ's first album, The Gift of Tears, explores some of these components in notable pieces such as "Come Holy Spirit" and "Beauty after the Fall". The first one begins with a lone classical guitar, soon accompanied by bass and tribal percussion while a simple, chant-like melody and a floating female vocal carry the piece. "Beauty" is just that--a harmony of classical guitar, woodwind melody, and spoken word. The Gift of Tears is very much organic and acoustic, but there is also quite a bit of experimentation in all of RAIJ's music. You'll hear the clanging of cathedral bells, echoing percussion, and spoken word in foreign languages, including samples from the films of Andrei Tarkovsky and Jean Cocteau. "De Profundis" is full of reverberating metallic clanks, layers of feedback, and a swirl of wind instruments. Overall, the second album, "Mirror," is more experimental than the first. Although there is less use of acoustic instruments, the earthy element is still present but is saturated with processed sounds and samples. "Nostalgia" is a beautifully somber and captivating piece composed of a dark orchestral arrangement and a piano interlude while a man's voice drones in the background. Another composition meshing samples and noise with instruments is "Psalm". Unidentifiable whooshes and echoes soar across the clear solemnity of a child-like voice singing the words of Psalm 51. In the new EP Paradis, RAIJ continues to blend organic instruments and experimental sounds into lush masterpieces. "The Parable (of the Singing Ringing Tree)" is an 8-minute rendering of the original found on Gift of Tears, this time made fuller with an accordion-like instrument and guitar. "Mouvement" is a simple but well-crafted piece consisting only of congas. The focus of "Paradis" is the ethereal female voice which swoops and echoes with a semi-operatic quality. Perhaps the highlight of the EP is "She Moved Through the Fair", an atmospheric piece slowly building in percussive speed and intensity reminiscent of the final movement of Ravel's "Bolero".
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - 1995 - Paradis
Tracklisting:
01 Paradis (10:45)
02 The Parable (Of The Singing Ringing Tree) (7:34)
03 She Moved Through The Fair (6:03)
04 Mouvement (3:02)
Paradis
part I
This is a double CD collection of the LPs "The Gift Of Tears" (1987) and "Mirror" (1991). The last two tracks on the second disc are grouped together as "La Liturgie Pour La Fin Du Temps".
Tracklisting:
The Gift Of Tears
1-01 Come Holy Spirit (9:28)
1-02 Tales From Europe (4:07)
1-03 The Miller (4:09)
1-04 De Profundis (3:37)
1-05 The Singing Ringing Tree (2:06)
1-06 Beauty After The Fall (9:17)
1-07 Dreams (Awakening Of A Child's Mind) (4:46)
1-08 Lament (Ashes In The Water) (3:11)
1-09 Transfiguration (5:31)
1-10 Communion (3:11)
Mirror
2-01 Shadowlands (4:24)
2-02 Immaculado (8:19)
2-03 Joy Of The Cross (1:44)
2-04 Hymn To Dionysus (2:53)
2-05 Nostalgia (6:07)
2-06 Theme De "L'Homme Qui Ne Croyait Pas En Lui-Meme" (3:53)
2-07 Psalm (4:32)
2-08 Nativity (5:17)
2-09 Man Of Sorrows (6:03)
2-10 Theme Reprise (2:05)
La Liturgie Pour La Fin Du Temps
2-11 Le Monde Du Silence (5:04)
2-12 Dies Irae (8:13)
This record is easily one of my favorite albums of all time. It's proof of an unjust world that this album has scarcely been available over the past ten years. Except those rare copies offered at prices of an arm and a leg.
Eschewing economics, the beautiful music of RAIJ has bucketloads of passion, mystery, innocence, and is rife with an adventurous spirit of experimentation. You can literally hear the joy in their musical discoveries, from track to track. In it, you'll hear a valid attempt invoking the spirit of Europe: From otherworldly Gregorian-style chants to madrigal acoustic guitars/flutes to echo-chamber percussion and floating electronic soundscapes, even excerpts from Cocteau's movie ORPHEE. That is, a musical journey from medieval times to our electronic era. And it's breathtaking to hear such imaginal leaps through their sound.
It wouldn't be too off the mark to consider their music in the "apocalyptic folk" tradition of, say, Current 93, Death In June, etc. And like this style, it takes acoustic instruments and collides them with electronic manipulations. But this collison is done in a way that is totally singular and without peer.
Only an anarcho-Christian collective like them could have brought all of these elements together: Acoustic-electronic, innocence-wisdom, lucidity-confusion, Christian-pagan.
Reviewer:Michael Thomas Jones (Huntington, WV)
The RAIJ Double CD Collection
part I
part II
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - The RAIJ Double CD Collection / Paradis
(2CD / CD, Apocalyptic Vision, 1994 / 1995)
C.S. Lewis once wrote "Holy places are dark places." If his sentiment could be expressed physically, it would undoubtedly find embodiment in the music of the Revolutionary Army of the Infant Jesus. These English musicians appear well-versed in the western liturgical music tradition which seems to be the basis of their beautifully reverent and dark compositions. In addition to simple chant-like vocals sometimes haunted with an ethereal, childlike female voice, RAIJ incorporates such an array of musical elements it's impossible to name them all. They combine folk, celtic, world beat, tribal percussion, Eastern European, and some Middle Eastern influences into a truly original sound. RAIJ's first album, The Gift of Tears, explores some of these components in notable pieces such as "Come Holy Spirit" and "Beauty after the Fall". The first one begins with a lone classical guitar, soon accompanied by bass and tribal percussion while a simple, chant-like melody and a floating female vocal carry the piece. "Beauty" is just that--a harmony of classical guitar, woodwind melody, and spoken word. The Gift of Tears is very much organic and acoustic, but there is also quite a bit of experimentation in all of RAIJ's music. You'll hear the clanging of cathedral bells, echoing percussion, and spoken word in foreign languages, including samples from the films of Andrei Tarkovsky and Jean Cocteau. "De Profundis" is full of reverberating metallic clanks, layers of feedback, and a swirl of wind instruments. Overall, the second album, "Mirror," is more experimental than the first. Although there is less use of acoustic instruments, the earthy element is still present but is saturated with processed sounds and samples. "Nostalgia" is a beautifully somber and captivating piece composed of a dark orchestral arrangement and a piano interlude while a man's voice drones in the background. Another composition meshing samples and noise with instruments is "Psalm". Unidentifiable whooshes and echoes soar across the clear solemnity of a child-like voice singing the words of Psalm 51. In the new EP Paradis, RAIJ continues to blend organic instruments and experimental sounds into lush masterpieces. "The Parable (of the Singing Ringing Tree)" is an 8-minute rendering of the original found on Gift of Tears, this time made fuller with an accordion-like instrument and guitar. "Mouvement" is a simple but well-crafted piece consisting only of congas. The focus of "Paradis" is the ethereal female voice which swoops and echoes with a semi-operatic quality. Perhaps the highlight of the EP is "She Moved Through the Fair", an atmospheric piece slowly building in percussive speed and intensity reminiscent of the final movement of Ravel's "Bolero".
~~~~~~~~~~~~~~~~~
Revolutionary Army of the Infant Jesus - 1995 - Paradis
Tracklisting:
01 Paradis (10:45)
02 The Parable (Of The Singing Ringing Tree) (7:34)
03 She Moved Through The Fair (6:03)
04 Mouvement (3:02)
Paradis
part I
The Easybeats - Friday On My Mind ( 1967 )
Track Listing :
1.Friday On My Mind
2.River Deep,Mountain High
3.Do You Have A Soul
4.Saturday Night
5.You Me,We Love
6.Pretty Girl
7.Happy Is The Man
8.Women ( Make You Feel Alright )
9.Who'll Be The One
10.Made My Bed,Gonna Lie In It
11.Remember Sam
12.See Line Woman
1.Friday On My Mind
2.River Deep,Mountain High
3.Do You Have A Soul
4.Saturday Night
5.You Me,We Love
6.Pretty Girl
7.Happy Is The Man
8.Women ( Make You Feel Alright )
9.Who'll Be The One
10.Made My Bed,Gonna Lie In It
11.Remember Sam
12.See Line Woman
The Easybeats were a garage band in the 1960s from
The band's line-up exemplifies the influence of post-war migration on Australian society. All five founding members were from families who had migrated to Australia from Europe; lead singer Stevie Wright was from London, rhytmic guitarist George Young was from Glasgow, lead guitarist Harry Vanda and bassist Dick Diamonde were from the Netherlands, and drummer Gordon Henry Fleet, in Bootle,Liverpool,England.
Friday on My Mind, produced by Shel Talmy and recorded in England, captures the Easybeats at just about their peak, combining all of the best elements in the evolution of their sound under one cover. The Easybeats were still one of the most energetic outfits in rock music, with a raw, highly animated guitar attack, but they were trying (and largely succeeding with) ever more complex vocal harmony parts and some staccato guitar harmony as well that was pretty impressive, and at this stage they were working with a brace of gorgeous Vanda/Young originals. The ubiquitous title track is in excellent company, surrounded by an array of mid- to late-60's British rock treasures: a killer garage punk rendition of "River Deep, Mountain High," with a superb performance by Wright and what sounds almost like a sitar buried somewhere in the midst of the crisp electric guitars; "Do You Have a Soul," with its abrupt tempo changes, cascading choruses, chiming guitars, and hooks that seem to flow into each other effortless; "Saturday Night," with more sitar-like sounds beneath the radiant choruses and rhythm guitar hooks; the dramatic, angst-ridden "You Me, We Love," on which Vanda's guitar playing becomes as intense as Wright 's wrenching vocal performance; "Pretty Girl," with its crunchy rhythm guitar sound and catchy lyric hooks and choruses; and "Made My Bed Gonna Lie in It," a punk anthem nearly as catchy and well-played as "I'm Not Like Everybody Else." Not everything on this album is as successful as these cuts, but it is all good listening, even the eerie, original album finale, "See Line Woman." In fact, only the rendition of Leiber and Stoller's "Hound Dog" may be out of place, and even it works as a change of pace. The label of "Australia's Beatles" may have proved an overstatement to some, but one can get a good look at its basis on this album — it's loaded with actual and potential hit singles, yet it doesn't come off as lightweight in any way.
Resources :
wikipedia.com
allmusicguide.com
watch Friday On My Mind :
http://www.youtube.com/watch?v=Pjx2AQb0ACE
Download Link :
Labels: E, innocent76
Skeletal Family - 1985 - Futile Combat
Track Listing :
1. Hands On The Clock
2. Move
3. This Time
4. Don't Be Denied
5. Far & Near
6. No Chance
7. Streetlight
8. She Cries Alone
9. What Happened?
10. Promised Land
The Skeletal Family history ::
Formed from the ashes of The Elements (Keighley, West Yorkshire, England). The Skeletal Family began life in December 1982.
The initial line-up consisted of: -
Anne-Marie Hurst (Vocals)
Stan Greenwood (Guitars)
Roger "Trotwood" Nowell (Bass)
Steve Crane (Drums)
Ian "Karl Heinz" Taylor (Keyboards)
Taking their name from a David Bowie track off the Diamond Dogs album, the band quickly gained a sizeable local following, encouraged by this produced a self funded single "Trees"/"Just A Friend" released through the Leeds based Luggage label.
The single quickly gained the attention ofRadio One's John Peel which through regular airings on his late show, saw the single breach the lower regions of the National independent charts.
Due to this radio airplay the band by-passed the usual route of playing the small pub circuit and made their London debut at the Fulham Greyhound to an enthusiastic audience, no doubt bolstered due to the current radio airplay. The gig also received an encouraging reaction from the now defunct national music paper "Sounds", which secured the band other prestigious support slots with Sex Gang Children and Play Dead.
By now with a Radio One session booked for March, the band recorded a second single "The Night"/"Waiting Here". For this release drummer Steve Crane was replaced by Manchester based Howard Daniels. Karl Heinz also departed (occasionally resurfacing on various future projects). Due to disappointing sales the single the single fails to make the impression expected, and the band set about recording their third single "She Cries Alone". Enlisting the services of the recently defunct Southern Death Cult guitarist Ian "Buzz" Burrows as co-producer and roadie, now turned drummer Martin Henderson replacing the increasingly unreliable Howard, "She Cries Alone" gave the band their first major mark in the independent charts, and armed with this success recorded the debut album "Burning Oil".
Around this period the band came close to extinction, whilst returning from a Belgium appearance, the tour van rolled over, and after crawling from the van it was discovered to be teetering on the edge of a 10 ft fall over the canal. Miraculously no one was hurt apart from one passenger who lost half his lower ear!!! Whilst recording the album the band learnt that Sisters Of Mercy front man Andrew Eldridge had specifically asked the band to support the Sisters on their Autumn Black October tour.
Now playing to much larger receptive audiences, the reaction ensured that when released "Burning Oil" reached the top of the UK indie charts, beating The Smiths & New Order in the process. With a now much larger profile and two more Radio One sessions the band played numerous dates around Britain and Europe and proved popular enough to sell out London's then prestigious Marquee club.
Despite previously enduring limited recording budgets, the bands success now enabled them to enlist the services of Cult/Gene Loves Jezebel producer John Brand, relocating to Highland studios Inverness and recording the bands second album "Futile Combat". Aided by Waterboys saxophonist Anthony Thistlewaite and Graham Pleeth on synths, the band achieved a more polished sound, a marked improvement on the previous offering.
Live favourite "Promised Land" was chosen as the first single off the album and on release reached the top three of the National Indie charts. The band topped the year with special guest appearances with Siouxsie & The Banshees at Brixton Academy plus Spear of Destiny London's Lyceum.
By this time tensions within the band were high which culminated in both Anne-Marie and Martin (who joined March Violets vocalist Simon to form The Batfish Boys) leaving.
With a nationwide tour still booked, Anne-Marie rejoined and the band enlisted ex Gene Loves Jezebel drummer Dik on drums. Relationships in the band were still strained and although then tour was a success, Anne-Marie once again departed to form Ghost Dance with Sisters Of Mercy founder Gary Marx, forcing the band to cancel what would have been the band's seventh Radio One session for John Peel.
At this point the band, who were at the height of their success decided to carry on. Additional musicians were drafted in, Kevin Hunter from Hull based band Cold Dance and local Keighley guitarist John Clarke joined the ranks while Trotwood and Stan sifted through numerous replies from a Melody Maker advert, intent on finding a replacement vocalist.
An initial rehearsal with Look Back In Anger vocalist Mitch Ebbling didn't work out, So the band plumped for ex Colourfield, Manchester vocalist Katrina Phillips.
Katrina, who had sang and appeared with Terry Hall (ex Specials lead singer) on The Colourfield single "Thinking Of You" had a different voice and character to Anne-Marie, but had the added advantage of writing her own tunes and lyrics.
A new manager was found in the form of Tony Perrin and the band set about recording the next single "Restless" at Bradford's newly formed Flexible Response studios. The single was originally intended for release on the Red Rhino label, but after shooting a video with Pulp's Jarvis Cocker and Russell Senior directing decided, with the aid of the band's publishing company DJM to try for a major label release.
After offers from various companies the band decided to sign with Chrysalis Records, as they seemed to be the most enthusiastic regarding promoting the band. "Restless" was remixed and partially rerecorded in Island Studios London with Smiths producer Steven Street, who whilst giving a more professional mix, deviated it so much from the original master tapes that it was almost unrecognisable as the Skeletal Family sound.
Nonetheless the single was released in 7" & 12" format gaining plenty of airplay on Radio One's Janice Long's Evening show which resulted in a further two sessions for the station plus a double page feature in Melody Maker.
The second single for Chrysalis "Just a Minute" recaptured the classic Skeletal Family sound and gave the band their highest success in the National charts at the time.
The band completed a highly successful German tour before retuning to Britain to record demo's for their forthcoming album with seventies glam rock Sweet' guitarist Andy Scott at the helm. Again disruptions occurred within the ranks causing the band to split the day before the bands first pre recorded TV performance was aired.
Following a successful gig at the Cockpit Leeds on 5.12.02 the Skels have reformed . And have played several more sucsessful UK gigs with new dates steadily appearing
The Skeletal Family Story continues..................
By association::
John Brand who produced Futile Combat now manages The STEREOPHONICS. The engineer on that session was Brendan Lynch of Paul Weller and OCS fame.
Tony Perrin who managed the band briefly went on to success with The MISSION, and then RIGHT SAID FRED.
Spike who did the early Ghost Dance singles now produces for OASIS.
Shaun from MANIC STREET PREACHERS fame's first single was Promised Land.
Resources :
skeletalfamily.com
Highly Recommended for all dark wave fans and not only...
Watch "Promised Land"
http://www.youtube.com/watch?v=Nof2w1ysUI4
Download Link :
http://rapidshare.com/Skeletal_Family.rar
Labels: innocent76, S
Bob Smith - The Visit - 1970
Bob Smith
Personnel:
LARRY CHAPMAN violin
JAMES CURTIS hand drm
MIKE DEGREVE rhythm gtr
STAN KEISER flute
CAPTAIN KEYBOARD (DARYL DRAGON) keyb'ds, vibes
JOHN LATINI bs A DON PRESTON moog, mellotron
SKIP SCHNEIDER drms A BOB SMITH gtr, vcls A
ALBUM: THE VISIT (dbl) (Kent KST-551) Sept. 1970
NB: (1) some copies issued with colour poster, which significantly increases the value of the LP. (1) counterfeited on CD (Virgo CD1518) 1996. Also legitimately reissued (RD Records RD 6) 2000, digitially remastered from the original 1/2" tapes, as a triple vinyl LP set Stop For A Visit Down Electric Avenue. The box set also contains selections from his Stop (1971) and Electric Avenue (1972) albums. Along with the three LP's, the box set includes a re-issue of "The Visit" poster, and a band history along with several photos.
Another significant collectable from the California rock scene that will interest readers. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. Interesting and a must for fans of psychedelia. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years; as such, the recent reissue is most welcome. It includes a bonus disc of material recorded by Stop, Bob's later band from the early seventies.
Prior to the Kent album, Bob was with Silverskin, and before that, Lid (not to be confused with The Lyd), who recorded an album in 1968 which remains unissued.
Don Preston was a member of Frank Zappa's Mothers Of Invention and Daryl Dragon was with The Dragons. Daryl worked on various projects with his brothers Doug and Dennis (Farm, A Sea For Yourself, et. al.) before finding fame and fortune as the 'Captain' in Captain and Tenille. Bob Smith continues performing locally in Florida and has finished a new recording, The Visit - Destiny 2000 From Bob Smith which he will make available on his own Southern Rose label.
Bob would also appreciate it if the Virgo chaps could contact him about royalties....
For more information, check the Bob Smith website:
http://sites.netscape.net/thevisitbobsmith/homepage
(Vernon Joynson/Clark Faville w/thanks to Bob Smith)
Personnel:
LARRY CHAPMAN violin
JAMES CURTIS hand drm
MIKE DEGREVE rhythm gtr
STAN KEISER flute
CAPTAIN KEYBOARD (DARYL DRAGON) keyb'ds, vibes
JOHN LATINI bs A DON PRESTON moog, mellotron
SKIP SCHNEIDER drms A BOB SMITH gtr, vcls A
ALBUM: THE VISIT (dbl) (Kent KST-551) Sept. 1970
NB: (1) some copies issued with colour poster, which significantly increases the value of the LP. (1) counterfeited on CD (Virgo CD1518) 1996. Also legitimately reissued (RD Records RD 6) 2000, digitially remastered from the original 1/2" tapes, as a triple vinyl LP set Stop For A Visit Down Electric Avenue. The box set also contains selections from his Stop (1971) and Electric Avenue (1972) albums. Along with the three LP's, the box set includes a re-issue of "The Visit" poster, and a band history along with several photos.
Another significant collectable from the California rock scene that will interest readers. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. Interesting and a must for fans of psychedelia. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years; as such, the recent reissue is most welcome. It includes a bonus disc of material recorded by Stop, Bob's later band from the early seventies.
Prior to the Kent album, Bob was with Silverskin, and before that, Lid (not to be confused with The Lyd), who recorded an album in 1968 which remains unissued.
Don Preston was a member of Frank Zappa's Mothers Of Invention and Daryl Dragon was with The Dragons. Daryl worked on various projects with his brothers Doug and Dennis (Farm, A Sea For Yourself, et. al.) before finding fame and fortune as the 'Captain' in Captain and Tenille. Bob Smith continues performing locally in Florida and has finished a new recording, The Visit - Destiny 2000 From Bob Smith which he will make available on his own Southern Rose label.
Bob would also appreciate it if the Virgo chaps could contact him about royalties....
For more information, check the Bob Smith website:
http://sites.netscape.net/thevisitbobsmith/homepage
(Vernon Joynson/Clark Faville w/thanks to Bob Smith)
Friday, November 24, 2006
Dimentia 13 - 1987 - Mirror Mind
Dimentia 13 - 1987 - Mirror Mind
[MIRLP 130]
01 Mezmerized
02 Can You Hear The Walls Melting?
03 20 Years Before My Time
04 Mushroom Season
05 Bug Soup (I Will Miss You)
06 Psychedelic Mushroom Cloud Explosion
07 Twice The Speed Of Time
08 She's Alright
09 Roolz Is A Rule
10 Mirror Mind
11 Naked Truth
Produced By Brad Warner
Engineered By Scott Godwin
Recorded July 1986 @ The Island, North Royalton Studios, Ohio
Cover By Vince Rancid
1st pressing limited edition of 3000 w/ mirror cover (or 2500 as their record company sais?)
A follow up to their debut record, uploaded some time ago, this is the second effort from one of my favourites, Ohio's Dimentia 13. More information about this underlistened band can be found in the Freakbeat interview featured on their 'fan website' (so it seems, anyway).
Happy listening.
The '80s Ohio band Dimentia 13 (named after an early movie by Francis Ford Coppola) fused together garage, psychedelic rock, and acoustic folk, issuing a total of six albums during their six-year-long recording career. Influenced by such artists as the Soft Boys, Kevin Ayers, Syd Barrett, Soft Machine, and the Electric Prunes, the band was secretive about their identities. They issued such albums as 1985's self-titled debut, 1987's Mirror Mind, 1989's Disturb the Air, 1990s T.V. Screen Head, and 1991's Flat Earth Society on the independent New York label Midnight.
~ Greg Prato, All Music Guide
[MIRLP 130]
01 Mezmerized
02 Can You Hear The Walls Melting?
03 20 Years Before My Time
04 Mushroom Season
05 Bug Soup (I Will Miss You)
06 Psychedelic Mushroom Cloud Explosion
07 Twice The Speed Of Time
08 She's Alright
09 Roolz Is A Rule
10 Mirror Mind
11 Naked Truth
Produced By Brad Warner
Engineered By Scott Godwin
Recorded July 1986 @ The Island, North Royalton Studios, Ohio
Cover By Vince Rancid
1st pressing limited edition of 3000 w/ mirror cover (or 2500 as their record company sais?)
A follow up to their debut record, uploaded some time ago, this is the second effort from one of my favourites, Ohio's Dimentia 13. More information about this underlistened band can be found in the Freakbeat interview featured on their 'fan website' (so it seems, anyway).
Happy listening.
The '80s Ohio band Dimentia 13 (named after an early movie by Francis Ford Coppola) fused together garage, psychedelic rock, and acoustic folk, issuing a total of six albums during their six-year-long recording career. Influenced by such artists as the Soft Boys, Kevin Ayers, Syd Barrett, Soft Machine, and the Electric Prunes, the band was secretive about their identities. They issued such albums as 1985's self-titled debut, 1987's Mirror Mind, 1989's Disturb the Air, 1990s T.V. Screen Head, and 1991's Flat Earth Society on the independent New York label Midnight.
~ Greg Prato, All Music Guide
posted by Hannah
Labels: D, sonicdeathsound
Kennelmus - 1971 - Folkstone Prism
Kennelmus - 1971 - Folkstone Prism
01. I Don't Know
02. Patti's Dream
03. Dancing Doris
04. Goodbye Pamela Ann
05. Monologue
06. Black Sunshine
07. Think For Yourself
08. The Bug, The Goat, & The Hearse
09. Shapes Of Sleep
10. Cloud Of Lead
11. Mother Of My Children
12. 1001 Twice
13. Sylvan Shores
14. Bulletin!!!
15. The Raven
Ken Walker (vocals, guitar, zither, melodica, electric piano, organ, effects)
Bob Narloch (vocals, guitar, harmonica, tambourine)
Tom Gilmore (recorder, bass)
Mike Shipp (drums, percussion)
**************************
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow will he leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
NO COMMENTS!
**************************
Biography
This way-obscure Phoenix band released a late-period psychedelic album in 1971 that, by the standards of self-released LPs of the time, was several layers above the usual such offering. Largely (although not wholly) instrumental, their Folkstone Prism was an authentically oddball, occasionally goofy, and sometimes inspired blend of surf music, spaced-out psychedelia, and silly pop. The exotic dabs of melodica, zither, and special effects by multi-instrumentalist and songwriter Ken Walker added a cloud of eeriness; "I Don't Know" has keyboards straight off the Chantays' surf classic "Pipeline, " "Goodbye Pamela Ann" scorching psychedelic guitar that sounds like a mating of the Electric Prunes and Haight-Ashbury, and "Mother of My Children" vocals that sound like a Lee Hazlewood parody. Kennelmus, indeed, can be seen as spiritual forefathers of sorts to several post-punk Arizona bands--Black Sun Ensemble, Friends of Dean Martinez, and Scenic--that have made instrumental rock that can function as a quasi-psychedelic desert movie soundtrack. Of course, it's doubtful that those bands, or many others, were aware of Kennelmus, since their album was released in a pressing of 1000 in 1971, and not even well known among collectors.
Kennelmus evolved from the more standard garage band the Shi-Reeves, who played British Invasion covers and surf music. Ken Walker changed the name to Kennelmus in 1969 (Kennelmus being his full first name), and with singer/guitarist Bob Narloch began recording Folkstone Prism in late 1970, with the help of bassist Tom Gilmore and drummer Mike Shipp. The record was very much the brainchild of Walker, who wrote all but one of the songs. Three of the four band members worked at a pressing plant, making them one of the few, if not the only, group of their sort to literally help press their own recordings. An anomaly of its time (or any other), Folkstone Prism made little impact, and the band broke up around the mid-1970s, although the album was reissued on CD by Sundazed in 1999.
~ Richie Unterberger, All Music Guide
Review
In the early 1970s, Kennelmus was Arizona's only psychedelic surf band. Their lone debut album is one of the true rarities of pyschedelia and is presented in its original form, sans any remixes or extra tracks. The music, just as heralded as the album is rare, is an oddball head on collision of the Chantays, Quicksilver Messenger Service, Lee Hazlewood andEnnio Morricone & the Electric Prunes all rolled up into one gigantic head rush. Listing individual tracks is almost senseless as the album was conceived as one long piece of continuous music, but selections like "I Don't Know," "Dancing Doris," "Shapes of Sleep" and the closing "The Raven" have a hypnotic pull all their own. A true visionary piece or late psychedelic noodling, you be the judge, but definitely a band with a sound and a style all their own.
~ Cub Koda, All Music Guide
01. I Don't Know
02. Patti's Dream
03. Dancing Doris
04. Goodbye Pamela Ann
05. Monologue
06. Black Sunshine
07. Think For Yourself
08. The Bug, The Goat, & The Hearse
09. Shapes Of Sleep
10. Cloud Of Lead
11. Mother Of My Children
12. 1001 Twice
13. Sylvan Shores
14. Bulletin!!!
15. The Raven
Ken Walker (vocals, guitar, zither, melodica, electric piano, organ, effects)
Bob Narloch (vocals, guitar, harmonica, tambourine)
Tom Gilmore (recorder, bass)
Mike Shipp (drums, percussion)
**************************
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow will he leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
NO COMMENTS!
**************************
Biography
This way-obscure Phoenix band released a late-period psychedelic album in 1971 that, by the standards of self-released LPs of the time, was several layers above the usual such offering. Largely (although not wholly) instrumental, their Folkstone Prism was an authentically oddball, occasionally goofy, and sometimes inspired blend of surf music, spaced-out psychedelia, and silly pop. The exotic dabs of melodica, zither, and special effects by multi-instrumentalist and songwriter Ken Walker added a cloud of eeriness; "I Don't Know" has keyboards straight off the Chantays' surf classic "Pipeline, " "Goodbye Pamela Ann" scorching psychedelic guitar that sounds like a mating of the Electric Prunes and Haight-Ashbury, and "Mother of My Children" vocals that sound like a Lee Hazlewood parody. Kennelmus, indeed, can be seen as spiritual forefathers of sorts to several post-punk Arizona bands--Black Sun Ensemble, Friends of Dean Martinez, and Scenic--that have made instrumental rock that can function as a quasi-psychedelic desert movie soundtrack. Of course, it's doubtful that those bands, or many others, were aware of Kennelmus, since their album was released in a pressing of 1000 in 1971, and not even well known among collectors.
Kennelmus evolved from the more standard garage band the Shi-Reeves, who played British Invasion covers and surf music. Ken Walker changed the name to Kennelmus in 1969 (Kennelmus being his full first name), and with singer/guitarist Bob Narloch began recording Folkstone Prism in late 1970, with the help of bassist Tom Gilmore and drummer Mike Shipp. The record was very much the brainchild of Walker, who wrote all but one of the songs. Three of the four band members worked at a pressing plant, making them one of the few, if not the only, group of their sort to literally help press their own recordings. An anomaly of its time (or any other), Folkstone Prism made little impact, and the band broke up around the mid-1970s, although the album was reissued on CD by Sundazed in 1999.
~ Richie Unterberger, All Music Guide
Review
In the early 1970s, Kennelmus was Arizona's only psychedelic surf band. Their lone debut album is one of the true rarities of pyschedelia and is presented in its original form, sans any remixes or extra tracks. The music, just as heralded as the album is rare, is an oddball head on collision of the Chantays, Quicksilver Messenger Service, Lee Hazlewood and
~ Cub Koda, All Music Guide
posted by Screaming Lord Fuzz
Labels: by Friends and Visitors of this Blog, K
The End - 1969 - Introspection
The End - 1969 - Introspection
01 - Dreamworld - 4.16
02 - Under The Rainbow - 3.47
03 - Shades Of Orange - 2.39
04 - Bromley Common - 0.49
05 - Cardboard Watch - 2.54
06 - Introspection (Part One) - 4.05
07 - What Does It Feel - 2.49
08 - Linen Draper - 0.13
09 - Don't Take Me - 3.24
10 - Loving , Sacred Loving - 2.59
11 - She Said Yeah - 2.50
12 - Jacob's Bladder - 0.55
13 - Introspection (Part Two) - 2.46
14 - Shades Of Orange (Mono Single Version) (Bonus Track) - 2.41
15 - Loving, Sacred Loving (Mono Single Version) (Bonus Track) - 3.02
British psych with lots of trippy, dreamy passages.
-Lanchester
01 - Dreamworld - 4.16
02 - Under The Rainbow - 3.47
03 - Shades Of Orange - 2.39
04 - Bromley Common - 0.49
05 - Cardboard Watch - 2.54
06 - Introspection (Part One) - 4.05
07 - What Does It Feel - 2.49
08 - Linen Draper - 0.13
09 - Don't Take Me - 3.24
10 - Loving , Sacred Loving - 2.59
11 - She Said Yeah - 2.50
12 - Jacob's Bladder - 0.55
13 - Introspection (Part Two) - 2.46
14 - Shades Of Orange (Mono Single Version) (Bonus Track) - 2.41
15 - Loving, Sacred Loving (Mono Single Version) (Bonus Track) - 3.02
British psych with lots of trippy, dreamy passages.
-Lanchester
Personnel:
Colin Giffin (guitar, lead vocals)
Dave Brown (bass, vocals)
Nicky Graham (keyboards, vocals)
Terry Taylor (guitar)
Hugh Atwooll (drums)
(Gordie Smith & John Horton - sax, incidently Horton designed the 'Introspection' album cover)
Over the years of their existance, The End enjoyed the active help of Rolling Stone, Bill Wyman. They had been previously introduced to Wyman by producer Glyn Johns who had spotted them backing Elkie Brooks and were amongst the support acts for the Stones September '65 tour following the release of 'Out of Our Heads' along with the Spencer Davis Group; Unit Four Plus Two and The Moody Blues. A debut single 'I Can't Get Any Joy' had duly flopped and any plans Wyman had regarding the band were then thwarted by lack of action on the part of the Stones manager Alan Klein's office. So it wasn't until nearly three years later on signing to Decca (ironically the Stones label) before any further releases kicked off again. In 1968 'Shades of Orange' / 'Loving, Sacred Loving' appeared, both songs were built up during the sessions for the Stones album 'The Satanic Majesties Request' and have appeared over the years on various Stones bootlegs which seems a little odd as apart from Wyman the only other connection is Charlie Watts who plays tabla. 'Shades' was a wonderful song with dreamy atmospheres whilst 'Loving' featured Nicky Hopkins on harpsichord. In the same year, the album 'Introspection' also appeared and is one of the highlights of the English psychedelic scene, no collection should be without it. 1969 gave the band the chance of an appearance in the Spanish underground movie, 'Al Escondite Ingle's' ('To The English Hiding Place') making a playback of 'Cardboard Watch' whilst walking in the street.
Shortly after this, The End's original line-up fragmented as the band mutated into Tucky Buzzard (still under Wyman's management). Colin Griffin left to pursue a solo career and Hugh Atwooll returned to the End's adopted home, Spain, to work with the likes of Miguel Rios. Remaining members - Nicky Graham; Dave Brown and Terry Taylor recruited Paul Francis on drums along with Terry Taylor's former colleague from The Mode, Jim Henderson as lead vocalist. Incidently two points of interest, firstly Jim had also contributed backing vocals on Introspection and The Mode is not the same band who recorded Eastern Music on Rubble Two : Pop Sike, Pipe Dreams. Tucky Buzzard went on to record five Lps before splitting up in the mid-Seventies.
Tenth Planet has served the band well, issuing three albums worth of unreleased recordings. The first volume 'In The Beginning' (TP 025) highlights the earlier recordings; the second 'Retrospection' (TP 033) includes album outtakes and a version of 'Black Is Black' which was inspired by the group's friendship with Los Bravos. The final offering 'The Last Word' (TP 047) looks more at the final line-up with the band going through the transitional period around the end of The End and the beginning of Tucky Buzzard.
'Shades of Orange' can be found Rubble 6 : The Clouds Have Groovy Faces; The Psychededlic Scene and The Great British Psychedelic Scene. Broken Dreams featured two songs, 'Jacob's Bladder' & 'Introspection pt.2' whilst Visions from the Past volume 3 featured 'Why'
posted by Lanchester
Labels: E, Lanchester
Thursday, November 23, 2006
Wednesday, November 22, 2006
Romeo Void - Instincts
Track Listing
1 Out on My Own
2 Just Too Easy
3 Billy's Birthday
4 Going to Neon
5 Six Days and One
6 Girl in Trouble (Is a Temporary Thing)
7 Say No
8 Your Life Is a Lie
9 Instincts
Romeo Void was a New Wave band in San Francisco, California from 1979 to 1985.
They are best known for the songs "Never Say Never" (1982) and "A Girl in Trouble (Is A Temporary Thing)" (1984), which were minor hits, with the latter becoming a Top 40 pop single. Their popularity was primarily in alternative and college radio, and as a dynamic performing act. They recorded for 415/Columbia Records.
The original band members met at the San Francisco Art Institute. Most of the band members were also visual artists and did their own album art. Perhaps in reaction against the more commercial sound of Benefactor, Romeo Void returned to producer David Kahne and the sound of their first album, It's a Condition, on their third, Instincts. Nevertheless, it proved to be their bestselling album. The group's instrumental attack continued to be spearheaded by saxophonist Benjamin Bossi, whose floating lines contrasted with the drive of the rhythm section and guitarist Peter Woods' Morse code leads. And Iyall continued to pour out disappointed reflections on the romantic condition in songs with titles like "Your Life Is a Lie" and "Say No." One of them, "A Girl in Trouble (Is a Temporary Thing)," managed to be both provocative and vague enough to inch into the Top 40, such that the album gained greater exposure and sales. But instead of marking a breakthrough for Romeo Void, Instincts marked their breakup, with Iyall going solo.
After the demise of Romeo Void, Debora Iyall, the lead singer and lyricist, put together and sang in the groups Knife in Water and Lower East Venus. John Haines played drums for Pearl Harbour and the Explosions.
The band was reunited briefly in 2003 for a one-off concert by VH-1's Bands Reunited, although Benjamin Bossi was unable to perform due to hearing loss. The band wrote and recorded four demo tracks in October 1993 (If I Was Your Cat, Stormy Eyes, Two Rivers, and Safe Place), which were sent to Sony Music but never released.
Personnel
Debora Iyall: vocals
Benjamin Bossi: saxophone
Peter Woods: guitar
Frank Zincavage: bass
John Haines: drums (It's a Condition)
Larry Carter: drums (Never Say Never (EP) and Benefactor)
Aaron Smith: drums (Instincts)
Watch "Say No" :
http://www.youtube.com/watch?v=CeYQA1k_7Kw&mode=related&search=
SendSpace :
http://www.sendspace.com/file/rw7uu1
or
RapidShare :
http://rapidshare.com/files/4839854/romeo.rar
Labels: innocent76, R
Bulbous Creation - 1970 - You Won't Remember Dying
Bulbous Creation - 1970 - You Won't Remember Dying
(Rockadelic US 1994)
recorded 1970
01 End Of The Page (4:45)
02 Having A Good Time (4:08)
03 Satan (6:05)
04 Fever Machine Man (6:29)
05 Let's Go To The Sea (8:26)
06 Hooked (4:05)
07 Under The Black Sun (2:55)
08 Stormy Monday (2:51)
1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL]
American psychrock with a doom-metal feel for your enjoyment.
- Lanchester
(Rockadelic US 1994)
recorded 1970
01 End Of The Page (4:45)
02 Having A Good Time (4:08)
03 Satan (6:05)
04 Fever Machine Man (6:29)
05 Let's Go To The Sea (8:26)
06 Hooked (4:05)
07 Under The Black Sun (2:55)
08 Stormy Monday (2:51)
1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL]
American psychrock with a doom-metal feel for your enjoyment.
- Lanchester
posted by Lanchester
Labels: B, Lanchester
Tripod Jimmie - 1982 - Long Walk Off A Short Pier
Tripod Jimmie - 1982 - Long Walk Off A Short Pier
01 Autumn Leaves
02 Thank You Very Much Next Week
03 Mirror On The Wall
04 Empty Seed
05 Bowl Of Cherries
06 Nu Spartans
07 Joe Granville
08 Jimmie Sings
09 Women In Uniform
10 Spike The Dike
11 Franco-America
Tripod Jimmie "Long Walk Off a Short Pier" Do Speak do3, 1982.
*** Terrific debut from the band led by ex- Pere Ubu guitarist, Tom Hermann. Great post-punk/funk stuff: agile drumming, meaty basslines, Hermann's lacerating guitar and his Byrne-like voice. Not dissimilar in places to early Talking Heads, but not as mannered. Excellent live-in-studio recording made "on the shore of Lake Erie." I became aware of this fantastic lp when avid fan, Steve Albini played it on a local radio show. References: Come On, The Fall, Styrenes, Electric Eels, Mirrors, Couch Flambeau. ***
From Wikipedia, the free encyclopedia
Tom Herman is a guitarist and composer.
He was a founding member of Pere Ubu, performing and recording with them from 1975 to 1979. He quit the group, then rejoined in 1995. One of his main reasons for leaving Pere Ubu (one among many) was that the band wasn't as interested in spending time on the road as he was. He left and, ironically, never got back on the road with a band until rejoining Pere Ubu in the nineties.
After leaving Ubu, Tom spent some time working on an oil rig in the south as well as playing bass in a hotel band. Eventually he started working as a mechanical technician, repairing equipment in hospitals and occasionally restaurants.
In 1980 or 1981 he moved to Erie, PA, where he started Tripod Jimmie with bassist Lenny Bove and drummer Roger Prehoda. The band was named after photographer friend Mick Mellen's three-legged dog and/or the tape deck mounted on a tripod that functioned as the fourth member of the band. The tape deck was used to play tape loops which the band would then play "with" rhythmically or "against" (where the loop served more as a textural element) depending upon the demands of a particular song.
While notably different from Pere Ubu, the two bands do have similarities. The band's music bore a relation to R&B, but in a unique sense. "... one of the things I was thinking about at the time was what it would be like if some alien was exposed to all relevant information about R&B except actually hearing it," as Tom put it. This thoughtful and conscious approach to the band as a project shows a similar sensibility to Ubu's.
Some time after recording the album Long Walk Off a Short Pier (which was in fact recorded on a pier), Tripod Jimmie moved from Erie, PA to Oakland, CA in the mid-eighties, swapping Roger Prehoda for Glenn Reynolds on drums. This lineup released the album A Warning to All Strangers. The band broke up in 1988 and Tom dropped out of actively playing music for a few years.
In 2003, Tom recorded an album called "Wait For It", which was issued by Return-to-Sender Records in 2004. Highlights include a cover of Blind Lemon Jefferson's "Jesus" and "Red Haired Girl".
In early 2005, Tom left Pere Ubu again. In August of 2006 he played on stage with Oakland rock band Ovipositor.
One critic has praised Herman's playing, describing it as "postmodern Chuck Berry riffing."
01 Autumn Leaves
02 Thank You Very Much Next Week
03 Mirror On The Wall
04 Empty Seed
05 Bowl Of Cherries
06 Nu Spartans
07 Joe Granville
08 Jimmie Sings
09 Women In Uniform
10 Spike The Dike
11 Franco-America
Tripod Jimmie "Long Walk Off a Short Pier" Do Speak do3, 1982.
*** Terrific debut from the band led by ex- Pere Ubu guitarist, Tom Hermann. Great post-punk/funk stuff: agile drumming, meaty basslines, Hermann's lacerating guitar and his Byrne-like voice. Not dissimilar in places to early Talking Heads, but not as mannered. Excellent live-in-studio recording made "on the shore of Lake Erie." I became aware of this fantastic lp when avid fan, Steve Albini played it on a local radio show. References: Come On, The Fall, Styrenes, Electric Eels, Mirrors, Couch Flambeau. ***
From Wikipedia, the free encyclopedia
Tom Herman is a guitarist and composer.
He was a founding member of Pere Ubu, performing and recording with them from 1975 to 1979. He quit the group, then rejoined in 1995. One of his main reasons for leaving Pere Ubu (one among many) was that the band wasn't as interested in spending time on the road as he was. He left and, ironically, never got back on the road with a band until rejoining Pere Ubu in the nineties.
After leaving Ubu, Tom spent some time working on an oil rig in the south as well as playing bass in a hotel band. Eventually he started working as a mechanical technician, repairing equipment in hospitals and occasionally restaurants.
In 1980 or 1981 he moved to Erie, PA, where he started Tripod Jimmie with bassist Lenny Bove and drummer Roger Prehoda. The band was named after photographer friend Mick Mellen's three-legged dog and/or the tape deck mounted on a tripod that functioned as the fourth member of the band. The tape deck was used to play tape loops which the band would then play "with" rhythmically or "against" (where the loop served more as a textural element) depending upon the demands of a particular song.
While notably different from Pere Ubu, the two bands do have similarities. The band's music bore a relation to R&B, but in a unique sense. "... one of the things I was thinking about at the time was what it would be like if some alien was exposed to all relevant information about R&B except actually hearing it," as Tom put it. This thoughtful and conscious approach to the band as a project shows a similar sensibility to Ubu's.
Some time after recording the album Long Walk Off a Short Pier (which was in fact recorded on a pier), Tripod Jimmie moved from Erie, PA to Oakland, CA in the mid-eighties, swapping Roger Prehoda for Glenn Reynolds on drums. This lineup released the album A Warning to All Strangers. The band broke up in 1988 and Tom dropped out of actively playing music for a few years.
In 2003, Tom recorded an album called "Wait For It", which was issued by Return-to-Sender Records in 2004. Highlights include a cover of Blind Lemon Jefferson's "Jesus" and "Red Haired Girl".
In early 2005, Tom left Pere Ubu again. In August of 2006 he played on stage with Oakland rock band Ovipositor.
One critic has praised Herman's playing, describing it as "postmodern Chuck Berry riffing."
Tuesday, November 21, 2006
Morgen - 1969 - Morgen
Morgen - 1969 - Morgen
(USA /ABC-Probe /1969)
Steve Morgen - g, vo
Bob Maiman - ds
Rennie Genossa - b
Barry Stock - g
01 Welcome To The Void 4:47
02 Of Dreams 5:38
03 Beggin' Your Pardon (Miss Joan) 4:49
04 Eternity In Between 5:07
05 Purple 4:12
06 She's The Nitetime 3:31
07 Love 10:54
total time: 39:00
Very little is known of the elusive group Morgen, who recorded a one-off album for ABC's psychedelic subsidiary Probe in 1969 and then apparently vanished. The group's namesake leader was Steve Morgen, and while some reference books actually credit the album to him solely, Morgen was indeed a group, consisting of Steve, Rennie Genossa, Bob Maiman, and Barry Stock, all of whom supposedly hailed from Long Island, New York.
Their album made no impact when originally released and has since become rare and sought-after, especially after dealers and collectors began declaring it a "psychedelic classic" in recent years. While the label "classic" might be a bit of a stretch, the album does certainly include a few very good tracks. "Welcome to the Void" is an effective opener that features some nice drumming and lead guitar work, as well as some suitably psychedelic, apocalyptic lyrics. "Of Dreams", probably the strongest song on the album, is a gorgeous, floating psychedelic excursion highlighted by a captivating, fey vocal and some more strong guitar and drum playing. An edited single version of "Of Dreams" was featured on Arf! Arf!'s excellent compilation Beyond the Calico Wall and offers a different mix of the song, but it decidedly sounds best here, in its five-and-a-half-minute, stereo incarnation. "Beggin' Your Pardon (Miss Joan)" had the potential to be a decent, slightly bluesy tune, but its plodding momentum and comparatively simple arrangement make it a bit of a sleeper, especially after the psychedelic splendor of "Of Dreams".
It's likely the album's weakest offering. "Eternity in Between" is more engaging, and it features some guitar work that sounds almost like a tribute to The Who's Pete Townshend, specifically, some chord changes borrowed from Tommy's "Underture", as well as the guitar pickup switch feedback sound that Townshend used liberally on signature Who tunes like "Anyway, Anyhow, Anywhere". "Purple" is a very nice song propelled by a good drumbeat and underscored by droning guitar leads. It's also perhaps the best showcase for Steve Morgen's soft vocals. "She's the Nitetime", a catchy tune with good musicianship all around and more nice vocal contributions from Steve, is another major highlight of the album. The eleven-minute closer "Love" sounds a little reminiscent of The Doors' "When the Music's Over" in its vocal phrases, and is narrowly rescued from tedium by a rather good guitar solo halfway through. Although Morgen's album might not be a 100%-excellent whole, it does include some very satisfactory ingredients.
Word of Life - 1992 - Furthur Ahead
(Hard to find fuzzed-out psych from Sweden!)
Word of Life
Discography:
Furthur Ahead (XMLP-2 1992)
Dust (XMLP-10 1995)
Dust (SUB XMCD-2 1996)
Mans started out with the legendary Crimson Shadows, one of the now most celebrated groups of the mid-80s garage punk wave. Their records are now much sought after and are fetching high sums in the collector circuit. After that he started a Surf group, the Livingstones (pre-Daytonas) pre-dating the current surf trend by 10 years! Then moved in to psychedelic-hardrock territory with the group Zonk together with Stefan Kéry. He contributed to the trance-a-delic sounds of the Entheogens and ventured into innovative metal hard rock with Gone. He created the mind bending musical experience of the Word of Life, taking psychedelic festival trance rock in to the future. He recorded with Swedish indie group Friends and now spends most of his time with the Maggots.Review:
Trance-petaled Mushroom-Jams w/flute 'n fuzz,plenty o' athmo-soother perco rafting in early 70's german Kraut-boiler-manner..quite a trippy venture and the spellin of "furthur"is most notable!Psychedelic sleeve to boot,insert and totally home-made label-designs..from Sweden with love! – k-fox
"Furthur Ahead" personnel:
Måns Månsson: Vocals, Guitar, FX
Mats Ståhl: Bass, Maraccas
Daniel Ståhl: Electric Piano
Anna Nyström: Flute
Janne: Drums, Percussion
Recorded at the Sleeping Room and Lace Land studios, Sweden.
"Dust" personnel:
Måns Månsson: Vocals, Guitar, Synthesizers, FX, Percussion, Pump Organ, Marty‚s Bag, Sitar
Anna Nyström: Electric Piano, Hammond Organ, Vocoder, Vocals
Anders Paulsson: Bass
Adam Axelzon: Percussion
Stefan Kälfors: Drums, Percussion
Martin Rössel: Cello
Tom Hayes 18-Jul-2006 Overview
For a short period in the early to mid 1990's, a collective of Swedish musicians decided to relive the past and create improvisational psychedelic rock music similar to the early 70's masters such as International Harvester and Algarnas Tradgard. Acts such as S.T. Mikael, Adam, Stefan and the Entheogens all recorded for the low budget label Xotic Mind. The primary difference between the modern day copiers and the 1970's masters is the one-dimensional nature of the recordings. This trait can be attributed to most of the albums being solo projects with only guest musicians.
One of the better bands on the label were The Word of Life, a band lead by Mans P. Mansson, a multi-instrumentalist who plays guitar, sitar, synthesizers, percussion and sings. He is joined by many guests, though most important is the fine flute work provided by Anna Nystom. On the debut, Further Ahead, Mansson manages a varied improvisational psychedelic album. Long burning jams such as "Space Fu?king" and "Can You Feel it - Flowing Free" are offset by calm flute and hand percussion ragas like "The Devil". What one notices in repeated listens is the need for an editor (a problem for many of these kind of solo ventures). Most of the jams meander on for too long and the inclusion of a couple of Earthy country-bumpkin vocal tracks with Louisiana-front-porch harmonica are in complete contrast to the hazy heady cosmic aspirations the album pretends to be. Still, the album works on many levels, most notably the trance-like jams, which can get quite intense. The guitar tone is super fuzz loud and the percussion is particularly active. Recommended for all Krautrock, space rock and early Swedish pioneer groups. The original LP contained a paste-on cover and is now quite rare. Better to find the CD on Satori.
The sophomore effort, Dust, is quite a bit different from the predecessor. More variety and less jam oriented, this album tries to please on a number of fronts. "When I Was in Space" opens promisingly enough with oscillator-emulated synth runs and heavy percussion. But, alas, this goes on too long and becomes redundant, and one wishes for the sage advice of a wily producer. The songs on this album have a sort of "retro lounge" naïve melody line motif which I find oddly appealing. No doubt there are plenty of sizzling guitar jams to bang your head to, just less of them than the ambitious debut. I find both of their albums to be good fun if you don't take them too seriously. And a few tracks are just devastating, especially on the debut
For a short period in the early to mid 1990's, a collective of Swedish musicians decided to relive the past and create improvisational psychedelic rock music similar to the early 70's masters such as International Harvester and Algarnas Tradgard. Acts such as S.T. Mikael, Adam, Stefan and the Entheogens all recorded for the low budget label Xotic Mind. The primary difference between the modern day copiers and the 1970's masters is the one-dimensional nature of the recordings. This trait can be attributed to most of the albums being solo projects with only guest musicians.
One of the better bands on the label were The Word of Life, a band lead by Mans P. Mansson, a multi-instrumentalist who plays guitar, sitar, synthesizers, percussion and sings. He is joined by many guests, though most important is the fine flute work provided by Anna Nystom. On the debut, Further Ahead, Mansson manages a varied improvisational psychedelic album. Long burning jams such as "Space Fu?king" and "Can You Feel it - Flowing Free" are offset by calm flute and hand percussion ragas like "The Devil". What one notices in repeated listens is the need for an editor (a problem for many of these kind of solo ventures). Most of the jams meander on for too long and the inclusion of a couple of Earthy country-bumpkin vocal tracks with Louisiana-front-porch harmonica are in complete contrast to the hazy heady cosmic aspirations the album pretends to be. Still, the album works on many levels, most notably the trance-like jams, which can get quite intense. The guitar tone is super fuzz loud and the percussion is particularly active. Recommended for all Krautrock, space rock and early Swedish pioneer groups. The original LP contained a paste-on cover and is now quite rare. Better to find the CD on Satori.
The sophomore effort, Dust, is quite a bit different from the predecessor. More variety and less jam oriented, this album tries to please on a number of fronts. "When I Was in Space" opens promisingly enough with oscillator-emulated synth runs and heavy percussion. But, alas, this goes on too long and becomes redundant, and one wishes for the sage advice of a wily producer. The songs on this album have a sort of "retro lounge" naïve melody line motif which I find oddly appealing. No doubt there are plenty of sizzling guitar jams to bang your head to, just less of them than the ambitious debut. I find both of their albums to be good fun if you don't take them too seriously. And a few tracks are just devastating, especially on the debut
Discography:
Furthur Ahead (XMLP-2 1992)
Dust (XMLP-10 1995)
Dust (SUB XMCD-2 1996)
Mans started out with the legendary Crimson Shadows, one of the now most celebrated groups of the mid-80s garage punk wave. Their records are now much sought after and are fetching high sums in the collector circuit. After that he started a Surf group, the Livingstones (pre-Daytonas) pre-dating the current surf trend by 10 years! Then moved in to psychedelic-hardrock territory with the group Zonk together with Stefan Kéry. He contributed to the trance-a-delic sounds of the Entheogens and ventured into innovative metal hard rock with Gone. He created the mind bending musical experience of the Word of Life, taking psychedelic festival trance rock in to the future. He recorded with Swedish indie group Friends and now spends most of his time with the Maggots.Review:
Trance-petaled Mushroom-Jams w/flute 'n fuzz,plenty o' athmo-soother perco rafting in early 70's german Kraut-boiler-manner..quite a trippy venture and the spellin of "furthur"is most notable!Psychedelic sleeve to boot,insert and totally home-made label-designs..from Sweden with love! – k-fox
"Furthur Ahead" personnel:
Måns Månsson: Vocals, Guitar, FX
Mats Ståhl: Bass, Maraccas
Daniel Ståhl: Electric Piano
Anna Nyström: Flute
Janne: Drums, Percussion
Recorded at the Sleeping Room and Lace Land studios, Sweden.
"Dust" personnel:
Måns Månsson: Vocals, Guitar, Synthesizers, FX, Percussion, Pump Organ, Marty‚s Bag, Sitar
Anna Nyström: Electric Piano, Hammond Organ, Vocoder, Vocals
Anders Paulsson: Bass
Adam Axelzon: Percussion
Stefan Kälfors: Drums, Percussion
Martin Rössel: Cello
posted by Lanchester
Labels: Lanchester, W
Monday, November 20, 2006
The Unrelated Segments & The Tidal Waves - Where You Gonna Go ?
Taylor, Michigan-based teen rockers the Unrelated Segments formed in late 1966 around the nucleus of singer Ron Stults and lead guitarist Rory Mack, who together previously teamed in the short-lived Village Beaus. Also including rhythm guitarist John Torok, bassist Barry Van Engelen and drummer Andy Angellotti, the Segments wrote their first original, "The Story of My Life," after just their second rehearsal session; they soon entered the local United Sound studio to record the track, issuing it as their SVR label debut single in early 1967. A massive hit on Detroit radio, the song also gained significant airplay in other pockets of the midwest, and that summer the Unrelated Segments returned to the studio to cut their second single, "Where You Gonna Go?; " another local smash, it helped the group land live dates at the famed Grande Ballroom opening for acts including Spirit and Jeff Beck Group. They also opened for the likes of the Who and the MC5. "Cry, Cry, Cry" followed in the summer of 1968, but failed to match the success of its predecessors; Angellotti was soon dismissed from the line-up, and after Van Engelen was drafted to serve in Vietnam in early 1969 the Segments recruited new guitarist Daryl Gore, with Torock moving to bass. After changing their name to simply the U.S., they recorded a handful of unreleased tracks before disbanding as the decade drew to a close; in 1998, the Cicadelic label released a comprehensive collection of the Segments' music titled Where You Gonna Go ?
~ Jason Ankeny, All Music Guide
DownloadLink:
http://rapidshare.com/files/4148249/segments.rar.html
~ Jason Ankeny, All Music Guide
DownloadLink:
http://rapidshare.com/files/4148249/segments.rar.html
Labels: innocent76, U
Clear Light - 1967 - Black Roses
Formed in 1966 as the Brain Train and managed by Sunset Strip hipster Bud Mathis, Clear Light were signed up by Elektra, and Doors' producer Paul A. Rothchild took over management of the band.
The group included future actor Cliff De Young on vocals and drummer Dallas Taylor (who had played previously with John Sebastian and later with Crosby, Stills and Nash). Rounding out the lineup were Robbie "the Werewolf" Robison, guitar (later replaced by Ralph Schuckett, organ); Bob Seal, guitar and vocals; occasional Doors sideman Doug Lubahn, bass; and Michael Ney, on, most unusually, another set of drums.
The group included future actor Cliff De Young on vocals and drummer Dallas Taylor (who had played previously with John Sebastian and later with Crosby, Stills and Nash). Rounding out the lineup were Robbie "the Werewolf" Robison, guitar (later replaced by Ralph Schuckett, organ); Bob Seal, guitar and vocals; occasional Doors sideman Doug Lubahn, bass; and Michael Ney, on, most unusually, another set of drums.
What has been considered the band's finest hour came when drunken customers in a Park Avenue club heckled them so brutally that Ralph Schuckett, the usually gentle organist, hurled a few choice words back at them. They then walked off the stage, retired to the Albert Hotel, and woke up in the morning to find that they had become underground heroes.
The big hit off their only album, Clear Light, was "Mr. Blue," a psychedelic folk song written by Tom Paxton. Lasting over six minutes, the rather sinister, psychedelic song is considered a classic of the genre. Its lyrics, which alternate between spoken word and song, include verses opening with such lines as, "Good morning, Mister Blue, we've got our eye on you," "Step softly, Mister Blue, we know what's best for you," and "Be careful, Mister Blue, this phase you're going through ...."
The album also included some of guitarist Bob Seal's best psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing." It had some success in England, but less in the U.S. The group disbanded in 1968.
The album also included some of guitarist Bob Seal's best psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing." It had some success in England, but less in the U.S. The group disbanded in 1968.
Resources:
en.wikipedia.org/wiki/Clear_Light
Download Link :
Labels: C, innocent76
Sunday, November 19, 2006
Ellison - 1971 - Ellison
Ellison - 1971 - Ellison
(eerie Canadian psych)
01 - Unchanged World - 3.36
02 - Seal A Beam Bow - 4.26
03 - Satanic - 2.02
04 - Winter Slutch - 4.06
05 - Strawberry Pain - 5.23
06 - Untruth Story - 5.58
07 - Freedom - 3.17.mp3
This heavy psychedelic quartet from Quebec,Canada recorded their only album in 1971. Among collectors it is loved as an early hardrock masterpiece with melancholic moments and intense songs. The lyrics describe drug experiences.
(eerie Canadian psych)
01 - Unchanged World - 3.36
02 - Seal A Beam Bow - 4.26
03 - Satanic - 2.02
04 - Winter Slutch - 4.06
05 - Strawberry Pain - 5.23
06 - Untruth Story - 5.58
07 - Freedom - 3.17.mp3
This heavy psychedelic quartet from Quebec,Canada recorded their only album in 1971. Among collectors it is loved as an early hardrock masterpiece with melancholic moments and intense songs. The lyrics describe drug experiences.
posted by Gathering_Of_The_Tribe [anonymous user]
Labels: by Friends and Visitors of this Blog, E
Unicorn - 1971 - Uphill All The Way
Unicorn - 1971 - Uphill All The Way
01. P. F. Sloan (Webb)
02. 115 Bar Joy (Baker)
01. P. F. Sloan (Webb)
02. 115 Bar Joy (Baker)
03. I've Loved Her So Long (Young)
04. Don't Ever Give Up Trying (Baker)
05. Country Road (Taylor)
06. Something To Say (Cocker)
07. Ain't Got A Lot Of Future (Baker)
08. Never Going Back (Stewart)
09. You, You, You Have (Baker)
10. Please Sing A Song For Us (Rafferty)
Personnel: (up to 1976)
KEN BAKER gtr, vcls, keyb'ds A B C
PAT MARTIN bs, vcls, mandolin A B C
TREVOR MEE gtr, vcls, flute A
PETER PERRIER drms, vcls A B C
KEVIN SMITH gtr B C
CHRIS PIDGEON keyb'ds C
ALBUMS: (up to 1976)
1(A) UPHILL ALL THE WAY (Transatlantic TRA 238) 1971
2(B) BLUE PINE TREES (Charisma CAS 1092) Aug. 1974
3(C) TOO MANY CROOKS (Harvest SHSP 4054) Mar. 1976
NB: (2) and (3) issued on Capitol in US, with (3) under a different title as Unicorn II. There was one further album One More Tomorrow (Harvest ) 1977, recorded with Howie Casey (sax) and Billy Livsey (keyb'ds).
Previously known as The Late, this was a pleasant country/folk band, who gradually became rockier and perhaps less interesting as a result. The Going Home 45 was a private pressing. The first Big T 45, P.F. Sloan, was a tribute to the American songwriter and, like flip side, is excellent. Dave Gilmour (of Pink Floyd) played on some of their albums and produced some of their material. Ferrier later went on to Co-Co and Smith later played in Thumbs.
04. Don't Ever Give Up Trying (Baker)
05. Country Road (Taylor)
06. Something To Say (Cocker)
07. Ain't Got A Lot Of Future (Baker)
08. Never Going Back (Stewart)
09. You, You, You Have (Baker)
10. Please Sing A Song For Us (Rafferty)
Personnel: (up to 1976)
KEN BAKER gtr, vcls, keyb'ds A B C
PAT MARTIN bs, vcls, mandolin A B C
TREVOR MEE gtr, vcls, flute A
PETER PERRIER drms, vcls A B C
KEVIN SMITH gtr B C
CHRIS PIDGEON keyb'ds C
ALBUMS: (up to 1976)
1(A) UPHILL ALL THE WAY (Transatlantic TRA 238) 1971
2(B) BLUE PINE TREES (Charisma CAS 1092) Aug. 1974
3(C) TOO MANY CROOKS (Harvest SHSP 4054) Mar. 1976
NB: (2) and (3) issued on Capitol in US, with (3) under a different title as Unicorn II. There was one further album One More Tomorrow (Harvest ) 1977, recorded with Howie Casey (sax) and Billy Livsey (keyb'ds).
Previously known as The Late, this was a pleasant country/folk band, who gradually became rockier and perhaps less interesting as a result. The Going Home 45 was a private pressing. The first Big T 45, P.F. Sloan, was a tribute to the American songwriter and, like flip side, is excellent. Dave Gilmour (of Pink Floyd) played on some of their albums and produced some of their material. Ferrier later went on to Co-Co and Smith later played in Thumbs.
Mike Warth/Jim McMaster
Originally called: The Late. These fine musicians from UK eventually were the backing group for Billy J.Kramer. But here they perform under the name UNICORN. And this is superb country/folk/prog with splendid vocals and superb vocal-arrangements and music ability to perfectly fit the singing! ”Uphill all the way” are a superb album. No wonder David Gilmour (yes ,he of Pink Floyd fame) liked them and joined them on several of their later albums. Ok, not so much progressive as folksy pop, but still very much an album that shines! In the great vein of Cochise & ronco (remember them?) So when nodding happily to the abowe, you just have to get this fine little period piece of usical history!! My favourite tracks? Well….i kinda love: ”115 bar joy” with its Crosby, Stills And Nash character, beautiful!! Also im very fond of :”I loved her so long”…but friends of mellow, soothing, very excellent soft music.
This album holds beautiful music and very beautiful vocals. So dear friend, this is masterclass of relaxed folk/pop music hhhm…the sheer beauty of the vocal arrangements are worth the price alone for this cd!! Get it now, before your riend can say:”Listen to this!”
UNICORN may be a fantasy figure, but these guys are for real, and everything about them are superb. Do check em´out!! I love this album!!------FROM PROGPLANET
Their Site
http://home.earthlink.net/~tdglenn/unicorn/unicornmain.htm
Enjoy !
Their Site
http://home.earthlink.net/~tdglenn/unicorn/unicornmain.htm
Enjoy !
Modernground Express
with: THE SICK ROSE, THE CAVEMEN + THE SOUND EXPLOSION live!
Athens - GR, Friday 24 November 2006
@ UNDERWORLD club Themistokleous & 5, Gamveta str. (tel.: +30 210 3840965)
Belle Vue in action again! After the “Weekender” of 2006 and the second edition of “The Athenaeum Cave” a brand new club is ‘blooming’, the “Modernground Express”. In its first appearance, in collaboration with Milano Mods, on 24th of November at Underworld club (Themistokleous & 5, Gamveta str. Athens - GR) and on 25th of November at B Live club in Larissa, we proudly present, two bands from our neighboring Italy that have left indelible their traces in the RnR way. The Sick Rose from Turin with more than twenty years in the limelight and The Cavemen from Ravenna for the first time in Greece accompanied with the natives, The Sound Explosion! So many things to say for them!
It was somewhere in the 1984 when, Luca Re and his band for the first time touched the instruments and went up on stage! From the release of their first e.p. “Get Along Girl!” on Electric Eye rec. in 1986 up to our days and the release of “Blasting Out” on Teen Sound rec. with Australian producer Dom Mariani, many years passed, many things have changed (maybe some of them a little bit), but still remains an authentic RnR group, with constant values and principals. When The Sick Rose made their debut in Italy their sound was not familiar to the local music statement. Genuine representatives of sixties American garage scene, without losing their Italian character during the time, thanks to the accent of their leader Luca Re. That season were two superior bands, according to Timothy Gassen’s book “Knights of Fuzz 1980-1995”: The Chesterfield Kings and The Sick Rose!
On the same stage, The Cavemen, intellectual children of Massimo del Pozzo with the well known in our days “Teen Sound”, mixing with their genius way, the sounds of garage punk groups of the other side of Atlantic ocean with the European RnB and Italian beat of the '60s decade!
Also the same night, the Greeks “The Sound Explosion”, almost fifteen years in action with many appearances in n’ out of the borders, need no introduction as they cause delirium to every garage maniac!
The concert follows an all night party with Belle Vue d.j.s behind the decks and special guest, Henry from Milano Mods playing the sounds of the sixties underground on the original labels & hard to find 45’s!
Enjoy the ride in “Modernground Express” by booking your tickets on time, in the limited number of 500 tickets and watch when shadows fall!
More info:
www.bellevuesituation.com
www.myspace.com/belle_vue
www.milanomods.itgo.com
www.underworldclub.gr
The Sick Rose
Get Along Girl (7'') 1986
01 Get Along Girl
02 The Big Sound Goes Down
03 I Want Love
Other Faces -1986
01 Searching For
02 It's a Mystery
03 Nothing to Say
04 Night Comes Falling Down
05 I Don't Care-She Doesn't Care
06 I'm Not Trying to Hurt You
07 Everybody Wants to Know
08 You've Got My Mind
09 About You
10 Black or White
11 Can You Find Me a Place
12 What You Are-Bad Girl
13 Every Night a New Suprise
14 Get Along Girl
15 Big Sound Goes Down
16 Don't Come With Me
The Sound Explosion
Teen Trash 14 [LP] 1994
01- "Inspector Clouseau In Outter Limits" y "State Of My Mind"
02- Send A Message
03- She's One Of A Kind
04- Hopeless Endless Way
05- Don't Turn Away
06- Lost In Tyme
07- No!No!No!No!No!No!
08- It's For You
09- My Baby Went Away With The Midnight Train
10- The Last November
11- In The Past
12- We're The Sound Explosion
Singles
Hangover Baby [7''] 1993
01 - Hangover Baby
02 - Some Other Guy
I'll Shake the Universe [7''] 1994
01 - I'll Shake The Universe
02 - Why Can't You See
Another Lie [7''] 1996
01 - Another Lie
02 - Misirlou The Greek
The Last Recordings [7''] 2000
01 - The S.EX. In Outer Limits
02 - You'd Better Shake Eight Now!
03 - Watch Yourself
04 - She's Sorry
All the above Sound Explosion Singles you could get them in a single folder:
Rapidshare.de Link
or
Rapidshare.com Link
Athens - GR, Friday 24 November 2006
@ UNDERWORLD club Themistokleous & 5, Gamveta str. (tel.: +30 210 3840965)
Belle Vue in action again! After the “Weekender” of 2006 and the second edition of “The Athenaeum Cave” a brand new club is ‘blooming’, the “Modernground Express”. In its first appearance, in collaboration with Milano Mods, on 24th of November at Underworld club (Themistokleous & 5, Gamveta str. Athens - GR) and on 25th of November at B Live club in Larissa, we proudly present, two bands from our neighboring Italy that have left indelible their traces in the RnR way. The Sick Rose from Turin with more than twenty years in the limelight and The Cavemen from Ravenna for the first time in Greece accompanied with the natives, The Sound Explosion! So many things to say for them!
It was somewhere in the 1984 when, Luca Re and his band for the first time touched the instruments and went up on stage! From the release of their first e.p. “Get Along Girl!” on Electric Eye rec. in 1986 up to our days and the release of “Blasting Out” on Teen Sound rec. with Australian producer Dom Mariani, many years passed, many things have changed (maybe some of them a little bit), but still remains an authentic RnR group, with constant values and principals. When The Sick Rose made their debut in Italy their sound was not familiar to the local music statement. Genuine representatives of sixties American garage scene, without losing their Italian character during the time, thanks to the accent of their leader Luca Re. That season were two superior bands, according to Timothy Gassen’s book “Knights of Fuzz 1980-1995”: The Chesterfield Kings and The Sick Rose!
On the same stage, The Cavemen, intellectual children of Massimo del Pozzo with the well known in our days “Teen Sound”, mixing with their genius way, the sounds of garage punk groups of the other side of Atlantic ocean with the European RnB and Italian beat of the '60s decade!
Also the same night, the Greeks “The Sound Explosion”, almost fifteen years in action with many appearances in n’ out of the borders, need no introduction as they cause delirium to every garage maniac!
The concert follows an all night party with Belle Vue d.j.s behind the decks and special guest, Henry from Milano Mods playing the sounds of the sixties underground on the original labels & hard to find 45’s!
Enjoy the ride in “Modernground Express” by booking your tickets on time, in the limited number of 500 tickets and watch when shadows fall!
More info:
www.bellevuesituation.com
www.myspace.com/belle_vue
www.milanomods.itgo.com
www.underworldclub.gr
The Sick Rose
Get Along Girl (7'') 1986
01 Get Along Girl
02 The Big Sound Goes Down
03 I Want Love
Other Faces -1986
01 Searching For
02 It's a Mystery
03 Nothing to Say
04 Night Comes Falling Down
05 I Don't Care-She Doesn't Care
06 I'm Not Trying to Hurt You
07 Everybody Wants to Know
08 You've Got My Mind
09 About You
10 Black or White
11 Can You Find Me a Place
12 What You Are-Bad Girl
13 Every Night a New Suprise
14 Get Along Girl
15 Big Sound Goes Down
16 Don't Come With Me
The Sound Explosion
Teen Trash 14 [LP] 1994
01- "Inspector Clouseau In Outter Limits" y "State Of My Mind"
02- Send A Message
03- She's One Of A Kind
04- Hopeless Endless Way
05- Don't Turn Away
06- Lost In Tyme
07- No!No!No!No!No!No!
08- It's For You
09- My Baby Went Away With The Midnight Train
10- The Last November
11- In The Past
12- We're The Sound Explosion
Singles
Hangover Baby [7''] 1993
01 - Hangover Baby
02 - Some Other Guy
I'll Shake the Universe [7''] 1994
01 - I'll Shake The Universe
02 - Why Can't You See
Another Lie [7''] 1996
01 - Another Lie
02 - Misirlou The Greek
The Last Recordings [7''] 2000
01 - The S.EX. In Outer Limits
02 - You'd Better Shake Eight Now!
03 - Watch Yourself
04 - She's Sorry
All the above Sound Explosion Singles you could get them in a single folder:
Rapidshare.de Link
or
Rapidshare.com Link
