18-11-07 - 02-12-07

Saturday, December 01, 2007

Cat Stevens - Matthew & Son [1967]

Cat Stevens' Matthew & Son was among the handful of releases that introduced Decca Records' "offbeat"-oriented (but ultimately largely psychedelic/progressive) Deram label in England. Actually, Stevens' "I Love My Dog" launched the label in fine style by climbing to Number 27 on the U.K. charts, and its follow-up, "Matthew & Son," hit Number Two, resulting in the release of the original album of the same name. The latter was not only a fine account of Stevens' early folk-influenced pop/rock sound, but was also a beautiful, candid audio "snapshot" of one side of Swinging London's musical ambience in late 1966 and early 1967. It melds tinkling harpsichords ("Matthew & Son") and moderately ambitious orchestrations (mostly horns and strings) on some songs ("I Love My Dog") with folky acoustic guitar on others ("Portabello Road"), a lot of it carrying highly expressive, weirdly personal lyrics. Though it was like pulling teeth to get some of those early records out from Decca, this album sounds today like the record that should have accompanied the American version of the Beatles' Rubber Soul onto millions of turntables. It's very distant from the sound that Stevens was ultimately known for, and in many ways, it's more dated than what he did for Island/A&M, but it's much more self-consciously accessible, arranged in different styles, ranging from vaudeville-style band accompaniment ("I See a Road") to trippy Donovan-esque ballads ("Baby Get Your Head Screwed On," "When I Speak to the Flowers," "Hummingbird"). Some of it, such as the sax-driven "Come on and Dance," is a little awkward as efforts at a soul sound, but all of it is fun, even the slightly too Engelbert Humperdinck-esque "Lady." [Allmusic.com]

Track list;
01 - Matthew And Son
02 - I Love My Dog
03 - Here Comes My Baby
04 - Bring Another Bottle Baby
05 - Portobello Road
06 - I Ve Found A Love
07 - I See A Road
08 - Baby Get Your Head Screwed On
09 - Granny
10 - When I Speak To The Flower
11 - The Tramp
12 - Come On And Dance
13 - Hummingbird
14 - Lady
15 - School Is Out
16 - I'm Gonna Get Me A Gun

[VBR2]

Style; Folk-Rock, Singer/Songwriter, Pop-Rock

V.A. - Nightmares From The Underworld_Canadian Punk Vols 1 & 2

Nightmares From The Underworld #1 - LP

Side 1
1 The Power Of Beckett - Lost Soul In Disillusion (Montreal, Canada)
2 M.G. & The Escorts - A Someday Fool (Montreal, Canada)
3 Les Bohemians - I Need You Baby (Montreal, Canada)
4 Mike Jones Group - Funny Feeling (Montreal, Canada)
5 The Midnight Angels - I'm Sufferin' (Le Pas, Canada)
6 Underworld - Go Away (Toronto, Canada)
7 Witness Inc. - Not You Girl (Saskatoon, Canada)
8 Mainline - Don't Wait Around (Winnipeg, Canada)
9 The Munks - Long Time Waiting (Montreal, Canada)
10 The King-Beezz - Gloria (Edmonton, Canada)

Side 2
1 Great Scots - Give Me Lovin' (Halifax, Canada)
2 The Heart - Treat Me Bad (Almonte, Canada)
3 The Checkerlads - You Just Can't Hide (Regina, Canada)
4 Dee & The Yeomen - Baby It's All Worthwhile (Toronto, Canada)
5 Simple Simon & The Piemen - People Of Tyme (Montreal, Canada)
6 Great Scots - That's My Girl (Halifax, Canada)
7 Our Generation - Cool Summer (Montreal, Canada)
8 The Jury - Who Dat? (Winnipeg, Canada)
9 The Esquires - It's A Dirty Shame (Ottawa, Canada)
10 Skaliwags - Turn Him Down (Ottawa, Canada)

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~@~@~

Nightmares From The Underworld #2 - LP

Side 1
1 The Quiet Jungle - Everything (Toronto, Canada)
2 Eight Point Five - Casey's Mail Order Bride (Bathurst, Canada)
3 The Purple Haze - Love Is Fine (Montreal, Canada)
4 Berries - Night Winds (Toronto, Canada)
5 Naughty Boys - Baby (Ottawa, Canada)
6 Please Feed The Animals - I'm Crying (Toronto, Canada)
7 The Power Of Beckett - Shake Me, Wake Me (Montreal, Canada)
8 Underworld - Bound (Toronto, Canada)
9 Skaliwags - 365 Days (Ottawa, Canada)
10 Expedition To Earth - Time Time Time (Winnipeg, Canada)

Side 2
1 Don Norman & The Other 4 - Low Man (Ottawa, Canada)
2 The Quid - Crazy Things (Winnipeg, Canada)
3 Satan & The D-Men - She'll Lie (Kenora, Canada)
4 Naughty Boys - Heart (Ottawa, Canada)
5 Les 409 - They Say (Montreal, Canada)
6 The Northwest Company - She's A Woman (Vancouver, Canada)
7 Expedition To Earth - Expedition To Earth (Winnipeg, Canada)
8 Just Us - I Don't Love You (Toronto, Canada)
9 Sound Box - Warm Your Mind And Soul (Montreal, Canada)
10 Royal Family - Solitude (Edmonton, Canada)

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Reviews :
1
In the overcrowded field of '60s garage reissues, a compilation exclusively devoted to Canadian bands sticks out as something of a novelty. But the Canadian garage sound was virtually identical to the U.S. one; it just emanated from a more northerly direction. So this 20-track anthology sounds like just another American garage comp, albeit a rather below average one. The Quid's "Crazy Things" is a good take on the Pretty Things' approach, and the Berries' "Night Winds" distinguishes itself with some flute trills (quite uncommon to find in garage records). Otherwise there's little to detain you, unless you're one of the thousand or so collectors who's determined to own every damned last garage compilation that's ever come out.
~ Richie Unterberger, All Music Guide

2
These are both 20-track LP compilations [which have been reissued as a 2-CD set] of Canadian rock ("punk" or "garage") from 1965 to 1969, featuring 34 groups from Vancouver to Bathurst, New Brunswick. Actual cities represented are (from west to east): Vancouver (The Northwest Company); Edmonton (Royal Family, King Beezz); Regina (Checkerlads); Saskatoon (Witness Inc.); Le Pas, Manitoba (Midnight Angels); Winnipeg (Expedition To Earth, Quid, Satan & the D Men, Mainline, Jury); Ottawa (Naughty Boys, Skaliwags, Don Norman & the Other Four, Heart, Esquires); Toronto (Quiet Jungle, Berries, Please Feed the Animals, Underworld, Just Us, Dee & the Yeomen); Montreal (Purple Haze, Power of Beckett, 409, Sound Box, M.G. & the Escorts, Bohemians, Mike Jones Group, Munks, Simple Simon & the Pieman, Our Generation); Halifax (Great Scots); and Bathurst, New Brunswick (Eight Point Five).

The majority of these groups produced only one 45; of the others, only two groups produced more than one more single: The Northwest Company (four more) and Don Norman & the Other 4 (six more). None made albums except the Esquires in 1964, and Please Feed the Animals, who made just one album but no single releases. That album contained only cover songs, seven of them by the Animals (hence the group’s name), one by the Yardbirds, one by Cream, and one by the Small Faces.

So you can be sure that these are rare, with the book value from $25 to $85+. Rarity often also means low budget production and that usually equals low fidelity, and here, with the sources (as usual with rare stuff) being the 45s and not the master tapes, the sound is compressed, but so what? We’re lucky that it’s been made available. But is the music any good? Well yes it is, although much of it is derivative with influences by the Animals, Beatles, and various ’60s-isms like snarling vocals, tambourines, organ, lots of background singing in harmony, and fuzz guitar. All but four are originals, as far as I know, except the covers of Beatles ("She’s A Woman"), Them ("Gloria"), Blues Project ("Wake Me, Shake Me"), Animals ("I’m Crying"). Rating: 8/10

3
Nightmares From The Underworld Vol 1 AGNC 100 Can 1983
One of the most sought-after comps and proof positive that Canada had the best 60's scene outside the US. Several awesome classics here though the number of tracks and crappy vinyl make the sound quality less than satisfactory. Compiled by Andre G of Canadian discography fame, released back in '83 in a ltd ed of 300. Haven't seen this offered for years.

Nightmares From The Underworld Vol 2 Underworld Rec 1205 Can 1985
Perhaps fewer classics here but a great consistency makes it just as enjoyable. Slightly psychier and with some unusually
well-chosen covers. Not as rare as vol 1 and with better sound quality.
~from : http://lysergia_2.tripod.com/LamaWorkshop/ageOfCompDescr.htm

Some more info can be found here :
Nightmares From The Underworld_Canadian 60's Punk
from Canadian Records Obscurities & Rarities by Andre Gibeault
Link : http://www.kiwi-us.com/~hitomi/nightmare.htm

Enjoy !!!

Friday, November 30, 2007

Amen Corner - The National Welsh Coast Live Explosion Company [1969]

The band was named after a 1954 play by James Baldwin.

Their first singles and album appeared on Decca's subsidiary label Deram, but they left at the end of 1968 to join Immediate, where they were instantly rewarded with a No. 1, "(If Paradise Is) Half as Nice" (originally a song by Italian songwriter Lucio Battisti) in early 1969, followed by another top five entry with the Roy Wood composition "Hello Susie".

After recording a live album, Farewell To The Real Magnificent Seven, and a final single, a rather premature cover version of The Beatles' "Get Back", they disbanded at the end of 1969.

While sax players Alan Jones and Mike Smith went on to form Judas Jump, guitarist and vocalist Andy Fairweather-Low led Dennis Byron (drums), Blue Weaver (organ), Clive Taylor (bass) and Neil Jones (guitar) into a new band, Fair Weather. The band scored a UK No.6 hit with "Natural Sinner" in 1970 and recorded one album before disbanding a year later.

Fairweather-Low went on to a successful solo career in the 1970s, notably with the top ten hit "Wide Eyed and Legless" (1975); he became a regular player with Eric Clapton, George Harrison and Roger Waters. He also worked with Strawbs and the Bee Gees. Blue Weaver also played keyboards for the Bee Gees from the mid-Seventies through to the Nineties [Wikipedia]

Track list;
01-Introduction; Macarthur Park
02-Baby Do The Philly Dog
03-You're My Girl (I Don't Want To Discuss It)
04-Shake A Tail Feather
05-So Fine
06-(Our Love) Is In The Pocket
07-Penny Lane
08-High In The Sky
09-Gin House
10-Bend Me Shape Me
11-(If Paradise Is) Half As Nice

[192k2]

Psychedelic Pop

Thursday, November 29, 2007

V.A. - Mayhem & Psychosis vols 1 & 2

Vol. 1

1 The Jelly Bean Bandits - Generation (Newburgh, NY, U.S.A.)
2 Holocaust - Savage Affection (Chicago, IL, U.S.A.)
3 The Galaxies IV - Don't Lose Your Mind (Trenton, NJ, U.S.A.)
4 The Magic Mushroom - I'm Gone (San Diego, CA, U.S.A.)
5 The Monocles - The Spider & The Fly (Greeley, CO, U.S.A.)
6 The Magic Plants - I'm A Nothing (New York, NY, U.S.A.)
7 The Hysterics - Everything's There (San Bernardino, CA, U.S.A.)
8 The Bruthers - Bad Way To Go (Pearl River, NY, U.S.A.)
9 The Liverpool Set - Seventeen Tears To The End (Canada)
10 The Leather Boy - I'm A Leather Boy (Manhattan, NY, U.S.A.)
11 The Front Line - Got Love (San Francisco, CA, U.S.A.)
12 The All Night Workers - Why Don't You Smile (Syracuse, NY, U.S.A.)
13 The Cave Men - It's Trash (Key West, FL, U.S.A.)
14 The Beatin' Path - Original Nothing People (Reading, PA, U.S.A.)
15 The Dirty Wurds - Why (Chicago, IL, U.S.A.)
16 The Bluethings - The Orange Rooftop Of Your Mind (Hayes, KS, U.S.A.)
17 The Chob - We're Pretty Quick (Albuquerque, NM, U.S.A.)
18 The Id - Boil The Kettle, Mother (San Diego, CA, U.S.A.)
19 The Chocolate Moose - The Chocolate Moose Theme (Dallas, TX, U.S.A.)
20 The Little Boy Blues - The Great Train Robbery (Chicago, IL, U.S.A.)
21 The Bare Facts - Bad Part Of Town (Portsmouth, OH, U.S.A.)
22 The Spades - You're Gonna Miss Me (Austin, TX, U.S.A.)
23 Ravin' Blue - Love (Nashville, TN, U.S.A.)
24 The Ruins - The End (Lincoln Park, MI, U.S.A.)
25 Nobody's Children - Colours And Shapes (U.S.A.)
26 The Third Stone - True Justice (Salem, OR, U.S.A.)
27 The Changing Tymes - Go Your Way (Gate City, VA, U.S.A.)
28 The Barons - Now You're Mine (Washington, DC, U.S.A.)
29 The Young Men - Go! (U.S.A.)
30 Riders Of The Mark - The Electronic Insides And Metal Complexion That Make Up Herr Dr. Krieg (U.S.A.)


Vol. 2
1 The Sparkles - Hipsville 29 B.C. (I Need Help) (Lubbock, TX, U.S.A.)
2 The Burning Bush - Evil Eye (U.S.A.)
3 The Trespassers - Living Memories (U.S.A.)
4 The Purple Underground - Count Back (Winter Haven, FL, U.S.A.)
5 Rain - E.S.P. (Los Angeles, CA, U.S.A.)
6 The Fanatics - Woman (Houston, TX, U.S.A.)
7 The Humane Society - Knock Knock (Who's There) (Simi Valley, CA, U.S.A.)
8 The Rainy Days - I Can Only Give You Everything (Detroit, MI, U.S.A.)
9 The Unrelated Segments - Where You Gonna Go? (Detroit, MI, U.S.A.)
10 The Golliwogs - Brown-Eyed Girl (El Cerrito, CA, U.S.A.)
11 The Clue - Bad Times (Midland, TX, U.S.A.)
12 Bedlam Four - Hydrogen Atom (Or Mushrooms Are In) (Minneapolis, MN, U.S.A.)
13 The Moonrakers - Baby Please Don't Go (Denver, CO, U.S.A.)
14 The Ugly Ducklings - She Ain't No Use To Me (Toronto, Canada)
15 The Show Stoppers - If You Want To, Why Don't You (Rochester, NY, U.S.A.)
16 The Deepest Blue - Pretty Little Thing (Ontario, CA, U.S.A.)
17 The Fountain Of Youth - Witness People (Fredericksburg, TX, U.S.A.)
18 unknown - Voodoo
19 Larry Knight & The Upsetters - Everything's Gone Wrong (U.S.A.)
20 The Specktrum - Confetti (Cranston, RI, U.S.A.)
21 Sentrifical Fours - You Put Me Through Changes
22 The Swingin' Apolloes - Slow Down (Atlanta, GA, U.S.A.)
23 Oxfords - Don't Be A Dropout (Philadelphia, PA, U.S.A.)
24 The Trippers - Taking Care Of Business (Los Angeles, CA, U.S.A.)
25 The Endd - Come On Into My World (La Porte, IN, U.S.A.)
26 The Backdoor Men - Evil (Goshen, IN, U.S.A.)
27 The Changing Tymes - The Only Girl I Love (Gate City, VA, U.S.A.)
28 The Wanted - Sad Situation (Detroit, MI, U.S.A.)
29 The Tribe - Fickle Little Girl (U.S.A.)
30 The XL's - Mary Jane (Terre Haute, IN, U.S.A.)

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Wednesday, November 28, 2007

The Incredible String Band - Live In Canada 1972

(From the Album The Circle Is Unbroken Studio & Live 67-72, & Also Released At the Chelsea Sessions)

The second disc here is from a Canadian gig in 1972 that featured Mike Heron and Williamson with four (then) new-ish members, including the band's equipment manager on drums and their soundman on bass. It was previously issued on CD as The First Girl I Loved in 1998 on Mooncrest. There is some debate here as well about the material being taken form various shows instead of a single concert. The original issue contained at least one cut, "Ithkos," that was from 1974. That song has been replaced by other bonus tracks from the same gig, or series of gigs: "Oh Did I Love a Dream," and "The Hag with the Money." The sound on this set is a bit more marginal, but the material and performances are lively and savvy.

Essentially, this two-disc compilation pairs the Incredible String Band's previously issued Chelsea Sessions 1967 (with one bonus track — a medley), with a live set from Canada in 1972. Therefore, it's not material recorded between the years, as the title would suggest, so much as from those years. (It should be said, for the sake of accountability, that perhaps "God Dog" may date later than the other cuts; no one seems to know.) The 1967 material is wonderful, coming as it does from the sessions that resulted in the band's second album 5000 Spirits or the Layers of the Onion. Six tracks made the LP. Many of these tunes feature Robin Williamson debuting his material solo, accompanied only by his guitar. The sound on the first disc is great throughout.


Biography by Jim Powers
One of the most engaging groups to emerge from the esoteric '60s was the Incredible String Band. Basically the duo of Mike Heron and Robin Williamson, its sound was comprised of haunting Celtic folk melodies augmented by a variety of Middle Eastern and Asian instruments. Heron was a member of several rock bands in England in the early '60s, while Williamson and Clive Palmer played as a bluegrass and Scottish folk duo. Heron was asked to join as rhythm guitarist, and the trio named itself the Incredible String Band. The band was spotted at a club by Joe Boyd, who was opening a British wing of Elektra Records. The trio gave Boyd a demo tape of mostly American bluegrass standards with a few original songs, which impressed him more than the standards. The Incredible String Band, released in 1966, featured mostly original numbers enthusiastically played in American and Celtic folk styles. Following the album's release, Williamson spent several months studying music in Morocco, and Palmer left the group to travel to Afghanistan. For the String Band's second album,

The 5000 Spirits or the Layers of the Onion, exotic touches such as the Middle Eastern oud, Indian sitars, and tambouras began to permeate the group's sound. The band's lyrics also became more whimsical; highlights include Williamson's tale of insomnia "No Sleep Blues" and Heron's amorous "Painting Box."The press raved about the Incredible String Band, and their next album, The Hangman's Beautiful Daughter, was the band's brief flirtation with stardom. Although the music was less commercial than its predecessor, the LP reached the Top Ten in the British album charts and was also the group's highest Billboard chart placing in America, reaching number 161. The songs became less structured, as on the opening, "Koeeoaddi There," which changed tempo frequently as it cascaded joyously with sitars and jaw harp. The album's centerpiece, "A Very Cellular Song," was a suite of short pieces sewn together with the folk song "Bid You Goodnight." For Wee Tam and the Big Huge, the Incredible String Band was augmented by Williamson and Heron's girlfriends, Licorice McKechnie and Rose Simpson. The group also began to electrically amplify its instruments. This expanded lineup performed at the Woodstock festival in 1969, but due to circumstances it was not one of the band's most memorable performances. The Incredibles' slot was originally to be Friday night after Joan Baez; however, due to heavy rain, the band opted not to perform. Folksinger Melanie took the Incredibles' place and went down extremely well, writing her big hit "Candles in the Rain" about that moment. The Incredible String Band got a lukewarm reception the next afternoon between Creedence Clearwater Revival and Canned Heat.At the turn of the '70s, the Incredible String Band began to lose some of their momentum. The album Changing Horses was not as engaging as the band's previous collections, and the group's eclecticism became a liability rather than an asset. Bassist and pantomimist Malcolm LeMaistre joined in 1971 for U, a well-received stage show that did not translate as easily to record. The band made the transition to electric rock & roll in 1972.In 1974, following the album Hard Rope & Silken Twine, the Incredible String Band disbanded. Both founding members had prolific solo careers; Heron's took him in a rock direction, while Williamson explored his Celtic roots. For several years the band was seen as a dated anachronism. Recently, with the resurgence in interest in the psychedelic '60s as well as world music, the Incredible String Band's music has been rediscovered by new audiences won over by its mystical charm.

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Monday, November 26, 2007

Fate - 1968 - Sgt. Death

Fate - 1968 - Sgt. Death

Another vintage previously unreleased Psychedelic wonder from 1967-1968. From the remains of legendary band "Euphoria's". Influenced by Doors and other West coast psychedelic bands. Eerie keyboards led psychedelia with great slashing guitar leads and biting vocals to Yardbirds like rave ups.

Tracklist
1.: Sergeant Death
2.: Simone
3.: Sexual Fantasy #8
4.: Having A Cigarette
5.: I Need A Woman
6.: Hungry Lovin' Blues
7.: Mannequin
8.: Tribute To The Bo
9.: Smoke And Stone

One of the few 1960s-era titles in the Rockadelic catalog, this piece of zeitgeist plays like a completely finalized album that could, and probably should, have come out back then. Archetypal ambitious mainstream psych with a New England slant a la St Steven while extensive use of keyboards recalls the 1st Mandrake Memorial; the all-bases-covered approach could appeal to fans of Food as well. Vocals are a bit too Morrisonesque/operatic, while the production and arrangements are impressive. Not a bad LP but spread a bit too thin for my tastes; the sarcastic anti-Vietnam title track is what makes it stand out. Die-cut sleeve design makes the reissue look like a local heavy metal LP. Band (or main guy) recorded a rare garage 45 as Euphoria's ID prior to this. Here is a description of the original album: "a no info test pressing, other than the words FATE SIDE 1 and FATE Side 2 written on it. Side one dead wax says "6 25 68 a 1", side 2 dead wax "2 1 69 b 1". The reissue rearranges the track order and has a somewhat different (less compressed) sound than the original disc. [PL]

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T. Rex - 1970 - A Beard of Stars

There was a big and obvious change to Tyrannosaurus Rex on their fourth album, A Beard of Stars, as Steve Took was replaced by Mickey Finn, with Marc Bolan remaining the true captain of the duo act as singer and songwriter. Of more significance was the change in the band's sound, moving into far more electric rock territory with much greater use of electric guitar, though Bolan's songs were still often grounded in the fairytale-like musings of his earlier work. It was still a ways off from his glam rock approach, but it was definitely more accessible than the relatively homespun elflike folk-rock of the earliest Tyrannosaurus Rex albums. It also made some effective use of organ and somewhat more pop-friendly, conventional tunes like "By the Light of the Magical Moon," "Elemental Child," and "A Daye Laye," though weirder items like "Wild Cheetah" and "Dove" bore a slight similarity to some of Syd Barrett's gentlest compositions.

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Sunday, November 25, 2007

John Berberian & the Rock East Ensemble - 1969 - Middle Eastern Rock

Side 1
The Oud & The Fuzz
Tranquility
Chem-oo-chem

Side 2
Iron Maiden
Flying Hye
3/8 + 5/8 = 8/8
The Magic Ground

John Berberian: oud
Steve Pumilian: dumbeg
Souren Baronian: clarinet, sax, zills
Bob Tashjian: percussion & vocal
Joe Beck: lead guitar
Ed Brandon: rhythm guitar
Chet Amsterdam: bass
Bill LaVorgna: drum kit


One day I bought 3 records at a Goodwill for about a dime apiece -- two were psych-looking relics with groovy album covers by groups called Mandala and Central Nervous System. The third was this one, with it's silly arabs-and-camels-painted-on-a-girls-belly cover art. But surprisingly it turned out to be by far the best of that day's purchases. First of all, the title & cover art are totally deceptive: John Berberian and his crew are Armenian-Americans, not Arabs (though there is one song on here that is based on a traditional Arabic tune.) The "Rock East Ensemble" consists of 4 guys from Berberian's regular group along with 4 NYC session musician types who play in a more traditionally "American" rock/jazz style. In other words, this is a fusion record. Unfortunately marketed in a kind of crass way, but I got nuthin against Berberian's attempt to crossover from the "ethnic music ghetto" to the rocknroll masses. Because the result is a pretty wonderful record that defies categorization but is still fun to listen to, in fact I've thrown it on at parties.


"The Oud & The Fuzz" begins with a multi-percussive groove and some jazzy chords before Berberian begins soloing on the oud -- apparently he was the premiere oud player of his day, and I can believe it cuz he smokes. His style is rooted in an Asian tradition, the instrument sounds a bit like a sitar so to compare it to "raga" isn't half wrong. Only it's funkier, trance inducing spring-loaded rhythmic motiffs joyfully bouncing from the speakers. Then the dumbeg doubles up the beat (they don't play faster, just MORE) and Beck plays a fuzz guitar solo that is a little too slick for rock but too scuzzed for jazz. After his solo, he starts playing some chicken scratch funky afrochords such as you rarely hear outside of Fela records as the oud runs amok. Then the beat doubles up one more time and the oud & fuzz guitar leads go at it simultaneously.
The only track on the album in your standard 4/4 rock time (all the time signatures are helpfully provided in the liner notes), it's like high energy bellydance music and I can totally dig that it's not really acid rock, surf music, jazz, traditional Armenian or "Middle Eastern" music -- yet it is like all those things at once. "Tranquility" is in 6/8 time, very mellow, sort of psychedelic with a ghostly flute riffing along. Add a overwrought hippy singing through a ton of reverb and it could be July or Jade Warrior! Also some sax playing which is refreshing in that it bears little relation to your standard jazz fare of the day -- though the "oriental honking" he's doing does start to sound like klezmer at times. "Chem-oo-chem" is a traditional Armenian tune, the only one on the record with vocals (in Armenian natch.) It's a catchy tune, sounds like something from "Fiddler on the Roof" and I can picture the band playing this at a wedding for the Armenians to dance to. There's a nice jam section in the middle with jazz/psych lead guitar and more of that honking not-jazz sax, and throughout the whole record the guy on the drum kit is snapping off these neat funky little licks in odd meters, so he deserves a comparison with Jaki Liebezeit!

"Iron Maiden" features the sax in snake-charmer mode, and more typically brilliant soloing on the oud by Berberian. "Flying Hye" (Hye being Armenian for "Armenian") has an unusual loping groove (it's in 9/8 time) and features a cool descending riff on the oud. During Beck's solo he's obviously trying to imitate Berberian's style (and doing a pretty good job of it.) "3/8 + 5/8 = 8/8" is a reference to the way they subdivide the beats on this one -- actually the opening beat & guitar riff sounds a lot like the beginning of "Kobaia" off the first Magma album! Then it turns into another of those vaguely East-European klezmer jam type things. At times it begins to sound quite like the "Ritual Dance of the Young Pumpkin" jam on the Mothers' "Absolutely Free" album (which was also released on Verve FYI.) "The Magic Ground" is an actual traditional Arabic tune, the title and bouncy vibe make me think of the Meat Puppets for some reason (not that it sounds anything like that band, more like it conjures up surreal desertscape imagery similar to wot you find on Pups album covers.)

source : http://www.headheritage.co.uk/unsung/review/1110

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Saturday, November 24, 2007

Wimple Winch - The Story Of Just Four Men 1963-1968

Wimple Winch was an interesting British '60s group, weaving soul, intricate harmonies, and unusual whimsical lyrics into their original material. Starting out as Just Four Men, the Liverpool-area outfit was initially just one of the dozens of Merseybeat groups riding the Beatles' coattails, although they cut a couple of fair singles. Changing their name to Wimple Winch, they released three much more progressive singles that were popular locally, including the explosive raver "Save My Soul" and the dramatic story-song "Rumble on Mersey Square South." Arguably the most creative group to work from Liverpool after the Merseybeat boom dried up, they broke up in the late '60s, leaving a wealth of unreleased material. Much of that material, as well as their rare singles, eventually appeared on compilations of British Invasion and British psychedelic rarities in the '80s. ~ Richie Unterberger, All Music Guide


Listen to them here :
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Friday, November 23, 2007

Magical Power Mako (Japan) - 1977 - Jump

Magical Power Mako (Japan) - 1977 - Jump

Tracks :
1. Jump To You
2. The Story Of Our Master
3. Give Me Present
4. Reat Light Down
5. So
6. Blue Wind
7. Elephant's Jungle
8. Jump
9. 21st Ocean


Magical Power Mako - A short biography :

Magical Power Mako was born on 1956 in the city of Shuzeni Izu , Japan. Mako was intrigued by music from childhood and begun his musical education at a very early stage of his life. His first concert performance, at the age of 16, was with his first band "Genge" playing in the famous 'Shibuya' club in 1973.

During the years of 1973 and 1974, Mako was invited to play with one the most famous contemporary composers of Japan, Mr. Toru Takemitsu, playing in three musical pieces composed by the master for three important films of the time, "Inheritance For The Future"; "Petrified Forest" "Himiko".

1973 was also the year in which Mako released his first LP, simply called "Magical Power".
In the album, Mako joined forces with Keiji Haino, one of the most interesting and controversial Japanese guitar players. The response was amazingly supportive and Mako had become an admirable artist in Japan over night, gaining a semi God like status and many followers.
"Magical Power" was both original and innovative, composed of new ideas unknown at the time. The album portrays a mix of folk and psychedelic music and as a whole, is considered to be a milestone in the Japanese progressive rock scene. In 1975, two years after his first LP, and after a recording period of three years (1972-1975)

Mako released his second LP, "Super Record". This album is considered to be Mako's best experimental journey through sounds and musical ideas. Strong elements of Japanese folk music play an important role in "Super Record along with psychedelic pieces with new sounds and enormous imagination.

"Jump", Mako's third LP came out in 1977 and had an easier style than his former ones. However, until today it is still considered as an amazing musical milestone one in which Mako's guitar work earned him a place among the greatest guitar player's in Japan's history.

In 1979, Mako released his fourth LP - "Welcome To Earth" As insinuated in the title, Mako thought himself to be like an alien out of space. "Welcome To Earth" was more electronic then his former LP\'s, and also less popular among his followers.

1982 saw Mako's fifth LP, "Music From Heaven". The album is considered to be masterpiece and one of Mako's best artistic achievements. The LP was released under a new Indie label named "Clear Records", in a very limited edition of 500 pieces. The musical feel of "Music from Heaven" is of German Krautrock rather than psychedelic music that were strongly presence in Mako's early work.

The 80's and the 90's work of Magical Power Mako were dedicated to varied fields of music. During 1991 Mako built his Studio, located in Fiji, Japan. Starting from 1993 he released numerous CD's, not categorized as Progressive rock.
His recent LP's are more into collages and soundscapes.

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Enjoy !!!

Thursday, November 22, 2007

Neil Young - After The Gold Rush [1970]

In the 15 months between the release of Everybody Knows This Is Nowhere and After the Gold Rush, Neil Young issued a series of recordings in different styles that could have prepared his listeners for the differences between the two LPs. His two compositions on the Crosby, Stills, Nash & Young album Déjà Vu, "Helpless" and "Country Girl," returned him to the folk and country styles he had pursued before delving into the hard rock of Everybody Knows; two other singles, "Sugar Mountain" and "Oh, Lonesome Me," also emphasized those roots. But "Ohio," a CSNY single, rocked as hard as anything on the second album. After the Gold Rush was recorded with the aid of Nils Lofgren, a 17-year-old unknown whose piano was a major instrument, turning one of the few real rockers, "Southern Man" (which had unsparing protest lyrics typical of Phil Ochs), into a more stately effort than anything on the previous album and giving a classic tone to the title track, a mystical ballad that featured some of Young's most imaginative lyrics and became one of his most memorable songs. But much of After the Gold Rush consisted of country-folk love songs, which consolidated the audience Young had earned through his tours and recordings with CSNY; its dark yet hopeful tone matched the tenor of the times in 1970, making it one of the definitive singer/songwriter albums, and it has remained among Young's major achievements. [Allmusic.com]

Track list;
01-Tell Me Why
02-After the Gold Rush
03-Only Love Can Break Your Heart
04-Southern Man
05-Till the Morning Comes
06-Oh, Lonesome Me
07-Don't Let It Bring You Down
08-Birds
09-When You Dance You Can Really Love
10-I Believe in You
11-Cripple Creek Ferry

[320K]

Folk-Rock, Country-Folk, Singer/Songwriter

Tuesday, November 20, 2007

The Vipers - 1984 - Outta The Nest !

That's both THEE, as in a '60s garage-rock affectation, and THE, as in a definitive. I recently went back and bought the enhanced CD version of The Vipers' debut album (originally released Christmastime '84 on vinyl on the PVC label) so I could more readily show my LP-lacking friends in Fresno what they've been missing these past two decades. Surprise! -- even though I knew the disc by heart, it was a mad, wild experience all over again listening to the CD cranked on the computer's surround sound. In the late '90s, Vipers frontman Jon Weiss was as responsible as anyone for the latter-day garage resurgence as the creator of the Cavestomp! music festivals in NYC (1997-2001), conjuring by alchemy a host of legendary acts we never thought we'd see in person (? and the Mysterians, The Remains, The Pretty Things, The Chocolate Watchband, Richard & the Young Lions, The Standells and most especially The Monks) and putting them on bills with neo-garage bands past, present and future (Fleshtones, Lyres, Plasticland, Chesterfield Kings, Fuzztones, The Swingin' Neckbreakers, The Mooney Suzuki and yes, The Vipers, too). And that's why Steve Van Zandt gives Weiss his propers every week on his radio show.

But back in the '80s, Weiss, a onetime Fleshtones saxman, was the gangly, youthfully nasal-voiced, maracas-wielding leader of a quintet that absorbed the sounds of many '60s rock, blues and psychedelic records, found out where the over-the-top point was, and then climbed over it, simple as that. Anyway, they had a cool, sleek name and, on this album, a sound to more than back it up.

The opening tune, "Nothing's From Today," with its chiming guitar opening the door into another dimension ... truth is, I preferred the original version (which appeared on Voxx Records' "Battle of the Garages Vol. 2" LP months before), with its dag nasty fuzz guitar intro; the "Outta the Nest" remake was maybe too clean. But looking back, it was a nitpick -- and besides, the enhanced CD has both takes. Then, there was the convincer -- track 2, "Now I Remember," an explosion of sight, sound, mind, drums, chimes and Eastern-influenced guitar madness, sent far over the wall midway through with a wailing scream from Weiss. The rest was just dessert (and just deserts): the brutal-nasty fuzz guitar line that provided the kick to The Standells' "Medication"; the romp-stomp of The Loved Ones' "Surprise Surprise"; the poppy, full-on, near-insane swirl of "Tellin' Those Lies"; "Cheated and Lied," which sounded like the theme to a '60s secret agent series; "Borrowed Time," commenced with a Middle Eastern guitar curlicue that set the tone to another agent-series-theme-in-wait; the appropriately gloomy overtones of "Dark as My Day" and "Not to Be in Love"; and the band's most sensitive song, the smart strummer "Tears (Only Dry)." In its time, this was a 12-song record that went 12-deep. But -- pick your favorite hot stove league reason -- "Outta the Nest!" didn't bust out beyond its rabid but limited audience. And sadly, for several reasons, this was good as it would get for The Vipers, who were done by the end of the '80s.

But good music is eternal; Weiss and music fiends like him have certainly demonstrated that over the years with their zeal to expose the great rock'n'roll of the '60s to the audience it deserves. Maybe someone should do the same good turn for The Vipers and get this disc and listen to what they've missed and then spread the word ...

by Fran Fried (Fresno, Ca. United States)

listen to the Vipers here : http://www.myspace.com/thevipersoutta39thenest

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Monday, November 19, 2007

T Swift & The Electric Bag - 1968 - Are You Experienced ?

T Swift & The Electric Bag (US) - 1968 - Are You Experienced ?

Tracks :
1 Are You Experienced ? (4:37)
2 What's Your Bag ? (2:09)
3 Free Form in 6 (2:07)
4 The Strut (2:25)
5 As I Grow into a Man (2:46)
6 Red Eyes (2:56)
7 A Jet (2:28)
8 Take It Easy Baby (3:05)
9 The Stinger (2:36)
10 Expo in Sound (4:34)

Review :
No one besides the folks who made Are You Experienced? knew exactly who T. Swift, let alone his Electric Bag, was. You could lay down good money, however, that Are You Experienced? is a psychsploitation toss-off. The record smacks of a group of grizzled, thirty-something, Sunset Strip sessionmen trying their hand at the groovy pop sounds of the day, on the strict orders of label suits with chic sideburns looking to make a quick buck off the amusements of the hippies and flower children. As cynical as that sounds, it doesn't take a Herculean stretch of the brainpan to imagine a quick, beer-fueled recording session leading to the music that graces the album. Whoever the faux-longhairs who made it actually were, though, in the process of laying down a half-dozen truly innocuous facsimiles of the way-out '60s sounds -- "A Jet" is a straight cop of the Box Tops' "The Letter," "Take It Easy Baby" literally is Classics IV's "Spooky" -- they somehow managed to stumble on a handful of startlingly inspired moments. "Free Form in 6," in particular, is a jolting freakout (think Chocolate Watchband by way of the Doors) that taps into some sort of zoned-out consciousness through its lulling jazz rhythms, fuzz bass, and ominous organ runs. Slightly less sublime but still outstanding are cuts like the surf go-go "The Stinger" and "Expo in Sound," while "What's Your Bag?" has a spooky acid-washed guitar solo amid its slick, sub-Byrdsian raga noodling. And there is something goose-pimple creepy about the lurching, minimalistic, otherworldly version of the Jimi Hendrix title track that belies its origin. Even the most contrived cuts on the album -- most in pale Booker T. mold -- are wonderful in the way that only the most disposable, plastic muzak of the '60s seems to be. The songs aren't suitable for more than a couple close listens, but they might be precisely the background soundtrack required for -- well, that can be left to the imagination. The mystery surrounding the band may be the only thing keeping most of us listening to this platter some 30 years after it was hatched in some swank boardroom or other, but it really does have a few moments worthy of at least a degree of attention. If most of it blows smoke in our faces, that seems to be all some latter-day psych fanatics listen for anyway.
~Stanton Swihart, All Music Guide

Biography :
T.Swift & the Electric Bag is yet another one of those psychedelic-era mysteries that has left barely a clue as to its true identity. The group's sole album doesn't contain any sort of playing credits, nor does it even own a precise release date, although it is a matter of public record that the LP originally appeared on Custom Records. Some sources list it as a product of the Summer of Love, but internal sources (and cooler heads) tend to place its appearance more realistically as sometime in the spring of 1968, which would have been a logical time frame corresponding with the cover of the Jimi Hendrix Experience's title song, as well as the less-than-subtle "interpolations" from the Box Tops and Classics IV that appear on the album. The more hopeful psychedelic devotees point to a conceivable connection with a band called Tom Swift & the Electric Grandmothers, who released a 45 on Sound Tex out of Houston in 1964. That connection is tenuous, at best, and not really even that. As none of the guilty parties has come forward in the decades since the album was initially recorded, it seems more likely that it is a product of cynical marketing rather than a product of genuine artistic exploration. Whatever the case, T.Swift is shrouded in a far-out haze that, at this point, is unlikely to lift.
~Stanton Swihart, All Music Guide

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Artwork (Thanks to sixtiesfan) :
rapidshare.com/files/T_Swift_-_artwork.rar

Sunday, November 18, 2007

Samson - 1969 - Are You Samson

Samson was one of the more obscure outfits signed to Andrew Oldham's Immediate label, considering that they got to cut an entire concept album, Are You Samson?, which was released by the label in 1969. They played the Marquee Club, and were known around London, but never caught on. Keyboard man and singer Ian Kewley later worked with Strider and Limey, before hooking up with Paul Young. This Samson had no relationship to an early '70s English band of the same name.

Tracks :
1. Traffic (3:27)
2. Sleep (2:20)
3. Journey (3:10)
4. Fair (8:44)
5. The End Song (4:44)
6. Mars (4:46)
7. Venus (2:56)
8. Saturn (3:49)
9. Poem for Sam (4:25)
10. Wool and Water (4:24)

Originally released in November 1969 on Andrew Loog Oldham's subsidiary to his failing Immediate, Samson sank without trace, which was about as much as could be expected. Oldham's seemingly careless attitude of not even releasing a single to wet the record buyer's appetite however is now easier understood: Immediate was at its end; within weeks of Samson's debut release Oldham's empire went bankrupt! As the band were eagerly recording their carefully calculated work, Oldham had a lot more to worry about than whether the next album released on his subsidiary would be a big seller. With little assistance from the label, and practically no promotion, it's not surprising that the album had such low sales figures. But the poor turnover of this admittedly tackily sleeved album is by no means an indicator of the music contained within. Samson brought into their music a successful blend of harmonies which sound akin to the Gregorian psych-era choral vocal parts of the Pretty Things and the Zombies, a touch of Deep Purple circa Shades of Purple, and a hint of the increasingly popular concept album. For sake of classification, their blending of Kinks-ish psych-pop with more progressive elements is befitting of the title progressive pop -- a contemporary handle used to describe everything from the Fox's For Fox Sake, Caravan's early work, and fellow north country lads the Koobas' 1969 album. If the later songs compiled on the superb Rubbles series appeal to you, Samson are well worth investigating.

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Wilson McKinley - 1971 - Spirit Of Elijah

Wilson McKinley - 1971 - Spirit Of Elijah

Tracks :
1 He
2 It's Up To You
3 Come On Home
4 One In The Spirit
5 Tree Of Life
6 His Eye Is On The Sparrow
7 All My Life
8 Crown Of Glory
9 I Need A Saviour
10 Spirit Of Elijah

"Spirit Of Elijah" 1971 (Voice Of Elijah 27977) [2-3]

Their really good one, west coasty Christian rock reminiscent of the best tracks on the Rainbow Promise LP and solid all through. Well-written songs combine perfectly with the jammy S F ballroom sound popular among the Jesus Music bands, recalling the mellow aspects of Moby Grape in particular. The epic, spine-chilling title track is especially good. A loose, understated live in the basement recording adds to the appeal. I personally rate something like Kristyl even higher, but this album is undoubtedly one of the classics from the era. The band sells a CD compilation of their 3 albums, with the "Elijah" tracks reportedly losing some of their magic in their cleaned-up state. [PL]
~~~
This isn't just the best Christian album I've heard. It may possibly be the best album in the laid-back West Coast late 60s/early 70s style I've heard, period. The crude recording style works in its favor, making it sound fresh and vital, like a great live recording (which it basically is.) While the fidelity isn't great, the instruments and vocals are completely clear, proof that expensive recording technology isn't necessary as long as something is recorded with common sense. The occasional bum note from the singers isn't enough to detract from the heartfelt and warm singing style, and the band really gets a groove going on every single song. The songs aren't heavy at all, but they rock with an energy and confidence that's completely arresting. A few songs are stolen (how un-Christian of them!) from well-known sources (Moby Grape, Moody Blues) but are given new, Christian lyrics. It's an interesting and successful gimmick, and these songs fit nicely in with a batch of killer originals. There's a mixture of slow and fast songs, but my personal favorite moment is the rave up in "Tree of Life." My favorite overall song, though, is the ballad "I Need A Savior," with its harmonies and lead guitar playing a perfect ringer for Let It Be-era Beatles. Unfortunately no direct reissue exists. A self-made best of CD contains much of this album, but it's definitely best heard as one coherent piece. [AM]

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