Friday, November 24, 2006
02 Can You Hear The Walls Melting?
03 20 Years Before My Time
04 Mushroom Season
05 Bug Soup (I Will Miss You)
06 Psychedelic Mushroom Cloud Explosion
07 Twice The Speed Of Time
08 She's Alright
09 Roolz Is A Rule
10 Mirror Mind
11 Naked Truth
Produced By Brad Warner
Engineered By Scott Godwin
Recorded July 1986 @ The Island, North Royalton Studios, Ohio
Cover By Vince Rancid
1st pressing limited edition of 3000 w/ mirror cover (or 2500 as their record company sais?)
A follow up to their debut record, uploaded some time ago, this is the second effort from one of my favourites, Ohio's Dimentia 13. More information about this underlistened band can be found in the Freakbeat interview featured on their 'fan website' (so it seems, anyway).
The '80s Ohio band Dimentia 13 (named after an early movie by Francis Ford Coppola) fused together garage, psychedelic rock, and acoustic folk, issuing a total of six albums during their six-year-long recording career. Influenced by such artists as the Soft Boys, Kevin Ayers, Syd Barrett, Soft Machine, and the Electric Prunes, the band was secretive about their identities. They issued such albums as 1985's self-titled debut, 1987's Mirror Mind, 1989's Disturb the Air, 1990s T.V. Screen Head, and 1991's Flat Earth Society on the independent New York label Midnight.
~ Greg Prato, All Music Guide
01. I Don't Know
02. Patti's Dream
03. Dancing Doris
04. Goodbye Pamela Ann
06. Black Sunshine
07. Think For Yourself
08. The Bug, The Goat, & The Hearse
09. Shapes Of Sleep
10. Cloud Of Lead
11. Mother Of My Children
12. 1001 Twice
13. Sylvan Shores
15. The Raven
Ken Walker (vocals, guitar, zither, melodica, electric piano, organ, effects)
Bob Narloch (vocals, guitar, harmonica, tambourine)
Tom Gilmore (recorder, bass)
Mike Shipp (drums, percussion)
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow will he leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
This way-obscure Phoenix band released a late-period psychedelic album in 1971 that, by the standards of self-released LPs of the time, was several layers above the usual such offering. Largely (although not wholly) instrumental, their Folkstone Prism was an authentically oddball, occasionally goofy, and sometimes inspired blend of surf music, spaced-out psychedelia, and silly pop. The exotic dabs of melodica, zither, and special effects by multi-instrumentalist and songwriter Ken Walker added a cloud of eeriness; "I Don't Know" has keyboards straight off the Chantays' surf classic "Pipeline, " "Goodbye Pamela Ann" scorching psychedelic guitar that sounds like a mating of the Electric Prunes and Haight-Ashbury, and "Mother of My Children" vocals that sound like a Lee Hazlewood parody. Kennelmus, indeed, can be seen as spiritual forefathers of sorts to several post-punk Arizona bands--Black Sun Ensemble, Friends of Dean Martinez, and Scenic--that have made instrumental rock that can function as a quasi-psychedelic desert movie soundtrack. Of course, it's doubtful that those bands, or many others, were aware of Kennelmus, since their album was released in a pressing of 1000 in 1971, and not even well known among collectors.
Kennelmus evolved from the more standard garage band the Shi-Reeves, who played British Invasion covers and surf music. Ken Walker changed the name to Kennelmus in 1969 (Kennelmus being his full first name), and with singer/guitarist Bob Narloch began recording Folkstone Prism in late 1970, with the help of bassist Tom Gilmore and drummer Mike Shipp. The record was very much the brainchild of Walker, who wrote all but one of the songs. Three of the four band members worked at a pressing plant, making them one of the few, if not the only, group of their sort to literally help press their own recordings. An anomaly of its time (or any other), Folkstone Prism made little impact, and the band broke up around the mid-1970s, although the album was reissued on CD by Sundazed in 1999.
~ Richie Unterberger, All Music Guide
In the early 1970s, Kennelmus was Arizona's only psychedelic surf band. Their lone debut album is one of the true rarities of pyschedelia and is presented in its original form, sans any remixes or extra tracks. The music, just as heralded as the album is rare, is an oddball head on collision of the Chantays, Quicksilver Messenger Service, Lee Hazlewood and
~ Cub Koda, All Music Guide
01 - Dreamworld - 4.16
02 - Under The Rainbow - 3.47
03 - Shades Of Orange - 2.39
04 - Bromley Common - 0.49
05 - Cardboard Watch - 2.54
06 - Introspection (Part One) - 4.05
07 - What Does It Feel - 2.49
08 - Linen Draper - 0.13
09 - Don't Take Me - 3.24
10 - Loving , Sacred Loving - 2.59
11 - She Said Yeah - 2.50
12 - Jacob's Bladder - 0.55
13 - Introspection (Part Two) - 2.46
14 - Shades Of Orange (Mono Single Version) (Bonus Track) - 2.41
15 - Loving, Sacred Loving (Mono Single Version) (Bonus Track) - 3.02
British psych with lots of trippy, dreamy passages.
Colin Giffin (guitar, lead vocals)
Dave Brown (bass, vocals)
Nicky Graham (keyboards, vocals)
Terry Taylor (guitar)
Hugh Atwooll (drums)
(Gordie Smith & John Horton - sax, incidently Horton designed the 'Introspection' album cover)
Over the years of their existance, The End enjoyed the active help of Rolling Stone, Bill Wyman. They had been previously introduced to Wyman by producer Glyn Johns who had spotted them backing Elkie Brooks and were amongst the support acts for the Stones September '65 tour following the release of 'Out of Our Heads' along with the Spencer Davis Group; Unit Four Plus Two and The Moody Blues. A debut single 'I Can't Get Any Joy' had duly flopped and any plans Wyman had regarding the band were then thwarted by lack of action on the part of the Stones manager Alan Klein's office. So it wasn't until nearly three years later on signing to Decca (ironically the Stones label) before any further releases kicked off again. In 1968 'Shades of Orange' / 'Loving, Sacred Loving' appeared, both songs were built up during the sessions for the Stones album 'The Satanic Majesties Request' and have appeared over the years on various Stones bootlegs which seems a little odd as apart from Wyman the only other connection is Charlie Watts who plays tabla. 'Shades' was a wonderful song with dreamy atmospheres whilst 'Loving' featured Nicky Hopkins on harpsichord. In the same year, the album 'Introspection' also appeared and is one of the highlights of the English psychedelic scene, no collection should be without it. 1969 gave the band the chance of an appearance in the Spanish underground movie, 'Al Escondite Ingle's' ('To The English Hiding Place') making a playback of 'Cardboard Watch' whilst walking in the street.
Shortly after this, The End's original line-up fragmented as the band mutated into Tucky Buzzard (still under Wyman's management). Colin Griffin left to pursue a solo career and Hugh Atwooll returned to the End's adopted home, Spain, to work with the likes of Miguel Rios. Remaining members - Nicky Graham; Dave Brown and Terry Taylor recruited Paul Francis on drums along with Terry Taylor's former colleague from The Mode, Jim Henderson as lead vocalist. Incidently two points of interest, firstly Jim had also contributed backing vocals on Introspection and The Mode is not the same band who recorded Eastern Music on Rubble Two : Pop Sike, Pipe Dreams. Tucky Buzzard went on to record five Lps before splitting up in the mid-Seventies.
Tenth Planet has served the band well, issuing three albums worth of unreleased recordings. The first volume 'In The Beginning' (TP 025) highlights the earlier recordings; the second 'Retrospection' (TP 033) includes album outtakes and a version of 'Black Is Black' which was inspired by the group's friendship with Los Bravos. The final offering 'The Last Word' (TP 047) looks more at the final line-up with the band going through the transitional period around the end of The End and the beginning of Tucky Buzzard.
'Shades of Orange' can be found Rubble 6 : The Clouds Have Groovy Faces; The Psychededlic Scene and The Great British Psychedelic Scene. Broken Dreams featured two songs, 'Jacob's Bladder' & 'Introspection pt.2' whilst Visions from the Past volume 3 featured 'Why'
posted by Lanchester
Thursday, November 23, 2006
Wednesday, November 22, 2006
Romeo Void was a New Wave band in San Francisco, California from 1979 to 1985.
They are best known for the songs "Never Say Never" (1982) and "A Girl in Trouble (Is A Temporary Thing)" (1984), which were minor hits, with the latter becoming a Top 40 pop single. Their popularity was primarily in alternative and college radio, and as a dynamic performing act. They recorded for 415/Columbia Records.
The original band members met at the San Francisco Art Institute. Most of the band members were also visual artists and did their own album art. Perhaps in reaction against the more commercial sound of Benefactor, Romeo Void returned to producer David Kahne and the sound of their first album, It's a Condition, on their third, Instincts. Nevertheless, it proved to be their bestselling album. The group's instrumental attack continued to be spearheaded by saxophonist Benjamin Bossi, whose floating lines contrasted with the drive of the rhythm section and guitarist Peter Woods' Morse code leads. And Iyall continued to pour out disappointed reflections on the romantic condition in songs with titles like "Your Life Is a Lie" and "Say No." One of them, "A Girl in Trouble (Is a Temporary Thing)," managed to be both provocative and vague enough to inch into the Top 40, such that the album gained greater exposure and sales. But instead of marking a breakthrough for Romeo Void, Instincts marked their breakup, with Iyall going solo.
After the demise of Romeo Void, Debora Iyall, the lead singer and lyricist, put together and sang in the groups Knife in Water and Lower East Venus. John Haines played drums for Pearl Harbour and the Explosions.
The band was reunited briefly in 2003 for a one-off concert by VH-1's Bands Reunited, although Benjamin Bossi was unable to perform due to hearing loss. The band wrote and recorded four demo tracks in October 1993 (If I Was Your Cat, Stormy Eyes, Two Rivers, and Safe Place), which were sent to Sony Music but never released.
Debora Iyall: vocals
Benjamin Bossi: saxophone
Peter Woods: guitar
Frank Zincavage: bass
John Haines: drums (It's a Condition)
Larry Carter: drums (Never Say Never (EP) and Benefactor)
Aaron Smith: drums (Instincts)
Watch "Say No" :
(Rockadelic US 1994)
01 End Of The Page (4:45)
02 Having A Good Time (4:08)
03 Satan (6:05)
04 Fever Machine Man (6:29)
05 Let's Go To The Sea (8:26)
06 Hooked (4:05)
07 Under The Black Sun (2:55)
08 Stormy Monday (2:51)
1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL]
American psychrock with a doom-metal feel for your enjoyment.
01 Autumn Leaves
02 Thank You Very Much Next Week
03 Mirror On The Wall
04 Empty Seed
05 Bowl Of Cherries
06 Nu Spartans
07 Joe Granville
08 Jimmie Sings
09 Women In Uniform
10 Spike The Dike
Tripod Jimmie "Long Walk Off a Short Pier" Do Speak do3, 1982.
*** Terrific debut from the band led by ex- Pere Ubu guitarist, Tom Hermann. Great post-punk/funk stuff: agile drumming, meaty basslines, Hermann's lacerating guitar and his Byrne-like voice. Not dissimilar in places to early Talking Heads, but not as mannered. Excellent live-in-studio recording made "on the shore of Lake Erie." I became aware of this fantastic lp when avid fan, Steve Albini played it on a local radio show. References: Come On, The Fall, Styrenes, Electric Eels, Mirrors, Couch Flambeau. ***
From Wikipedia, the free encyclopedia
Tom Herman is a guitarist and composer.
He was a founding member of Pere Ubu, performing and recording with them from 1975 to 1979. He quit the group, then rejoined in 1995. One of his main reasons for leaving Pere Ubu (one among many) was that the band wasn't as interested in spending time on the road as he was. He left and, ironically, never got back on the road with a band until rejoining Pere Ubu in the nineties.
After leaving Ubu, Tom spent some time working on an oil rig in the south as well as playing bass in a hotel band. Eventually he started working as a mechanical technician, repairing equipment in hospitals and occasionally restaurants.
In 1980 or 1981 he moved to Erie, PA, where he started Tripod Jimmie with bassist Lenny Bove and drummer Roger Prehoda. The band was named after photographer friend Mick Mellen's three-legged dog and/or the tape deck mounted on a tripod that functioned as the fourth member of the band. The tape deck was used to play tape loops which the band would then play "with" rhythmically or "against" (where the loop served more as a textural element) depending upon the demands of a particular song.
While notably different from Pere Ubu, the two bands do have similarities. The band's music bore a relation to R&B, but in a unique sense. "... one of the things I was thinking about at the time was what it would be like if some alien was exposed to all relevant information about R&B except actually hearing it," as Tom put it. This thoughtful and conscious approach to the band as a project shows a similar sensibility to Ubu's.
Some time after recording the album Long Walk Off a Short Pier (which was in fact recorded on a pier), Tripod Jimmie moved from Erie, PA to Oakland, CA in the mid-eighties, swapping Roger Prehoda for Glenn Reynolds on drums. This lineup released the album A Warning to All Strangers. The band broke up in 1988 and Tom dropped out of actively playing music for a few years.
In 2003, Tom recorded an album called "Wait For It", which was issued by Return-to-Sender Records in 2004. Highlights include a cover of Blind Lemon Jefferson's "Jesus" and "Red Haired Girl".
In early 2005, Tom left Pere Ubu again. In August of 2006 he played on stage with Oakland rock band Ovipositor.
One critic has praised Herman's playing, describing it as "postmodern Chuck Berry riffing."
Tuesday, November 21, 2006
Morgen - 1969 - Morgen
(USA /ABC-Probe /1969)
Steve Morgen - g, vo
Bob Maiman - ds
Rennie Genossa - b
Barry Stock - g
01 Welcome To The Void 4:47
02 Of Dreams 5:38
03 Beggin' Your Pardon (Miss Joan) 4:49
04 Eternity In Between 5:07
05 Purple 4:12
06 She's The Nitetime 3:31
07 Love 10:54
total time: 39:00
Very little is known of the elusive group Morgen, who recorded a one-off album for ABC's psychedelic subsidiary Probe in 1969 and then apparently vanished. The group's namesake leader was Steve Morgen, and while some reference books actually credit the album to him solely, Morgen was indeed a group, consisting of Steve, Rennie Genossa, Bob Maiman, and Barry Stock, all of whom supposedly hailed from Long Island, New York.
Their album made no impact when originally released and has since become rare and sought-after, especially after dealers and collectors began declaring it a "psychedelic classic" in recent years. While the label "classic" might be a bit of a stretch, the album does certainly include a few very good tracks. "Welcome to the Void" is an effective opener that features some nice drumming and lead guitar work, as well as some suitably psychedelic, apocalyptic lyrics. "Of Dreams", probably the strongest song on the album, is a gorgeous, floating psychedelic excursion highlighted by a captivating, fey vocal and some more strong guitar and drum playing. An edited single version of "Of Dreams" was featured on Arf! Arf!'s excellent compilation Beyond the Calico Wall and offers a different mix of the song, but it decidedly sounds best here, in its five-and-a-half-minute, stereo incarnation. "Beggin' Your Pardon (Miss Joan)" had the potential to be a decent, slightly bluesy tune, but its plodding momentum and comparatively simple arrangement make it a bit of a sleeper, especially after the psychedelic splendor of "Of Dreams".
It's likely the album's weakest offering. "Eternity in Between" is more engaging, and it features some guitar work that sounds almost like a tribute to The Who's Pete Townshend, specifically, some chord changes borrowed from Tommy's "Underture", as well as the guitar pickup switch feedback sound that Townshend used liberally on signature Who tunes like "Anyway, Anyhow, Anywhere". "Purple" is a very nice song propelled by a good drumbeat and underscored by droning guitar leads. It's also perhaps the best showcase for Steve Morgen's soft vocals. "She's the Nitetime", a catchy tune with good musicianship all around and more nice vocal contributions from Steve, is another major highlight of the album. The eleven-minute closer "Love" sounds a little reminiscent of The Doors' "When the Music's Over" in its vocal phrases, and is narrowly rescued from tedium by a rather good guitar solo halfway through. Although Morgen's album might not be a 100%-excellent whole, it does include some very satisfactory ingredients.
For a short period in the early to mid 1990's, a collective of Swedish musicians decided to relive the past and create improvisational psychedelic rock music similar to the early 70's masters such as International Harvester and Algarnas Tradgard. Acts such as S.T. Mikael, Adam, Stefan and the Entheogens all recorded for the low budget label Xotic Mind. The primary difference between the modern day copiers and the 1970's masters is the one-dimensional nature of the recordings. This trait can be attributed to most of the albums being solo projects with only guest musicians.
One of the better bands on the label were The Word of Life, a band lead by Mans P. Mansson, a multi-instrumentalist who plays guitar, sitar, synthesizers, percussion and sings. He is joined by many guests, though most important is the fine flute work provided by Anna Nystom. On the debut, Further Ahead, Mansson manages a varied improvisational psychedelic album. Long burning jams such as "Space Fu?king" and "Can You Feel it - Flowing Free" are offset by calm flute and hand percussion ragas like "The Devil". What one notices in repeated listens is the need for an editor (a problem for many of these kind of solo ventures). Most of the jams meander on for too long and the inclusion of a couple of Earthy country-bumpkin vocal tracks with Louisiana-front-porch harmonica are in complete contrast to the hazy heady cosmic aspirations the album pretends to be. Still, the album works on many levels, most notably the trance-like jams, which can get quite intense. The guitar tone is super fuzz loud and the percussion is particularly active. Recommended for all Krautrock, space rock and early Swedish pioneer groups. The original LP contained a paste-on cover and is now quite rare. Better to find the CD on Satori.
The sophomore effort, Dust, is quite a bit different from the predecessor. More variety and less jam oriented, this album tries to please on a number of fronts. "When I Was in Space" opens promisingly enough with oscillator-emulated synth runs and heavy percussion. But, alas, this goes on too long and becomes redundant, and one wishes for the sage advice of a wily producer. The songs on this album have a sort of "retro lounge" naïve melody line motif which I find oddly appealing. No doubt there are plenty of sizzling guitar jams to bang your head to, just less of them than the ambitious debut. I find both of their albums to be good fun if you don't take them too seriously. And a few tracks are just devastating, especially on the debut
Furthur Ahead (XMLP-2 1992)
Dust (XMLP-10 1995)
Dust (SUB XMCD-2 1996)
Mans started out with the legendary Crimson Shadows, one of the now most celebrated groups of the mid-80s garage punk wave. Their records are now much sought after and are fetching high sums in the collector circuit. After that he started a Surf group, the Livingstones (pre-Daytonas) pre-dating the current surf trend by 10 years! Then moved in to psychedelic-hardrock territory with the group Zonk together with Stefan Kéry. He contributed to the trance-a-delic sounds of the Entheogens and ventured into innovative metal hard rock with Gone. He created the mind bending musical experience of the Word of Life, taking psychedelic festival trance rock in to the future. He recorded with Swedish indie group Friends and now spends most of his time with the Maggots.Review:
Trance-petaled Mushroom-Jams w/flute 'n fuzz,plenty o' athmo-soother perco rafting in early 70's german Kraut-boiler-manner..quite a trippy venture and the spellin of "furthur"is most notable!Psychedelic sleeve to boot,insert and totally home-made label-designs..from Sweden with love! – k-fox
"Furthur Ahead" personnel:
Måns Månsson: Vocals, Guitar, FX
Mats Ståhl: Bass, Maraccas
Daniel Ståhl: Electric Piano
Anna Nyström: Flute
Janne: Drums, Percussion
Recorded at the Sleeping Room and Lace Land studios, Sweden.
Måns Månsson: Vocals, Guitar, Synthesizers, FX, Percussion, Pump Organ, Marty‚s Bag, Sitar
Anna Nyström: Electric Piano, Hammond Organ, Vocoder, Vocals
Anders Paulsson: Bass
Adam Axelzon: Percussion
Stefan Kälfors: Drums, Percussion
Martin Rössel: Cello
posted by Lanchester
Monday, November 20, 2006
~ Jason Ankeny, All Music Guide
The group included future actor Cliff De Young on vocals and drummer Dallas Taylor (who had played previously with John Sebastian and later with Crosby, Stills and Nash). Rounding out the lineup were Robbie "the Werewolf" Robison, guitar (later replaced by Ralph Schuckett, organ); Bob Seal, guitar and vocals; occasional Doors sideman Doug Lubahn, bass; and Michael Ney, on, most unusually, another set of drums.
What has been considered the band's finest hour came when drunken customers in a Park Avenue club heckled them so brutally that Ralph Schuckett, the usually gentle organist, hurled a few choice words back at them. They then walked off the stage, retired to the Albert Hotel, and woke up in the morning to find that they had become underground heroes.
The album also included some of guitarist Bob Seal's best psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing." It had some success in England, but less in the U.S. The group disbanded in 1968.
Download Link :
Sunday, November 19, 2006
(eerie Canadian psych)
01 - Unchanged World - 3.36
02 - Seal A Beam Bow - 4.26
03 - Satanic - 2.02
04 - Winter Slutch - 4.06
05 - Strawberry Pain - 5.23
06 - Untruth Story - 5.58
07 - Freedom - 3.17.mp3
This heavy psychedelic quartet from Quebec,Canada recorded their only album in 1971. Among collectors it is loved as an early hardrock masterpiece with melancholic moments and intense songs. The lyrics describe drug experiences.
01. P. F. Sloan (Webb)
02. 115 Bar Joy (Baker)
04. Don't Ever Give Up Trying (Baker)
05. Country Road (Taylor)
06. Something To Say (Cocker)
07. Ain't Got A Lot Of Future (Baker)
08. Never Going Back (Stewart)
09. You, You, You Have (Baker)
10. Please Sing A Song For Us (Rafferty)
Personnel: (up to 1976)
KEN BAKER gtr, vcls, keyb'ds A B C
PAT MARTIN bs, vcls, mandolin A B C
TREVOR MEE gtr, vcls, flute A
PETER PERRIER drms, vcls A B C
KEVIN SMITH gtr B C
CHRIS PIDGEON keyb'ds C
ALBUMS: (up to 1976)
1(A) UPHILL ALL THE WAY (Transatlantic TRA 238) 1971
2(B) BLUE PINE TREES (Charisma CAS 1092) Aug. 1974
3(C) TOO MANY CROOKS (Harvest SHSP 4054) Mar. 1976
NB: (2) and (3) issued on Capitol in US, with (3) under a different title as Unicorn II. There was one further album One More Tomorrow (Harvest ) 1977, recorded with Howie Casey (sax) and Billy Livsey (keyb'ds).
Previously known as The Late, this was a pleasant country/folk band, who gradually became rockier and perhaps less interesting as a result. The Going Home 45 was a private pressing. The first Big T 45, P.F. Sloan, was a tribute to the American songwriter and, like flip side, is excellent. Dave Gilmour (of Pink Floyd) played on some of their albums and produced some of their material. Ferrier later went on to Co-Co and Smith later played in Thumbs.
Athens - GR, Friday 24 November 2006
@ UNDERWORLD club Themistokleous & 5, Gamveta str. (tel.: +30 210 3840965)
Belle Vue in action again! After the “Weekender” of 2006 and the second edition of “The Athenaeum Cave” a brand new club is ‘blooming’, the “Modernground Express”. In its first appearance, in collaboration with Milano Mods, on 24th of November at Underworld club (Themistokleous & 5, Gamveta str. Athens - GR) and on 25th of November at B Live club in Larissa, we proudly present, two bands from our neighboring Italy that have left indelible their traces in the RnR way. The Sick Rose from Turin with more than twenty years in the limelight and The Cavemen from Ravenna for the first time in Greece accompanied with the natives, The Sound Explosion! So many things to say for them!
It was somewhere in the 1984 when, Luca Re and his band for the first time touched the instruments and went up on stage! From the release of their first e.p. “Get Along Girl!” on Electric Eye rec. in 1986 up to our days and the release of “Blasting Out” on Teen Sound rec. with Australian producer Dom Mariani, many years passed, many things have changed (maybe some of them a little bit), but still remains an authentic RnR group, with constant values and principals. When The Sick Rose made their debut in Italy their sound was not familiar to the local music statement. Genuine representatives of sixties American garage scene, without losing their Italian character during the time, thanks to the accent of their leader Luca Re. That season were two superior bands, according to Timothy Gassen’s book “Knights of Fuzz 1980-1995”: The Chesterfield Kings and The Sick Rose!
On the same stage, The Cavemen, intellectual children of Massimo del Pozzo with the well known in our days “Teen Sound”, mixing with their genius way, the sounds of garage punk groups of the other side of Atlantic ocean with the European RnB and Italian beat of the '60s decade!
Also the same night, the Greeks “The Sound Explosion”, almost fifteen years in action with many appearances in n’ out of the borders, need no introduction as they cause delirium to every garage maniac!
The concert follows an all night party with Belle Vue d.j.s behind the decks and special guest, Henry from Milano Mods playing the sounds of the sixties underground on the original labels & hard to find 45’s!
Enjoy the ride in “Modernground Express” by booking your tickets on time, in the limited number of 500 tickets and watch when shadows fall!
The Sick Rose
Get Along Girl (7'') 1986
01 Get Along Girl
02 The Big Sound Goes Down
03 I Want Love
Other Faces -1986
01 Searching For
02 It's a Mystery
03 Nothing to Say
04 Night Comes Falling Down
05 I Don't Care-She Doesn't Care
06 I'm Not Trying to Hurt You
07 Everybody Wants to Know
08 You've Got My Mind
09 About You
10 Black or White
11 Can You Find Me a Place
12 What You Are-Bad Girl
13 Every Night a New Suprise
14 Get Along Girl
15 Big Sound Goes Down
16 Don't Come With Me
The Sound Explosion
Teen Trash 14 [LP] 1994
01- "Inspector Clouseau In Outter Limits" y "State Of My Mind"
02- Send A Message
03- She's One Of A Kind
04- Hopeless Endless Way
05- Don't Turn Away
06- Lost In Tyme
08- It's For You
09- My Baby Went Away With The Midnight Train
10- The Last November
11- In The Past
12- We're The Sound Explosion
Hangover Baby [7''] 1993
01 - Hangover Baby
02 - Some Other Guy
I'll Shake the Universe [7''] 1994
01 - I'll Shake The Universe
02 - Why Can't You See
Another Lie [7''] 1996
01 - Another Lie
02 - Misirlou The Greek
The Last Recordings [7''] 2000
01 - The S.EX. In Outer Limits
02 - You'd Better Shake Eight Now!
03 - Watch Yourself
04 - She's Sorry
All the above Sound Explosion Singles you could get them in a single folder:
Friday, November 17, 2006
Pussy - 1969 - Pussy plays
1969 Morgan Blue Town BT 5002
1. Come Back June (3:59)
2. All Of My Life (4:08)
3. We Built The Sun (5:00)
4. Comets (4:16)
5. Tragedy In F Minor (5:02)
6. The Open Ground (3:35)
7. Everybody's Song (4:20)
8. G.E.A.B. (5:28)Total 35:37
produced and arranged by Danny Beckerman
Steve Townsend - drums
Barry Clark – guitars
Peter whiteman – keyboards
Dek Boyce – vocals
Jez Turner - bass
One of the rarest albums of the entire British prog-rock scene, Pussy's Plays is undoubtedly also one of the most obscure and beautiful. Their line up has always been a mystery as they never revealed their identity. (I finally found it)
A must for keyboard lovers and psych- prog fans.
“All of my life” is one of my favorite songs of the psych – prog area.
This band was originally known as Fortes Mentum. Their album is one of the very best of the British progressive rock ultra-rarities. A five-piece band, whose complete personnel remain unknown. The album's a real gem. It kicks off with Come Back June, a keyboard-driven rock number, which is followed by one of their finest, All Of My Life. With its unusual, melodramatic vocals and fine keyboard arrangements it's well worth getting to hear. In contrast, one of the album's other nuggets, We Built The Sun, is characterised by some lovely melodic guitar work and eerie harmonies. The other highlight is The Open Ground, which is again unusual and quite trippy with partly spoken lyrics. Comets is a maze of cosmic theramin-filled sound effects and there are also some instrumental cuts (Tragedy In F. Minor (which features a nice mellotron intro.) and G.E.A.B.) which aren't so good. If progressive rock's your scene, this is definitely an album to check out
(Vernon Joynson – The Tapestry of Delights)
At last, an official version of this mega rare late '60s UK psych with an early Floyd/Caravan/Arzachel feel. Excellent freaky, fuzz n' wah-wah guitar with swirling keyboards and a classic '60s production loaded with all of the studio effects of the era. A bit of a gem....
(The Freak Emporium)
This album is one the 100 greatest psychedelic records according to Record Collector Magazine 2005 special edition
Next to come : Italian Prog masters