Sunday, January 14, 2007
Vinyl Version :
1. The World's On Fire
2. Birds In My Tree
3. Lose To Love
4. Strawberries Mean Love
1. Rainy Day Mushroom Pillow
2. Paxton's Back Street Carnival
3. Hummin' Happy
4. Pass The Time With Sac
5. Incense And Peppermints
6. Unwind The Clocks
by Lindsay Planer AMG :
This is the debut long-player from the southern California-based Strawberry Alarm Clock — the title track of this album topped national singles charts in December of 1967. As the cover art might suggest, their image practically defined both the musical as well as peripheral aspects of the pseudo-psychedelic counterculture. However, below that mostly visual veneer, Strawberry Alarm Clock actually have more in common with other "Summer of Love" bands such as Love and Kak than the bubblegum acts they have long been associated with.
Prior to Strawberry Alarm Clock, the band was initially named Thee Sixpence and issued a 45 — "In the Building" b/w "Hey Joe" — in the spring of 1966. As legend has it, none of the actual bandmembers sang lead on the hit single; the singer was in fact a vocalist named Greg Munford, who was attending the session as a visitor. The track was originally issued by Thee Sixpence on the regional All-American label. By the second pressing, however, the band's name had changed to Strawberry Alarm Clock. Sensing the possibility of a national hit, they were scooped up by the MCA Records subsidiary Uni and given the go-ahead to commence recording this, their debut LP.
Much of the band's sound is due at least in part to the writing styles of George Bunnell (bass/vocals) and the uncredited Steve Bartok (flute/vocals). The edgy fuzz-toned guitar sound of "Birds in My Tree" and the Los Angeles freeway-inspired "Paxton's Back Street Carnival" exude a garage rock flavor similar in style to that of Spirit's self-titled debut long-player. Another distinguishing factor is Strawberry Alarm Clock's multi-layered vocals.
02. Baby You've Been On My Mind
03. Four Strong Winds
04. Summer Flower
05. Step By Step
07. Six Days On The road
08. Everydody's Talkin'
09. Donald Duck
10. Settin' The Woods On Fire
11. New England Winter
One of many rock groups signed to Columbia or its Epic subsidiary that got lost in a shuffle of under-promotion in the 1960s, West played mild folk-rock emphasizing their clean, careful vocal harmonies. Their self-titled 1968 debut was produced by Bob Johnston (who also did Bob Dylan, Simon & Garfunkel, Leonard Cohen, and Johnny Cash in the late 1960s), and comes off as a sort of Byrds-lite with some country and pop influences. Their most famous member, by far, was ex-We Five leader Michael Stewart (brother of singer-songwriter John Stewart), although indeed it's hard to figure out exactly who was in the band. The brief liners for their first LP state that "West is comprised of no less than four and no more than six members--Ron Cornelius, Michael Stewart, Joe Davis, Lloyd Perata, (Bob Claire and Jon Sagen)." The inexactitude was compounded by cover photographs showing five guys. Not that it was much cause for speculation among the public, since few listeners heard the album oAlthough West manage a pleasing, Byrdsy sound on their Bob Johnston-produced debut, overall it sounds rather thin and unoriginal. Half of the LP consists of competent covers of material by contemporaries like Bob Dylan, Fred Neil, Ian & Sylvia, and Dave Dudley ("Six Days on the Road"). To be unkind but accurate, these sound like the sort of cover bands that low-budget movies would employ to play familiar material when the original performers and versions were obviously unavailable for the soundtrack. The few slices of self-penned material are very much in the mold of California folk-rock circa 1967-68, and are pleasant though not outstanding. Occasionally country influences become pronounced (as on Stewart's eccentric "Donald Duck"), and at other points there are odd touches of poppy production that sound like folk-rock with a half an ear cocked toward easy listening airplay.r its 1969 follow-up.
A request. At 128, sorry about that but this one it's very rare.
Here's the deal...
Saturday, January 13, 2007
If you find Undisputed Truth great you will adore this one.
Fisrt album of those funky legends. The music shifts between psyche rock flavours, trippy guitar arrangements, hot brass arrangements and strong funky grooves.
A must to all Funk – Soul – Psych lovers!
1) Girl You Move Me 8.30 2) Starchild 5.15 3) Who's Gonna Take The Weight 5.25
4) Don't Knock My Love 7.42 5) Green Grass 3.32 6) Toe Hold 3.30 7) Found A Child 4.28
Styles : European Grooves, Blue-eyed soul funk / Psychedelic funk
Media : LP
Label : akt - epic
Press : EPC 64797
Year : 1972
Country : France
Staff : french thompson (lead vocals,arrangements), blinky bostic (conga,timbale), garland edwards (guitar), norris ridguard (trumpet,valve,trombone), pee wee carter (drums), george alford (trumpet,vocal), doc brown (bass), billy ellis (alto & tenor sax), tony lytle & hasan tayratira (help)
A fantastic bit of tripped out funk! Cane & Able were one of the many groups that came out of the collective surrounding the Lafayette Afro-Rock Band in the early 70s -- and like that group, Cane & Able draw on a wide range of influences to create a heavy funky sound. The album mixes the African influences used by the LARB with more of a hard soul vocal approach, with some cuts sounding a bit like material from Atlantic albums of the late 60s, but handled with more of a fuzzy edge. Includes a great funky reading of Wilson Pickett's "Don't Knock My Love", a cover of "Who's Gonna Take The Weight", and the long tripped-out groover "Girl You Move Me"!
Here's your links with all the art!!!
Friday, January 12, 2007
MIKE DAY bs A TONY DURANT gtr, vcls A
MICHAEL GREGORY drms A
VANESSA HALL SMITH violin, vcls A
JANET ROGERS violin, vcls A
ALBUM: 1(A) FUCHSIA (Pegasus PEG 8) 1971 R2
Dick Hopp(Electric Violin,flute)
Mike Gunn - 1995 - Coduh
One of Texas' most revered psych bands, The Mike Gunn spent its 5 years of life keeping the forces that threatened to pull it apart at bay. Finally, with the mysterious disappearance of its beloved drummer, in 1994 the band relented to the inevitable chaos that threatened to consume it for so long.
Born on the ashes of the legendary Houston Schlong Weasel, it included John Cramer (vocals, guitar), Tom Carter (vocals, guitar), Scott Grimm (bass), Curt Mackey (drums). Mike Gunn is the name of the Schlong Weasel musician who named the band but never played in it.
The Mike Gunn put out a handful of now-hard-to-find releases, then broke up. Afterwards the former members went on to found DunLavy, Charalambides, Project Grimm, and are peripherally connected to the Linus Pauling Quartet. All are Texas-based psych bands of various styles. However, IMHO none have reached the sheer 'blanga' power of the original Mike Gunn.
Mike Gunn's embrionic first single, Tom's In The Bathroom (1990), displayed a soul tune over a slow, martial tempo. Hemp For Victory (Anomie, 1991) shows more of a Butthole Surfers via stoner-rock influence (A Song About Horses, Narcolepsy), not to mention a morbid fascination with Jimi Hendrix (Scary Black Man). Durban Poison (Double Naught, 1992), recorded with the help of Scott Ayers , has a languid sound (Nazy Eyes).
After this CD Tom Carter gave his walking papers to devote his time to Charalambides.
The band continued on for one more year and finally collapsed upon the mysterious disappearance of Drummer Curt Mackey (later to turn up 2 years later). John Cramer started the Grimm Experience, Tom Carter started the Charalambides, and Scott Grimm started the Dunlavy. Like a beast that would not die, the next two years saw 2 posthumous releases. The limited edition "Coduh: A Collection of Live and Studio Recordings" contained the full final live performance of the Mike Gunn and bonus studio tracks. The final scrape of the bottom came with the limited edition release of "A Dream About Jim" (vinyl-EP) on September Gurls.
(The above notes were culled from the Worship Guitars site, Scaruffi.com and Tucson Weekly)
IN ADDITION TO 74 minutes' worth of brain-melting psychedelia from one of the greatest Texas garage bands ever to stagger from den to rehearsal room, you also get a handy graph outlining the ratio of pot intake to listening enjoyment. Since these hemp farmers never toured, fans had to be content, anyway, with extended bong sessions grokking the three extant albums. This postscript has loads of ferocious live gunk, fuzzed-out riffers falling somewhere between MC5, Black Sabbath and Hawkwind. A lighter, more sunbaked touch comes through on the studio material, most notably the 14-minute flute/Moog/guitar inner space excursion "Holger" which sprinkles a dash of peyote into the bowl. --Fred Mills
This a limited edition CD of 920 numbered copies. It's almost hand-made, on every cover there's a different photograph and the insert booklet is cut with a scissor. The cover you see at the top of this post is a photo of my copy.
P.S. The link for "Almaron" is dead. You can bug Pound For A Brown to reupload it.
Thursday, January 11, 2007
Ploughing the Boots Vol 1
01 Martin's Tune
02 Guitar Solo #1
03 Hard-Headed English General
04 WarChild Intro Tape
05 WarChild Suite
06 How Much Is That Doggy In The Window
07 Pop Goes The Weasel
08 Keyboard Instrumental
09 Instrumental #1
10 Instrumental #2
11 Guitar Solo #2
13 Beethoven's Ninth
14 Wardrobe Whopper
15 Pomp & Circumstance
16 Slipstream Intro
Ploughing the Boots Vol 2
01 Jams O'Donnell's Jig
02 Peggy's Pub
04 Reynard The Fox
05 The Swirling Pit
06 Barre's Folly
07 Vettese-Conway Instrumental
08 Level Pegging
09 Double Violin Concerto
10 Unknown Dreams
11 William Tull Overture
13 The Girl From Ipanema
14 Machine Instrumental
15 Drowsy Maggie
16 Folk Instrumental
17 Nellie, The Revenge
19 Guitar Solo
Ploughing the Boots Vol 3
01 I Wonder Who
03 Roots To Bells Intro
04 Dust Devils-She Moves Through The Fair
05 Dangle The Billies
06 Dot Com Intro
07 Martin Barre Instrumental
09 70s Medley
A compilation of 45 unreleased Jethro Tull tracks performed Live over the years.
|Biography||by Richie Unterberger|
Not to be confused with the famous Surfaris, the ones who did "Wipe Out," this entirely separate surf group from Orange County, CA, was forced to change their name when the other Surfaris got a big hit. A respectable band in their own right, they managed to record a few very obscure singles and compilation LP tracks, as well as an unreleased album. Their best tracks, "Bombora," "Surfari," and "Latin'ia," boast the spooky reverb guitar lines and Latin-influenced minor melodies that were hallmarks of much of the best instrumental surf music, although the bulk of their recordings were run-of-the-mill.
Wednesday, January 10, 2007
BLO - 1972 - Chapter 1
01 Preacher Man
02 Time To Face The Sun
04 We Gonna Have A Party
06 Chant To Mother Earth
07 We Are Out Together
08 Miss Sagitt (instrumental)
This band from Nigeria became very famous among collectors worldwide. Perhaps this is the most sought after album from Africa. The 3 members, Berkely Jones, Laolu Akintobi and Mike Odumosu created the name BLO from B for Berkely, L for Laolu and O for Odumosu. 2 members toured with Ginger Baker in 1972 and BLO supported Osibisa on tour in Nigeria. At that time BLO was voted as the best band in Nigeria.
BLO - 1974 - Phase II
02 It's Gonna Be A Good Day
03 Native Doctor
04 Do It, You'll Like It
05 Don't Take Her Away (From Me)
06 Whole Lot Of Shit
Second LP with guitarist Berkely Ike Jones, Mike "Gbenga" Odumosu and Laolu "Akins" Akintobi.
Great Afro Funk and Afro Psych album.
BLO - 1975 - Step Three
01 Mind Talk
02 Rhythm Of Coils
04 Gotta Get Has Me Better Head
05 Hot Chase
06 Don't Sweater The Form Under Me
3rd album of BLO (Berkely, Laolu, O'Wright), definitively afro funk. On this album, Mike Odumosu was replaced by Biddy O'Wright. This album is the best album of this group, more funky than the two debut albums and less disco than the fourth and the fifth album. This album was recorded in 1975 at Decca Studios Lagos, Nigeria. Every tracks are winners like "Mind Talk", "Gotta Get Has Me Better Head"
Blo fused the Afrobeat rhythms of their native Nigeria with the mind-expanding psychedelia and funk of late-'60s Western rock to forge a wholly original sound embracing the full spectrum of black music. The roots of the group lay in the Clusters, already one of the most popular Nigerian highlife acts of the mid-'60s even prior to a stint as the support band for the Sierra Leonean pop superstar Geraldo Pino, once dubbed "the West African James Brown." In 1970, guitarist Berkely "Ike" Jones, bassist Mike "Gbenga" Odumosu, and drummer Laolu "Akins" Akintobi left the Clusters to join Afrocollection with twin sisters Kehinde and Taiwo Lijadu (featured a decade later on the British television show The Tube), moving away from their highlife roots to explore a more pronounced Afro-Rock approach. While performing at the Lagos club Batakuto, Afrocollection jammed with Ginger Baker, the renowned drummer from the British blues-rock supergroup Cream; in late 1971, the members of Afrocollection joined Baker in forming the jazz-rock ensemble Salt, making their live debut the following year alongside the legendary Fela Kuti. Despite a series of well-received live appearances throughout Western Europe and North America, the Salt project proved short-lived, and in late 1972, Jones, Odumosu, and Akintobi formed Blo, touring relentlessly in the months to come, prior to recording their EMI Nigeria label debut Blo: Chapter One. The 3 members, Berkely Jones, Laolu Akintobi and Mike Odumosu created the name BLO from B for Berkely, L for Laolu and O for Odumosu. Drawing equally on the pioneering Afrobeat of Fela and Tony Allen as well as the American psych-rock of bands like the Grateful Dead and the Byrds, the record failed to live up to EMI's commercial expectations, and after signing to Afrodisia, Blo resurfaced in 1975 with Phase 2, pushing further into funk and R&B territory. Grand Funk Railroad and the Isley Brothers were the primary influences on the trio's third LP, Phase 3, but as lackluster sales continued to dog the group, Blo faced greater corporate pressure to reflect contemporary musical trends — specifically, disco, a shift culminating with 1980's Bulky Backside, recorded in London. Blo dissolved following the 1982 release of Back in Time; the retrospective Phases 1972-1982 appeared on the Afro Strut label in 2001.
~ Jason Ankeny, All Music Guide
MARK BAKER drms A
REALITY D. BLIPCROTCH vcls, perc A
ROGER CRISSINGER keyb'ds A
DONALD ENSSLIN gtr, banjo A
FRANK TREVOR FEE bs A
MARV GRANAT gtr, sitar, dulcimer A
SARAH OPPENHEIM vcls, autoharp A
LAURIE PAUL vcls, tampura A
THEODORE TEIPEL flute, hrmnca, piano A
ALBUM: 1 ONE (Grunt FTR 1009) 1972
45: 1 Free Rain / One Of A Kind (Grunt 0509) 1972
This album is rather naive, but a precious document of the hippie community, mixing jazz with country and western, Eastern and renaissance sounds.
Roger Crissinger had earlier been in Pearls Before Swine.
I didn't find any info about this band. It's a hyppie music, it's very good and rare.
Here's the deal :
02.For Heaven's Sake
08.My Narrow Mind
11.Sac of Religion
13.Heel on the Shovel
with cd covers
your download link:
02 Give Him A Sip 'Cause His Mind's Messed Up'
05 Diminished Ideal
06 This Is The Big Tree
07 Cartwheels Of Glory
08 At Sea
11 On The Beach
Loved by those who were lucky to hear them.Formed in the early '80s by ex-Saccharine Trust drummer Rob Holzman and other hangers-on of the LA scene, they went on to release a string of stunning, evocative and highly individual records that still amaze today. There is truly no other band that sounds like Slovenly. Sometimes they evoke memories of No Wave, Beefheart, MX-80 Sound, Wire, Television, Pere Ubu and The Fall, yet their synthesis of these influences is their own. The guitars weave throughout each other like a good Magic Band should, or Lloyd and Verlaine in Television once did, the rhythm sections anchors itself into a beat to allow their fellow members to achieve this, and the vocalist, the deapan Steve Anderson, delivers his sermons of love and woe. Three completely brilliant LP's were released in a row: Thinking of Empire from 1986, Riposte from 1987, and We Shoot For the Moon from 1989
Thinking of Empire is Slovenly's first mature work, a flowering of art-punk influences and California punk mindset.Listeners struggled with Slovenly's prickly sound chiefly because of the monotone delivery of singer Steve Anderson and his tendency to toss off lyrics. After getting a handle on Anderson's delivery, however, it's easy to hear how magnificently the singer sways with the sideways lashings the shifting layers of guitars concoct. The band's three guitarists alternate on bass and six-string electrics, applying a bracing angularity to songs like "Distended," "Cartwheels of Glory," and "At Sea," which fasten driving riffs to becalmed, drifting interludes, resulting in musical mazes that, when solved, are endlessly rewarding. Thinking of Empire is the link in the SST label chain that connects the punk, to an instrumental art-damage. Rarely has the beauty of post-punk's gray areas been so strikingly captured.
Clean Old Man
Love In Your Face
Tossin' & Turnin'
Quiet Before The Storm
Love In Your Face
You Don't Remember
It's All In My Head
Blues With A Feeling
Only Thing That's Wrong
Stallion Of Fate
Hall Of The Mountain King
Twentieth Century Zoo:
Originally released on Vault in the late '60s by Phoenix shroom-heads that stirred the savage fuzzback-laced sounds of the garage generation with the brain-baking trippiness of the emerging San Francisco ballroom scene and concocted their own psychedelic sound.
Download Links :
part 1 : http://rapidshare.com/files/10839480/20th_part1.rar.html
part 2 : http://rapidshare.com/files/10673159/20thCenturyZoo_2.rar.html
Here are the three LPs that Viv Akauldren released after Old Bags & Party Rags. I'll post their 7" single in the 7X7 is series.
Viv Akauldren came from Trancegland, a Detroit band of Jeff Tarleton, Keir McDonald and Robert Wonnacott. In February 1985 Wonnacott left and Deb Agolli took his place in drums. In May 1985 the group changed to Viv Akauldren and entered a recording studio. The result was Old Bags & Party Rags, a powerfull collection of songs that received much praise and airpaly on the underground circuit. The record went out of print pretty soon and a year later released in Europe as the first licencing of the newly formed Resonance Records. Despite advice to work the album, Talreton was drained. Dropping everything he spent a month travelling (Dec.85) alone on the Moroccan Sahara. After he returned they begun a huge round gigging: San Francisco, St.Louis, Oklahoma, Kansas City, Dallas, Phoenix, L.A, Seattle... Shortly after they begun recording their second album.
I'll Call You Sometime (1987)
I'll Call You Sometime...a concept work of titanic proportions, it encompasses vast and subtle nuance...A classic winter time record wich demands attention (and headphones) was on a lot of D.J's list as a top album of 1987, and finaly established Tarleton (Phry) as a poet-mystic in the same school as Patti Smith/Morrison etc.
After getting a taste of the road in '86, they immersed themselves in it during 1987. With a coast-to-coaster in the Spring and another in the autumn plus more regional in between and after a total of 5 months were spent touring North America...it;s here the bands reputation was made...Viv Akauldren, once a strange Detroit combo,now belonged to the Kosmos..
Sporadic Eastern and Southern tours continued till May 1988 when a tour of Europe was proposed by a Dutch agency for Nov.88. To accompany the tour, Resonance agreed to licence an EP of new songs. In a blur of activity V.A. rehearsed 5 new songs, pulled out 1 old one and selected a cover. Unfortunately the tour was postponed, but the result was Witness.
The cover of the MC5 classic "Looking at You" which with a few key word changes fit in perfectly with the V.A material and actually rivals the original, if you're not too sentimental!..and yes, the guitar work is classic. The mini LP was released in Europe in Nov.88. A limited edition red single Eye/Suck/Depth Charge was issued. The US release of Witness was scheduled for Feb.1989 and a accompanying US tour was booked, but this time the tour went on, but the album was delayed! In April was released the second 7-inch single Magnolia/Channel Lore constituted a return to keyborads and the 13 minute, 33 1/3 single is vintage Viv Akauldren.
A Eurpopean tour was finally confirmed for Sept.-Oct. 1989. Not only was the band to go over and tour but Resonance was also putting them in the studio to record another LP. Going thru a considerable amount of unrecorded songs, the idiea would be to reveal the continuity, depth and unity of thei writing from their undocumended inception, right up thru 1989. Wonnacott was even asked to contribute his drumming on the Trancgland period songs...Spet. 20 1989, Viv departed for a 20 date European tour, and played some of their best shows ever with the tour culminating at the "Berlin Independent Days" festival on Halloween night 1989.
From Berlin V.A. travelled down to Nurnburg to commence work on Vivian's Fountain. The LP was recorded during a one month rental of the 24-track Son House Recording complex.
Vivian's Fountain (1990)
The resulting 12 song collection is slated for a spring 1990 release and is, indeed music of the 90s...McDonald is obviulsy one of rock keyboards most distinctive voices and evolutionary proponents...someone had to bridge the 70s with the 90s! Taking the arrangemental discipline of the classical, the dialog and freedom of jazz, ethnic and folk traditions from all over the world, R&B, Delta Blues and a million other influences have all become Viv Akauldren.
(from the liner notes of Vivian's Fountain by John Cammeron)
Jeff Tarleton (or Tarlton nowadays) has released two solo albums in 1997 and 1999, described as psych-folk, that are strongly recommended. You can buy them at Delerium records, where you can also visit Tarlton's pages
As for Keir McDonald, his recordings as Medusa Cyclon are here in this very blog.
Tuesday, January 09, 2007
Iron Butterfly was signed to ATCO records (a division of Atlantic Records) in the spring of 1967 and released their first album, aptly titled Heavy, the following winter. While the band was on the road with the likes of: The Doors, Jefferson Airplane, The Grateful Dead, Traffic, The Who, and Cream, their impressive debut stayed on Billboard's album charts for almost a year.
In July of 1968, Iron Butterfly released the monumental LP, In-A-Gadda-Da-Vida, featuring the 17:05 minute side-long track that shook the entire music industry with its phenomenal reception. 'Vida outsold every record in the history of recorded music within the first year of its release (over eight million copies sold) and therefore outgrew and outsold the standard of the music industry's "Gold Album" award. For this achievement, Iron Butterfly was subsequently awarded: The Industry's Very First "Platinum Album"! This historic award was created and presented by then-president of ATCO Records Ahmet Ertegun, who went on to become the current CEO of the WEA Group. Most recently, "Vida" received the Multi-Platinum award.
In-A-Gadda-Da-Vida, stayed on the charts for 140 weeks, with 81 weeks in the Top Ten. To date the album has sold in excess of 30 million copies and remains an undisputed classic in the archives of rock with DJ's and audiophiles worldwide.
Within a year of releasing In-A-Gadda-Da-Vida, Iron Butterfly had charted a third album, Ball, - which surpassed "Vida" (still in Billboard's Top 10) turning "Gold", and climbed to No. 1. Ball remained on the charts for 44 weeks, followed by two more album releases in 1970 - Live, and Metamorphosis, each charting respectably in the Top 20.
Babe Ruth - 1975 - Babe Ruth
01 Dancer 6:01
02 Somebody's Nobody 3:06
03 A Fistful of Dollars 2:40
04 We People Darker Than Blue 4:47
05 Jack O'Lantern 3:25
06 Private Number 3:40
07 Turquoise 3:11
08 Sad but Rich 3:56
09 The Duchess of Orleans 5:02
Babe Ruth was formed in 1971 in Hatfield, England, and adopted their name after the legendary American baseball player. The band, lead by Alan Shacklock (guitars, vocals) and consisting of Dave Hewett (bass), Jenny Haan (vocals), and Ed Spevock (drums), was signed to the Harvest label and released their debut album, First Base, in 1972. The album didn't make much impression in England, but went gold in Canada and was a strong seller in the U.S. The band's second album, Amar Caballero, also released on Harvest in 1973, was a repeat of the debut and sold similarly well in North America, but not in England despite aggressive marketing. In 1975, the band went through some lineup changes and released the self-titled, album early in the year. Later in 1975, Shacklock left the band to be replaced by Bernis Marsden on guitars and vocals and the group recorded a second album that year, Stealin' Home. It was released on the U.S. Capitol Records label. This reissue on the British-based B.G.O label pairs the two 1975 albums together on a single CD. While both albums are not the band's strongest works, Babe Ruth contained some memorable moments, including a delightful version of Morricone's "Fistful of Dollars," as well as the hard rock song "Jack O'Lantern" that was a concert favorite. For the Stealin' Home album, the band moved away from the hard rock experimentation of their early works and into a more commercial driven hard rock blues based sound. The band would record one more album, Kids Stuff, in 1976 with yet another lineup before breaking up later that year. This set has been remastered from original master tapes, and the package contains an in-depth essay on the history of the band along with photos and reproductions of the original album graphics. ~ Keith Pettipas, All Music Guide
Demos all recorded in a single day one year prior to the recording of the album that started it all, Black Monk Time. Not as good (what could be?) as Black Monk Time itself, but certainly worth a listen. Every song opens with a little pseudo-church organ riff. Thank goodness they decided to get rid of that schtick when they went back into the studio.
Dr. Syn/I Don’t Need Your Love/Speed Freak/Born Loser/Out Of The Question/Teenage Caveman/Don’t Mess With My Mind/Down/Cry/Hey Hey Comin’ Back Alive/I’m Going Away/Don’t Put Me Down/Valley Surf Stomp/I Leave/Dr. Syn/I Got No Name/My New Woman/Wild Trip
Stefan Kery, vocals/guitar
Martin Skeppholm, drums
Lars Kjellen, guitar
Par Stavborg, bass
Anna Nystrom, organ
More albums here
01 Look Over Yonders Wall
02 Born In Chicago
03 Love Her With A Feeling
04 Walking Blues
05 Don't Say No To Me
06 One More Heartache
07 Work Song
08 Thank You Mr. Poobah
09 Serves You Right To Suffer
10 Got A Mind To Give Up Living
11 Walking By Myself
12 Baby Please Don't Go
13 World Is In An Uproar
14 Got My Mojo Working
Paul Butterfield - harp, vocals
Mike Bloomfield - guitar
Elvin Bishop - guitar
Mark Naftalin - keyboard
Jerome Arnold - bass
Billy Davenport - drums
Seven more singles from the cellar...
Aching Void - Swirling Colors/Voices (Rockadelic RR-106)
Aching Void were a trio, possibly from N.Y. This single, released around 1989, on the cult Rockadelic label, is full of fuzz, that creeps in your brain. Here's the Lama review: The titles and band name promise some pretty hardcore neo-psych, and the A-side single delivers, from the heavily reverbed bass riffs to the incessant, spastic lead guitar to the sound effects on the vocals to the absurd scream that ends the verses. There’s a scattershot feel to this one, and it comes off as a random burst of wacked-out energy. The B-side is a bit slower, but has the same spaced out, crude feel to it (at one point it seems like the bass player or the drummer misses a cue), and plenty more of the fuzz guitar. Fun, indeed.
Marble Orchard - Something Happens/Ever Think About Me? (Estrus ES75)
A trio from Eugene, Oregon, released a few more singles and three or four albums, mostly on the Septembergurls label. This is their first single from 1990, pressed on marble-grey vinyl, with two driving garage songs, one of the best releases of Estrus.
Ten Foot Faces - Don't Want Love/Sand Fuck/Dangerous Visions (Independent Project IP017)
The Ten Foot Faces is, as the name suggests, a wall of sound based upon SoCal surf music. Three tracks of crazed surf-garage, perfect for this time of year. Surprisingly, this came out on Independent Project records, in 1985, complete with hand-printed card stock cover and insert (in a limited edition of 1500). Its produced by Vitus Matare. Ten Foot Faces released an LP on Camper Van Beetoven's label and several years later their guitarist played with the Urinals.
Dead Moon - D.O.A./Dagger Moon (Tombstone T-34)
These are two classic songs from the recently retired Dead Moon, from Portland, Oregon. I'm sure we all know singer/guitarist/songwriter Fred Cole, almost 60 years old now, who gave us several mastrpieces from the sixties till now. Mayby wider known in Europe than in the U.S., Frec Cole, his wife Toody and Andrew Loomis from 1987 (as Dead Moon) put out great records (originaly on their label Tombstone and on Music Maniac in Europe). This is in mono as almost all the Tompstone recordings.
Fingers of Doom - White Gods/I Don't Understand It + Yellows (Tombstone T-14)
This is another Tombstone release, again in mono and in 33 1/3! Fingers of Doom is (I think) a one-shot band, lead by Kate Fate (vcls, bs), a Portland figure (was also in Sam Henry’s Lone Strangers and maybe in the recordings of other Portland groups), featuring Toody Cole and Chris Newman on gtr (great!). The a-side starts with a rip-off of the Nuns' "Do You Want Me On My Knees" and ends as 'jazz piano' which has no piano but a great Cippolina guitar!, while b-side contains a streight garage-punk track and a talking blues!
Brian T. & Plan 9 - Hideaway/Echoing Sunshine/Walls of Paradise (Midnight MID 4506)
This came out in 1984, in a cheap black and white cover, painted with marker!. It's from the period that Plan 9, from Rhode Island, had Brian T. (singer and guitarist Brian Thomas) as their lead singer. Two of these tracks resurfaced in the French version of the "Plan 9" LP.
Three Women In Black - Grace Of God/Cards/Submission (Dionysus ID073303)
Another obscure single from an one-shot band on Dionysus. Lead by Micheline (Johnoff), Three Women In Black offer two originals and a Sex Pistols cover, right from the garage caves of Hollywood, CA. Slow crawling rhythms and the dusty voice of Micheline make this a fine listen. Who was Micheline? Lee Joseph only knows.
As you may have noticed there's an edit in this post (on the last single). The rar file is fine, it just contains the Three Women In Black single instead of the Kings of Oblivion's one. Apologies.
Monday, January 08, 2007
Flying Teapot (Radio Gnome Invisible, Pt. 1)
01. Radio Gnome Invisible
02. Flying Teapot
03. The Pot Head Pixies
04. The Octave Doctors And The Crystal Machine
05. Zero The Hero And The Witch's Spell
06. Witch's Song/I Am Your Pussy
- Daevid Allen / guitar, vocals
- Francis Bacon / VCS3 synth, electric & upright pianos, bass
- Tim Blake / VCS3 synth, crystal machine, vocals
- Steve Hillage / guitars
- Rachid Houari / drumbox
- Didier Malherbe / soprano & tenor saxes, flute
- Gilli Smyth / orgone box, vocals, space whispers
- Christian Titsch / slide guitar
Produced by Giorgio Gomelsky, notable for his work with the Yardbirds, Brian Auger, and Magma, this relatively early Gong project is a great representation of the Daevid Allen-era Gong. Though not as intricate as its follow-up companion piece, Angel's Egg, The Flying Teapot is more of a true prog/space rock outing, where hippie-trippy lyrics and space whispering abound, as evidenced in the opening track, "Radio Gnome Invisible." The following cut, "Flying Teapot," is the sprawling highlight of the album. At times reminiscent of some early Weather Report jams, though not as jazzy, the tune features prominent bass, standout percussion/drums, and space whispering courtesy of Smyth. Improvisational groaning and percussion bring this jam to a close. "Pothead Pixies" is a fun pop (pot?) tune which probably received very little, if any, airplay due to the lyrics, followed by Blake's brief synth interlude, "The Octave Doctors and the Crystal Machine." "Zero the Hero and the Witch's Spell," another lengthy composition, features Malherbe's sax playing, which, at this early point in the Gong evolution, is credited for most of the jazz sounds heard in the music (remember, Pierre Moerlen has yet to join the band). This cut becomes quite heavy near its end before making a clever transition into the final cut, "Witch's Song/I Am Your Pussy." Here you hear Smyth's strange, sexually explicit lyrics, which she embellishes with ethereal voicings and cackling. This, combined with a jazzy sax from Malherbe and some very groovy musical lines near the closing, make for another fun tune. ~ David Ross Smith, All Music Guide
Angel's Egg (Radio Gnome Invisible, Pt. 2)
01. Other Side Of The Sky
02. Sold On The Highest Buddha
03. Castle In The Clouds
04. Prostitute Poem
05. Givin' My Love To You
07. Flute Salad
08. Oily Way
09. Outer Temple
10. Inner Temple
12. Love Is How You Make It
13. I Never Glid Before
14. Eat That Phonebook Coda
15. Ooby-Scooby Doomsday Or The D-Day Got The D.D.T. Blues
- Daevid Allen / vocals, guitar
- Tim Blake / VCS3 synth, vocals
- Steve Hillage / guitars, vocals
- Mike Howlett / bass, vocals
- Didier Malherbe / saxes, flute, vocals
- Pierre Moerlen / drums, vocals
- Gilli Smyth / vocals, space whispers
The companion piece to The Flying Teapot, Angel's Egg is not your usual progressive rock album. Very quirky, with many, mostly brief compositions, the album is a tad less spacy than Teapot, with just a few psychedelic-inspired lyrics, and it's very technically adept. Angel's Egg opens with a true space rock cut (one of the few on the album), filled with the usual Gilli Smyth space whispering and Daevid Allen voicings, then leads into the cleverly titled "Sold to the Highest Buddha," with Steve Hillage and Didier Malherbe prominent figures. The instrumental "Castle in the Clouds" finds Hillage coming into his own, with a sound identical to his solo work. "Givin' My Love to You" sounds like a bar song, with no music and a cluster of seemingly drunken fellas trying to sing. The instrumental "Flute Salad" gives way to "Oily Way," a showcase for Malherbe's jazzy flute. "Inner Temple," an instrumental space rock track, moves along with a jazz edge, provided by Malherbe's sax. The final three tracks are the real highlights on Angel's Egg. "I Never Glid Before" is a fantastic prog rock tune, replete with blistering Hillage solo, primo Allen lyrics and vocal, and the precise percussion of new bandmember Pierre Moerlen. This eclectic composition travels through several movements and time changes, and comes across as a perpetually progressing piece. The imaginative and jazzy "Eat That Phone Book Coda" brings the album to a close. ~ David Ross Smith, All Music Guide
You (Radio Gnome Invisible, Pt. 3)
01. Thoughts For Naught
02. A P.H.P.'s Advice
03. Magick Mother Invocation
04. Master Builder
05. A sprinkling Of Clouds
06. Perfect Mystery
07. The Isle Of Everywhere
08. You Never Blow Your Trip Forever
- Daevid Allen / vocals, glissando guitar
- Mireille Bauer / percussion
- Tim Blake / Moog & EMS synths, Mellotron
- Steve Hillage / lead guitar
- Mike Howlett / bass guitar
- Didier Malherbe / saxes, flute, vocals
- Benoît Moerlen / percussion
- Pierre Moerlen / drums, percussion
- Gilli Smyth / wee voices, chorus
- Shakti Yoni / poem & space whispers
Conveying more advice from Aph.P., You emerges thematically as the third part in the Radio Gnome Invisible series, though not titled as such. Overall a fair release, the album seems somewhat poorly planned and insubstantial, with brief tunes punctuated by several long jams. Guitarist Steve Hillage's role in Gong had become quite prominent, to the point of overshadowing founding member Daevid Allen. You marks Allen's last stand with the band, at least until his quasi-return many years later.
The album opens with three light, ethereal pieces. Among the short tunes, "Perfect Mystery" is the standout, a fun but very advanced, jazz-oriented composition. The lengthy, epic-like structures on the album are generally solid (though at times uninspired), jazz-tinged progressive rockers, with the instrumental "Isle of Everywhere" taking top billing. Each piece features Pierre Moerlen's hot percussion, and each band member steps up front at one time or another. The awkward moments occur in the final cut, the jazzy "You Never Blow Yr Trip Forever." At times early in the song Allen's vocal presentation and lyrics seem at odds with music which dares to outdate him, making some of the most progressive music on the recording. ~ David Ross Smith, All Music Guide
Second Hand Love
As She Walks Away
Glad I Could
Look in the Sky
Man in a Fast Car
Although it's considered a desirable psychedelic rarity in some collecting circles, For Fox Sake is an also-ran British psychedelic pop album of the sort that was a year or two behind the times upon its 1970 release. The best thing the Fox have going for them on this record is the swirling, at times piercing Hammond organ of Alex Lane. The songs, however, are ordinary trendy U.K. psychedelic pop with some solid vocal harmonies and light shades of soul music from time to time. Certainly "Second Hand Love" and "Lovely Day" sound extremely close in spots to the sort of music the Spencer Davis Group made just after the departure of Stevie Winwood, with some of the late Zombies' Baroque melodic sense coloring parts of both "Lovely Day" and "As She Walks Away." Some curve balls arrive in the form of a pretty folky acoustic guitar ballad, "Butterfly," the dull good-time soul-rock of "Goodtime Music," the blunt sledgehammer anti-straight world rant of "Mr. Blank," and the epic-to-little-purpose "Madame Magical," whose nine minutes feature some extended jazzy psychedelic organ improv.
Undoubtably a very interesting album ,necessary for fans of UK psych pop
This is a fine album of Psychedelic Soul
Just listen the thrilling hit “smiling faces sometimes”
the guitars and jamming in “ball of Confusion” the covers of famous “aquarius” and “I heard it through the grapevine” and finally “like a rolling stone”.
The year was 1970 and the man behind this project was famous Motown producer Norman Whitfield.
1. You got the love I need – 2.57
2. Save my love for a rainy day - 04:00
3. California Soul - 03:55
4. Aquarius - 02:39
5. Ball of confusion - 10:30
6. Smiling faces sometimes
7. We've got a way out love -02:55
8. Since I've lost you - 03:20
9. Ain't no sun since you've been gone - 02:42
10. I heard it through the grapevine- 02:51
11. Like a rolling stone - 06:35
Norman Whitfield was responsible for the radical change in The Temptations' sound. He brought in some adventure and innovation to Motown. The idea with the Undisputed Truth was problably to try out new stuff and experiment. At least you get this feeling when you look at the sleeves of Cosmic Truth and Higher Than High. The members of the group are not listed, only the studio musicians.
Undisputed Truth has always been regarded as some sort of forever-and-ever warm up band, and not as a real group. Even if Norman saved his goodies for The Temptations to record, it's not fair to put the Undisputed Truth off as guinea-pigs. All three members had voices that cannot be neglected. Calvin's and Joyce's harmonies were like two singing birds around Harris' great lead. In fact, Temptation's monster hit Papa Was A Rolling Stone was first recorded by the Undisputed Truth. But their version never reached the same commercial success as Temptation's Grammy award winning version
The debut album The Undisputed Truth was released in 1971. A soulful record with Motown feeling. They enjoyed a top 3 R&B hit with Smiling Faces Sometimes. A piece of psychedelic soul from Whitfield and his writing partner Barrett Strong. This was their biggest hit and nothing of later material could match this success.
Joe Harris served as main lead singer, with Billie Rae Calvin and Brenda Joyce, formerly of The Delicates, on additional leads and background vocals
The group, in my opinion, got more interesting as time went on. The original trio broke up in the mid-seventies and a new line-up was formed, based around original member Joe Harris. The new people coming in was Taka Boom (sister of Chaka Khan), Virginia McDonald, Tyrone "Lil Ty" Barkley and Calvin "Dhaakk" Stephenson. Whitfield kept on toying with their sound and they underwent a dramatic change in image and sound, resulting in a range from psychedelic soul and funk to black rock. They got dirtier and nastier and shocked the fans with the clear Funkadelic influences on their releases from the second half of the 70's. Painted faces and white afros became their special trademark.
The group's music and unususal costuming (large Afros and white makeup) typified the then-popular trend of "psychedelic soul". A number of their singles became minor hits, and many of them were also songs for Whitfield's main act The Temptations, among them "You Make Your Own Heaven and Hell Right Here on Earth" and "Papa Was a Rollin' Stone". Their single Top 40 hit in the United States was the ominous "Smiling Faces Sometimes", also originally recorded by The Temptations, which hit #3 on the US pop charts in 1971.
The Undisputed Truth, along with Rose Royce and Willie Hutch, followed Whitfield during his exodus from Motown to set up Whitfield Records in 1975. At this time, Calvin and Joyce left the group, and Harris was joined by new members Virginia "V" McDonald, Tyrone"Big Ty" Douglas, Tyrone "Lil Ty" Barkley, and Calvin "Dhaak" Stephenson. The group's costuming and style changed as well, becoming even more unusual and Funkadelic-influenced. However, the group had little success at the new label, and faded into obscurity after two more albums, although they charted in the UK in 1977 (#43) with the disco single "You + Me = Love" from the album Method to the Madness
"This album can stand alongside the debut recordings of the Downliners Sect and the Pretty Things (not to mention the compiled work of the Liverbirds, so we're talking really, really extreme) as some of the finest primitive rock ever to emerge from England. From the bluesy British Invasion-styled "My Dear Watson," Thee Headcoats engage in a crude but compelling assault on their instruments that's as clever as it is unpretentious -- "Hog's Jaw" takes the central riff from Ian Samwell's Brit-rock standard "Move It" and turns it sideways on the opening, while "By Hook or by Crook" could have been the early Who (of "Anytime You Want Me") rehearsing on a good day with a fill-in for Keith Moon, and "It's Gonna Hurt You (More Than It Hurts Me)" is a delightful rewrite/reconception of "All Day and All of the Night," except that it makes the latter song seem overly sophisticated. And "Neither Fish nor Fowl" may be the finest Bo Diddley track that the rock & roll legend himself didn't write or record, and also manages to conjure up echoes of the Rolling Stones' "Please Go Home." ~ Bruce Eder, All Music Guide
"During his remarkably prolific 20-year career, Thee Headcoats frontman Billy Childish has been an avatar of DIY punk rock independence, releasing dozens of no-fi records on a variety of little labels around the world -- to say nothing of the dozens of novels and books of poetry and the hundreds of paintings he has produced. He is the ultimate punk rock renaissance man, and his relative lack of notoriety only heightens his mystique.
Childish hit the ground running in late '70s punk rock London with his first band The Pop Rivets. After a couple of messy garage-punk releases that band dissolved and Childish teamed with a couple of Rivets roadies to form the Milkshakes. Childish's subsequent projects have included Thee Mighty Caesars, the Delmonas, the Natural Born Lovers, and of course the great Headcoats.
Thee Headcoats -- consisting of singer/guitarist Childish, drummer Bruce Brand, and bassist Jonny Johnson -- were the garage-punk kings of the world during their decade-plus career, which ended in 1999. Their music featured all the elements that made Childish a cult figure: raucous, irrepressible energy, astonishing emotional directness, and sly subtle humor in spades -- oh, and an undying love for American blues and British punk, the two influences that have always informed Childish's musical output.
Thee Headcoats' sound was incredibly lo-fi; as you listen to Childish's dirty guitar and accented vocals, you really feel like you're right there in the garage with him, drinking whiskey and hanging out. Sophisticated production has never been the point for Childish, and neither has technical prowess. He has always focused on the visceral, the immediate, the honest -- and that's what you hear when listening to Thee Headcoats. You also hear the sound of a serious band that took nothing seriously, a bunch of mischievous pranksters who never cracked smiles. Despite the fact that they never do anything especially innovative -- every Childish song is in essence a tribute to the music he loves -- Thee Headcoats' music quickly begins to sound like the most original and personable music you've ever heard." - Jesse Ashlock
01 My Dear Watson
02 Everybody Lies
03 Troubled Times
04 Hog's Jaw
05 By Hook Or By Crook
06 It's Gonna Hurt You (More Than It Hurts Me)
07 Neither Fish Nor Fowl
08 I Wonder Why People Don't Like Me
09 Snitch Baby
10 Gotta Get Inside That Girl's Mind
12 I Don't Like You
Sunday, January 07, 2007
01 Hunters and Collectors
04 And More
05 Silent Night
06 Cascade Waltz
07 Don’t Say No
09 Can Can
10 Can Can Disco
11 I’m so green
12 Chain Reaction (Edit only on vinyl Cannibalism)
13 Hoolah Remix 1
14 Hoolah Remix 2
15 Hoolah Remix 3
16 Future Days
17 Dizzy Dizzy
01 Kama Sutra
02 Vernal Equinox
03 I Want More
04 Kamera Song
05 Soul Desert
06 She Brings the Rain
07 Turtles Have Sort Legs
10 Shikaku Maru Ten
11 The Thief (long version from Electric Long Sampler)
13 Vitamin C
14 I’m so Green
Can was a musical group formed in West Germany in 1968, working within the scene that music critics dubbed "krautrock", with a style grounded in the garage rock of bands such as The Velvet Underground and world music as studied by professionals in ethnomusicology. Described by keyboard player Irmin Schmidt as an "anarchist community" and constructing their music largely through free improvisation and editing, which bassist Holger Czukay has referred to as "instant compositions", they had only occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts, but through albums such as Tago Mago (1971) and Ege Bamyasi (1972), Can exerted a considerable influence on avant-garde, experimental, underground, ambient, New Wave and electronic music.
Holger Czukay - bass guitar, sound engineer, electronics (1968-1977, 1986-1991)
Michael Karoli - guitar, vocals, violin (1968-1979, 1986-1991)
Jaki Liebezeit - drums, percussion (1968-1979, 1986-1991)
Irmin Schmidt - keyboards, vocals (1968-1979, 1986-1991)
Their retrospective album is a live recording from 1968. It features fine guitar work on Passenger and Banana And The Cat but is patchy overall so primarily for archivists. Ed Guinn and Bob Brown also cut a long demo tape about early 1967 of entirely fresh material, but this hasn't resurfaced to date. They also helped back comic artist, and Austin resident Gilbert Shelton on his sole 45.
Bob Brown later married and subsequently divorced Julie Christenson of Divine Horseman fame.
Compilation appearances have included: 1 To 3 and I've Got Time on Texas Psychedelia From The Sixties (LP) and Sixties Archive Vol. 6 (CD).
The Decayes - 1980 - Not Yet ! (imgrat)
These historic recordings taken fron 7 "inch reel to reel tapes,were originally intended to be used as demos to obtain gigs in the Ann Arbor area.Now for the first time ever,witness Iggy Pop's leap into stardom.Recorded in 1963 and 1964,this is the Iguanas Testimony.
guitar - joe baiza
All three discs are very different, though for starters, one can't go past their self-titled debut. A simple instrumental quartet, it's your standard gtr/gtr/bs/dm set-up, though each player is used to his maximum potential, creating a mind-bending array of organic, twisted, psyched-out, and I'd be tempted to go out on a limb here and say that this is one of the greatest, most hideously ignored independent-rock masterpieces of the '80's. Unfortunately, it was just released at the wrong time in history. Believe you me, if this was released today, in a world obsessed with weird-assed psych obscurities, '70s Miles Davis, free jazz and the odd Krautrock disc here and there, you'd have to avoid the stampede of hipster-geeks leaping over the counter at the local record store trying to get their hands on this. Recorded in a day and basically consisting of one, long track split into three sections, this is the type of "psych monster" all those vinyl-loving obsessives in the hinterlands wish they could create.
There's "Certain Way (Part One)", which starts with a creepy, echoing drone that builds to a dense wail within a few minutes until the rhythm section comes in and Baiza hits the wah-wah pedal and bends his strings whilst the others churn out a steady, yet "free" base of Can/Ash Ra Tempel proportions. When Baiza dives his guitar through the middle, you'd swear you were stuck listening to Miles' Agharta or Big Fun, it's that good. Things turn and sway for 20-odd minutes 'til it quietens down again for some reverb-soaked noodling, and then it's time to flip it over for Part Two. The proceedings are more chaotic here; drums are thrashed, bass strings broken, and the guitars really create an almost Hendrix/Sharrock-like racket. 15 minutes then it's up. Following that is "Chasing", part three in the "concept", if you will; a perfect comedown from the previous ear-bending noise, and somewhat resembling Fripp/Eno's great No Pussyfooting LP of '74, it's a laidback acid-guitar masterpiece that totally reeks of bong-hit jamming gone mad, yet stays totally focused as an ending coda to the previous two numbers. Like I've said, Universal Congress Of's debut is the pleasant surprise of the SST catalogue, and if it was released today I have no doubt they'd be the current fuss of the underground rock cognescenti. I'll stand by that claim.
Fucking Amazing Album - One of my favorites EVER.
The Princess was written in 1973, immediately after the Odgipig album and became the band's finale piece at live performances. It represents a struggle between good and evil and includes a chase section and a royal procession at the end. Drummer Roger Thorne was forced to leave the band at the end of 1973 and was replaced by Matthew Letley, brother of bassist Mark; it is Matthew playing on this 1974 recording, which represents the closest Sidelfingen ever came to capturing their live sound.
Horribly rare, British progressive from 1973. This album managed to mix classical, folk, progressive and mainstream rock influences to create an avant garde classic. Only 99 copies were pressed in 1973.
Sindelfingen - 1973 - Odgipig
01. Song For Dawn
02. Three Ladies
03. Today And Tomorrow
04. Mark's Bach
05. Perpetual Mortion
07. The Princess And The Predator
You can find the above album Here!
The original vinyl is rare, but there was a double vinyl reissue called Ogdipig_Triangle that came with a live record.
Sindelfingen - Odgipig_Triangle
This is the long deleted Reissue of a mega rare complex prog album from an UK band, original released 1973 on the Midway label. Released together with a 2nd live LP, called Triangle.
1. Song For Dawn (0:52)
2. Three Ladies (10:09)
3. Today & Tomorrow (7:35)
4. Mark's Bach (1:04)
5. Perpetual Motion (12:31)
6. Odgipig (3:11)
7. Birth (11:48)
8. The Undertaker-Death (part 1) (13:31)
9. The Undertaker-Death (part 2) (4:40)
10. Resurrection-Epiloge (18:10)
This is what you were looking after:
Thanks again for the uploads I solicited in the past (Spiral Sky and RAIJ), I really enjoy your blog!
3 X-Plodo Sun Hat
4 Black Dawn
6 Inch of Mercury
7 Half Doll Violet Star
8 Atomic Hand
9 Dream House
10 Assigned Frequency
11 Helium Head
The hypnotic world of Medusa Cyclone began in 1992, following the breakup of
legendary Detroit psych/punk outfit ViV Akauldren. ViV keyboardist and Medusa Cyclone
frontman, Keir McDonald, wanted to continue the space-rock approach that made ViV
famous on both sides of the Atlantic. Medusa Cyclones first release was in 1992 on Manta
Ray Fleet, a Detroit-based 7 label started by McDonald and Chris Girard. Although Manta
Ray Fleet worked in small runs of about 200, the label enjoyed a strong following in the lofi
underground of the early 1990s. Early fans included Stephen Malkmus and Mark Ibold of
Eventually, a split single was released with the lo-fi legends in 1996--
Pavement Dancing with the Elders b/w Medusa Cyclone--Chemical. A self-titled CD---
Medusa Cyclone--soon followed to considerable critical acclaim. Standout tracks included:
Chemical-a lethal sonic mix of Can, Faust and Wire, Dream House-a seductive narcotic
from the same planet as Syd Barrett, and Helium Head, a sonic vortex leading to another
dimension. Medusa Cyclones shows during this time could best be described as an echocharged
sonic assault taking the audience to the world beyond beyond. Gigs included
support dates for Pavement, Bardo Pond and Cul de Sac.
A second CD, Mr. Devil, was
released in 1998. The album was a full dose of sonic madness and included The Smith
Can the Devils spawn of trance rock, End Cloud an underwater dream on a 90 degree
summer day and Invisible World a Japanese gamelan-influenced gem blurring the line
between time and space. During this period, things were looking good. Mr. Devil was
doing well in Finland and the UK, and had generated chart activity on CMJ. It was
especially popular in Belgrade, Yugoslavia. But when NATO began its security action
against the Milosovic regime, airplay stopped after a government takeover of the national
public radio station.
Three years have passed since Mr. Devil and much has changed for
Medusa Cyclone. Still, one thing that hasnt has been McDonalds need to dream another
record. So he enlisted the help of legendary Detroit drummer, Mike Alonso-- Five Horse
Johnson, Speedball, Bantam Rooster plus other Detroit luminaries: John Nash, The
Alphabet, Volebeats, Matt Smiths Outrageous Cherry, Robert Wonnacotts RF Energy and
McDonalds brother, Gavin. The result is nothing less than Medusa Cyclone's best record
Download Link 1:
Download Link 2:
Glimpses vol. 1
01 The Balloon Farm - A Question Of Temperature (New York, NY, U.S.A.)
02 The Illusions - City Of People (St. Clair Shores, MI, U.S.A.)
03 The Ninth Street Bridge - Wild Illusions (Houston, TX, U.S.A.)
04 Mouse & The Traps - Maid Of Sugar, Maid Of Spice (Tyler, TX, U.S.A.)
05 Nite People - Hot Smoke & Sasafrass (Southampton, U.K.)
06 The Marauders - Out Of Sight, Out Of Mind (U.S.A.)
07 The Buckinghams - Don't Want To Cry (Chicago, IL, U.S.A.)
08 The Wellington Arrangement - Love (Philadelphia, PA, U.S.A.)
09 The Yorkshires - And You're Mine (Detroit, MI, U.S.A.)
10 The Troyes - Rainbow Chaser (Battle Creek, MI, U.S.A.)
11 The Roy Sorenson Group - If You Could Read Me (MI, U.S.A.)
12 West Minist'r - My Life (Omaha, NE, U.S.A.)
13 The Ruins - The End (Lincoln Park, MI, U.S.A.)
Glimpses vol. 2
01 The Galaxies IV - Don't Lose Your Mind (Trenton, NJ, U.S.A.)
02 The Pastels - 'Cause I Love You (MI, U.S.A.)
03 The Baroques - I Will Not Touch You (Milwaukee, WI, U.S.A.)
04 Better Sweet - Like The Flowers (U.S.A.)
05 Count & The Colony - Can't You See? (Bay City, MI, U.S.A.)
06 The Marauders - Nightmare (Saginaw, MI, U.S.A.)
07 The Barracuda - The Dance Of St. Francis (New York, NY, U.S.A.)
08 West Minist'r - Bright Lights, Windy City (Omaha, NE, U.S.A.)
09 Hoppi & The Beau Heems - I Missed My Cloud (Tampa, FL, U.S.A.)
10 The Mystic Tide - Mystery Ship (Woodbury, NY, U.S.A.)
11 The Troyes - Help Me Find Myself (Battle Creek, MI, U.S.A.)
12 The Continental Co-ets - I Don't Love You No More (Fulda, MN, U.S.A.)
13 The Baroques - Remember (Milwaukee, WI, U.S.A.)
14 The Troyes - Love Comes, Love Dies (Battle Creek, MI, U.S.A.)
Glimpses vol. 3
01 Los Shakers - Dejame Ir (Montevideo, Uruguay) *
02 Donnie Matchett - Come On Baby (Butler, PA, U.S.A.) *
03 The Primates - She (Astoria, NY, U.S.A.)
04 The So...But So What - I Will Cry (AL, U.S.A.) *
05 The Book Of Changes - I Stole The Goodyear Blimp (San Mateo, CA, U.S.A.)
06 The Pattens - Jump (Wheaten, IL, U.S.A.)
07 Canned Heat - Smokey The Bear Song (Los Angeles, CA, U.S.A.) *
08 The Fugitives - On Trial (Birmingham, MI, U.S.A.) *
09 The Accent - Red Sky At Night (Yorkshire, U.K.)
10 The Restless Feelin's - A Million Things (U.S.A.) *
11 The British Road Runners - Flower Document (U.S.A.) *
12 Larry & The Paper Prophets - Can't Sit Around (U.S.A.) *
13 The Accent - Winds Of Change (Yorkshire, U.K.)
14 Hunger - Workshop (Portland, OR, U.S.A.)
15 Mad River - Orange Fire (San Francisco, CA, U.S.A.)
Glimpses vol. 4
01 The Traits - Nobody Loves The Hulk (New Rochelle, NY, U.S.A.)
02 The Electras - (Just A Little) Soul-Searchin' (Ely, MN, U.S.A.)
03 Bobby Dee & The Crestliners - Graveyard Twist (MI, U.S.A.) *
04 The Gee Tee's - Dog (Smyrna, GA, U.S.A.)
05 Kack Klick - Lord My Cell Is Cold (Rochester, NY, U.S.A.) *
06 The Four O'clock Balloon - Two Heads (Columbus, OH, U.S.A.)
07 The Quantrill Raiders - I'm Going (OH, U.S.A.)
08 The Cave Dwellers - Run Around (Chicago, IL, U.S.A.)
09 The Third Bardo - Rainbow Life (New York, NY, U.S.A.)
10 Magic Swirling Ship - He's Coming Pt. 2 (New York, NY, U.S.A.)
11 Kack Klick - One More Day And One More Night (Rochester, NY, U.S.A.) *
12 The Gee Tee's - Put You Down (Smyrna, GA, U.S.A.)
13 Purple Canteen - Brains In My Feet (Jonesboro, AR, U.S.A.)
14 The Electras - This Week's Children (Ely, MN, U.S.A.)
15 Phorenbach Delegation - Tall Grass (Chicago, IL, U.S.A.) *
16 The Fabulous Apostles - Dark Horse Blues (Wichita, KS, U.S.A.)
Baby Flies - 1989 - A Colorful View
Slightly folk-tinged rock dominated by sweet vocals If nothing else, bands with an established producer in their lineup can be assured of good-sounding records. That s certainly the case with New York-scene studio star -cum -bassist Jim Waters, whose Hoboken-sound pop trio makes a handsomely presented but nearly generic debut on Rain... Although stronger, Pat Water's folky delivery is still inadequate on A Colorful View, an occasionally lively record of simply attractive tunes arranged--with impressive new maturity and sophistication--for chiming guitars and subtle keyboards (Ira Robbins-Trouser Press).
That was about everything written on the net about the Baby Flies. Even 'Knights of Fuzz' had never heard of them, although in its entry, quoting from another reviewer, refers to them as "A very underrated U.S. folk-psychedelic-pop band".
Active for some six years in N.Y., Baby Flies released 2 LPs on Resonance Records label from the Netherlands, and 2 singles (the second of which was given as bonus with the first pressing of their "Rain" LP), remaining mostly unknown in their home.
Their sound is similar to the great New Yorkers Mad Violets, although Pat Waters is no Wendy Wild for sure. They also remind me of another band from the same area, with a female lead singer, the Tiny Lights from Hoboken, NJ (a future post).
Jim Waters-bs, gtr, kbds, pcsn
Chris Katris-gtr, kbds, pcsn
Let It Fall
Washing Over Me
A Colorful View
Where the Creatures Call
Coming Back To Haunt You
Just the Beginning
The Only One
Give Me The Light