Wednesday, November 08, 2006
Nick Castro - Voice, Piano, Organ, Guitar, Mijwiz, Whistles
The Poison Tree:
Otto Hauser - Percussion, Dumbek, Trap-Kit
Helena Espvall - Flute, Cello, Percussion
Chris Smith - Bass
Adam Hershberger - Flugelhorn
Meg Baird - Lap Dulcimer on "Sun Song"
Josephine Foster - Voices on "Sun Song"
01 Sun Song (4:09)
02 To This Earth (3:29)
03 Unborn Child (3:40)
04 Won't You Sing To Me (4:26)
05 Waltz for a Little Bird (4:18)
06 Guilford (5:13)
07 Music for Mijwiz (2:42)
08 Deep Deep Sea (8:09)
09 Walk Like a Whisper (4:29)
Beaming warmly from the underground enclaves of Los Angeles, CA like a lambent ray of soft sunlight, the music of Nick Castro is breathing fresh life and pristine wonderment into an old sound. Castro released a beguiling album called A Spy in the House of God in 2004 on his own imprint Records of Ghaud, and it caused quite a stir in the new acid folk circles. Imagine a melding of More-era Pink Floyd, Syd Barrett solo and a touch of Incredible String Band with modern fractured folk sound weavers like the Tower Recordings and maybe you are in the right sphere. For his follow up, Castro has assembled a cast of players calling themselves The Poison Tree, boasting amongst its ranks underground folk icons Josephine Foster and members of Espers. It is a heavenly match as evidenced on Further From Grace, a simply mystical sophomore effort illustrating with a feathery wallop that Castro is a major voice amongst the new insurgence of THC troubadours.
Further From Grace bewitches with an intoxicating mood sustained throughout. Instrumentation is lush and exotic, but in the hands of Nick Castro and The Poison Tree, otherwise disparate implements such as flugelhorn, lap dulcimer and mijwiz are deftly melded into a pan-cultural elixir comprised of American and British folk traditions, classical balladry and Middle Eastern. Masterful songwriting, ornamented by Castro's ardent vocals and dreamlike lyrics, are relieved by hypnotic and utterly stoned instrumental passages. Opening with "Sun Song", ripe with visions of Castro's native California as filtered through a heavy-lidded hashish haze, Further From Grace weaves along through song after striking song, melody after beautiful melody. Instrumental excursions like "Music for Mijiwiz" kick up acoustic mini-ragas along the way, until the whole journey cascades into the shimmering, hum-along outro of "Walk Like a Whisper".
Induced by flourishes of psychedelic 60's folk bards like Tom Rapp (Pearls Before Swine) and Bert Jansch, laced with flashes of Amon Düül-like acoustic communal atmosphere (circa Paradieswärts Düül), Further From Grace is a graceful tab of Nick Castro's own heady universe, an acid-folk masterpiece advancing today's sound into sparkling new frontiers.
Greece's garage band, that's gonna blow your mind out out with their fuzzy guitar sound, backed uo by gorgeous organ and dynamic vocals. Straight from the past, straight from the heart.
The Yesterday's Thoughts were formed in September of 1997. They started playing covers of their favorite 60s garage/punk standards, but soon they began composing their own songs. 4 such original tracks are featured in the band's debut 7inch EP, released by Action Records. During the recording sessions their bass player was Stelios Adamoudas, who left the band right afterwards and was replaced by Lefteris Galanis.
The Yesterday's Thoughts drag their inspiration from the 60s garage/punk and psychedelic scene, and that's the feeling of their debut EP.
TITLE: "Searching in Shadows"
Limited Edition of 1000 copies
After their EP (1999 - Girl You're Gonna To Cry) before 2 years this is their first full LP. The band keeps their spirit with haunting vocals and wild organ. They welcome you at their Garageland.
1/ Zind (2: 18)
2/ Back to Heldon (8: 31)
3/ Northernland Lady (6:57)
4/ Ouais Marchais mieux qu'en 68 (Le voyageur) (4: 22)
5/ Circulus Vitiosus (8: 43)
6/ Ballade pour Puig Antich (révolutionnaire assassiné en Espagne) (2: 19)
Richard Pinhas: AKS synth, 1957 Gibson Les Paul guitar
Alain Renaud: guitar (3)
George Grunblatt: VCS3 synth (4)
Patrick Gauthier: piano and VCS3 synth (4)
Coco Roussel: drums (4)
Pierrot Roussel: guitar bass (4)
Gilles Deleuze: voice (4)
Heldon - 1975 - It's always Rock and Roll
1/ ICS Machnique (4: 11)
2/ Cotes de cachalot à la psylocybine (8: 35)
3/ Méchamment rock (3: 33)
4/ Cocaine Blues (9: 42)
5/ Aurore (18: 13)
6/ Virgin Swedish Blues (7:27)
7/ Ocean Boogi (5: 53)
8/ Zind Destruction (8: 22)
9/ Doctor Bloodmoney (16: 49)
Richard Pinhas: ARP & VCS3 synthé, guitars, bass, tapes, mellotron
George Grunblatt: mellotron, guitars (2 & 7)
Patrick Gauthier: ARP synth (9)
Gilbert Artman: drums (3)
Jean My Truong: drums (9)
Ariel Kalma: indian harmonium (5)
Between 1974 and 1982, Frenchman Richard Pinhas recorded at least twelve LPs either under the Heldon name or his own, alternating between guitars and keyboards himself and accompanied by a variety of associates on guitars, drums and analog synthesizers. This double CD reissue includes Heldon's very first release, Electronique Guerrilla, and their third, It's Always Rock 'n' Roll (itself a double LP originally). These releases are sometimes referred to as Heldon I and Heldon III (Heldon II, otherwise known as Allez Teia, was recorded earlier in 1975). In spite of the rather aggressive album titles, these early recordings are mellow to the point of ambient, and inscrutably (or perversely), there's very little music in the entire program which would be considered rock & roll by any stretch of the imagination. (Very unobtrusive drums appear only on several of the later tracks on the Rock 'n' Roll reissue.) Most musical biographies of Heldon/Pinhas speak of the Eno/Fripp influence, and indeed, Pinhas encouraged the connection in early interviews by referring to the two English musicians in terms bordering on hero worship. But Pinhas is too modest. Much of the better-known electronic trance music that Pinhas and Heldon seem to be imitating, e.g., early Tangerine Dream, Soft Machine, Fripp and Eno, etc., actually comes after these early Heldon recordings -- or is occurring at roughly the same time. Aside from Fripp/Eno's No Pussyfooting, only the first edition of Fripp's King Crimson band could be considered as an obvious influence, but Pinhas doesn't use vocalists, and seldom demonstrates any delusions of prog-rock grandeur on these releases. If Pinhas is paying homage to Fripp on these recordings, then he is also extending Fripp as well, with the wailing sustain of Pinhas' heavily processed guitar gliding over the top of a number of looped and sequenced synthesizer patterns to good effect. By later standards, the electronic equipment used by Heldon is almost laughably antique, and the concepts may also seem simple and predictable to a more sophisticated audience. Nonetheless, there is a purity and conviction to this music, and a dark, slightly sinister element perhaps best exemplified in the long "Dr. Bloodmoney," a title inspired by the great sci-fi writer Philip K. Dick. Like Dick, Pinhas has a talent for messing with your head, and combines overlapping patterns in such a way that time itself sometimes seems suspended. ~ William Tilland, All Music Guide
Led by guitarist Richard Pinhas, the French group Heldon released seven groundbreaking albums, melding electronic and rock forms, from 1974 to 1978. Pinhas also recorded six albums under his own name. Pinhas was heavily influenced by Robert Fripp; this shows in his guitar playing, and in the titles of several of his compositions. While early LPs sometimes evoked the sound of Fripp and Eno, Heldon evolved in its own direction. The release of Heldon IV: Agneta Nilsson saw the group heading toward a more intense, menacing sound. Heldon V: Un Reve Sans Consequence Speciale was the first to feature the "classic" lineup of Pinhas, drummer Francois Auger, and keyboard player Patrick Gauthier. These three would be the key personnel on Heldon's last four albums. The entire Pinhas/Heldon catalog was reissued on CD by Cuneiform, several featuring bonus live tracks. ~ Jim Dorsch, All Music Guide
01. WHEN YOU SAY YOU'RE SORRY (Gerber)
02. SAME OLD WAY (Finley)
03. APRICOT BRANDY (Weis/Fonfara)
04. THAT TIME OF THE YEAR (Gerber)
05. YOU’RE MY GIRL (I Don’t Want To Discuss It) (Cooper/Beatty/Shelby)
06. I NEED LOVE (Williams)
07. I'VE BEEN THERE (Gerber/Finley)
08. BELBUEKUS (Weis/Finley)
09. ALONG COMES TOMORROW (Gerber)
10. I WILL SERENDADE YOU (Finley)
Produced By PAUL A. ROTHCHILD
JOHN FINLEY – Vocals
ALAN GERBER – Vocals.Piano
DANNY WEIS – Guitar, Piano
DOUG HASTINGS – guitar
MICHAEL FONFARA – Organ, Piano
JERRY PENROD – Bass
BILLY MUNDI – Drums, Percussion
Rhinoceros: Story Albums Discography
Reissue 45s: 14 Eloise/Love Only Comes Tomorrow (Polydor 2001 630) 1976 - 15 Eloise/(Flip by different artist) (Old Gold OG 9440) 1984 -
Barry Ryan Sings Paul Ryan:
01 Theme To Eutopia
02 Why Do You Cry My Love
03 The Colour Of My Love
04 Crazy Days
06 My Mama
07 I Will Bring You Love
08 Love Is On The Way
09 What's That Sleeping In My Bed?
10 You Don't Know What You're Doing
11 Kristan Astra Bella
12 The Hunt
13 Sunday Theme
14 Swallow Fly Away
15 Sunrise In The Morning
16 Isn't That Wild
17 Man Alive
18 Makin' Eyes
19 No Living Without Her Love
20 Sea Of Tranquillity
21 See You
22 Feeling Unwell
23 Where Have You Been?
24 Look To The Right, Look To The Left
25 Oh For The Love Of Me
Cheers! PT1 PT2
This Album it's not available for Downloading,
But you can Buy it here :
Reason : At Comments
Sunday, November 05, 2006
NB: (1) reissued in 1971 (Smash SRS-67107, group photo cover), (2) also issued in Holland (Philips 6369107) 1971. (2) reissued in 1974 (Shelter 2120), 1976 (Shelter 52010) and 1979 (MCA 684).
45s: 1 Soul Food/Welcome To Hollywood (Smash 2188) 1968 2 Indian Style/Icicle Star Tree (Smash 2204) 1969 3 Straight Brother/Tryin' To Stay Alive (Shelter 7313) 1971
A Los Angeles-based venture, which for Russell and Benno represented a largely unsuccessful journey into psychedelia. After a first single as Le Cirque, their debut album was released. This sold badly, partly because the cover featured a toilet roll, but mainly because the music was quite patchy. A mix of pop, R&B and psych, with arrangements (especially on the second side). Smash later reissued it with a group cover. Benno and Russell wrote all the songs, with the assistance of Greg Dempsey (Daughters Of Albion), Bill Boatman, Jerry Riopelle and the mysterious Markham and Wilson, who may have played on the backing group.
Although the second album was recorded in April 1969, Mercury did not release it on their Smash subsidiary and Russell bought the tapes to release it on his own Shelter label two years later. It's bluesier than the debut and contains some good songs (notably an anti Vietnam song Ballad To A Brother).
Russell and Benno's involvement is the main reason why collectors seek out these albums.
Born in 1947 in Dallas, Benno would later play with The Doors (on L.A. Woman), Rita Coolidge and Rick Roberts. He also released three excellent albums on A&M between 1970 and 1972, recorded with Ry Cooder, Jesse Ed Davis and Clarence White. Afterwards he disappeared only to return in 1979 with Lost In Austin (with Eric Clapton). In the nineties, he has recorded two good texas blues albums.
(Vernon Joynson/Stephane Rebeschini)
Welcome to Hollywood
Episode Containing 3 Songs: N.Y. Op. Land of Dog Mr. Henri the Clown Thieves in the Choir
Ron Morgan now became more or less an unofficial member of the band. The back-cover picture shows front: Shaun Harris (bass), middle: Bob Markley (percussion) and top: Ron Morgan (lead guitar, electric sitar).Danny Harris involvement with this album was minimal or non-existent.
Download Link :
Costas Constantinou: Electric & acoustic guitars, E–Bow guitar, Lead & backing vocals, Cymbal, effects
Vasilis Kapanikis: Organ, Mellotron, Synthesizer, Flute, and S &T Recorders
Andreas Andriopoulos: Bass guitar
Chris Triantaphilopoulos: Drums & percussion
Stavros Eleftheriou: Congas, Jug & assorted percussion
Stelios Drisis: Sitar
Aris Christou: Backing vocals & effects
ALBUM TRACKS :
01. (It’s a) FORTUNE TELLER 12.00
02. GONNA BE TOMORROW, TODAY 4.55
03. NOBODY THERE 8.04
04. HER ARMS EMBRACED THE SUN 8.11
05. FADING SOUND OF LOST THOUGHTS 3.22
06. THE DRONE 1.29
07. LONG WAY DOWN 3.06
08. THE FLIGHT (Part 1) 2.22
09. THE FLIGHT (Part 2) 3.16
10. REBORN 5.00
From a rural village in Worcestershire, England, brothers Simon (vocals) and Justin Jones (guitar) formed And Also the Trees in 1979 with bassist Steven Burrows and drummer Nick Havas. In response to an ad by the Cure looking for support bands on their English tour, the Jones brothers sent a tape and ended up doing several dates and later an entire tour with Robert Smith and co. in 1981. And Also the Trees still hadn't released any material at that point, so the Cure's Lol Tolhurst produced a single ("Shantell") and the band's eponymous debut album, released in February of 1984. Tolhurst's work made the Cure an easy pointer for And Also the Trees' sound, though the fragile beauty of Joy Division and the Chameleons also lend comparisons. The band contributed a session to John Peel's BBC radio show, and Continental critics lavished praise on subsequent albums Virus Meadow (1986), The Millpond Years (1988) and the live LP The Evening of the 24th (released 1987). The notoriously fickle U.K. music press, however, deserted the waning Goth fad and the group was left drifting. Farewell to the Shade, released in 1989, was And Also the Trees' final British release, as well as the only album available in America (on Troy Records). The group moved to the German label Normal for 1992's Green Is the Sea and The Klaxon, released the following year. The Evening Of The 24th Recorded at a Swiss gig for the Virus Meadow tour, Evening captures the Trees in their early prime, with their theatrical/Romantic with a capital R art goth style running at full blast. Simon Jones sings at points like his breath is being ripped from his body, as the band demonstrates solid abilities at being able to create lush musical tapestries as much as full-bodied but elegant thrashers. Justin Jones' ability to flesh out the live sound on his guitar proves especially compelling, using what must have been a fair amount of effects pedals to reproduce the Trees' trademark sonic touches, often sounding like a mandolin producing amped-up folk for a electric post-punk world. Opener "A Room Lives in Lucy" sets the initial tone perfectly, with an especially impassioned vocal from Simon Jones, and the band never lets up throughout, to the cheers of an understandably enthralled crowd. Songs like "Wallpaper Dying" and an especially intense take on "Slow Pulse Boy" sound just fantastic, practically miniature Grand Guignol dramas; early tunes like the debut single "Shantell" have an even more concentrated power live than the sometimes murky studio production allowed. Wrapping up with frazzled, live-wire versions of "So This is Silence" and an thoroughly ominous take on "The Renegade," Evening is that rare live album worth its salt !
Friday, November 03, 2006
The Meanie Geanies - 1998 - I'm On My Way [single7'']
01 I'm On My Way
02 You Left Me Blue
The Meanie Geanies - Live [02-02-2004]
01 Won't Be By Your Side
02 Every Night
03 Love Has No Tyme
04 Anglo Girl Desire
The Meanie Geanies , the only New Greek 60's garage girl band, were formed in the Spring of 1996, in Athens/Greece, by girls that shared the same love for the mid 60s spirit, music, styles, movies and philosophy. They got their name from Tony Brook's and The Breakers song named “Meanie Geanie”, when they listen to it played as a cover from their favourite band The Sound Explosion.
A female 60's Garage - Punk band was the dream and Meanie Geanies is the dream came true. Their music was a mixture from the innocent and primitive 60's Garage!!! Back From The Grave style, row surf and moody 60's punk.
The band's sound was the… purest possible, using equipment and recording techniques straight from the 60's. .
Meanie Geanies performed in several live shows with bands like Cardinals , Walking Screams and Outtasites . At the end of 1998, after some necessary changes in formation , they recorded their first 7” 45 rpm single for Action Recs (I'm On My Way / You Left Me Blue ) and in 1999 they stopped playing together . After that , the singer and the Farfisa player made another band ( Six Tin Trash) and the bassist formed the Teardrops. In spring of 2002 they met again (!) deciding to reform M eanie Geanies.
Since then they have performed in several live shows with many international bands like Fuzztones , Electralane , Sky Saxon & The Seeds as well as with main Greek bands like Sound Explosion , Frantic V , Psykicks , Teardrops in the greatest live spaces ( Gagarin , Mylos, An Club… ) and festivals ( Garage Festival , Vavel Comics Festival , Indie Free Festival ...). In the last three years they have visited several cities all over Greece for performing ( Thessaloniki , Komotini, Florina, Agrinio, Kalamata …).
In July 2005, they recorded their first LP ( Bloody Date ), that would be released in late 2006 . Recently they recorded a live bootleg in order to present their favorite covers . The title of this release could not be other than … Cover Ups !.
Their sound is more wild and primitive than ever before, full of swirling farfisa sound, tons of fuzz, pounding drums, screams and tambourines!
The Meanie Geanies are :
Mary Jane : Vocals, screams, tambourine
Eve deVille : swirling Farfisa organ
Angel LoVerde : fuzz Guitar, backing vocals
Nandia Insane : Bass, backing vocals
Rigo Starr : pounding Drums
Thursday, November 02, 2006
Review:This album is quite a concept. I guess you really have to be a professor to write such lyrics and know so much about "the voyage of the soul" and the afterlife. Musically, this record reminds me of early Black Widow stuff, but with some exceptions. The voice of the singer sounds more sinister and pissed off, or evil for that matter, on this record. The voice is sung double on the tracks "Evil Woman's Manly Child" and "Burn In Anger". By double I mean one ordinary voice and one whispering one. The whispering one is quite creepy. Also, the music is of course very harpsichord dominated (since no guitar is used), and that gives this band their own sound in a way. There are actually some flute (may be a keyboard-flute) on the song "Burn In Anger", which is quite a nice touch. The song "Spiritus, Manes Et Umbra" has a cool intro, with a choir (echo) voice singing "Spiritus, Manes Et Umbra" over and over again. Later the track falls apart by a long, uninteresting drumming part, like a drum solo that goes on for 5 minutes...it is far from the best part of this album. The best part is saved to the last track, "In A Token Of Despair", which is a pretty, calm and peaceful song. It also includes some choir parts where the soft choir (echo) sings "Dies Irae, Dies Illa" - my favorite part of the album. Very beautiful.... In all I would recommend this album if you like what you've read here, might be interesting to give it a listen. B. E. Eide
God of Light Revisited (Parts One, Two and Three)
Off The Map
Keeping Warm In Winter
Sweet Heart Of Mine
GLOBAL VILLAGE TRUCKING CO.
Look Into Me
Earl Stonham (The Gunslinger)
You're A Floozy Madame Karma (But I Love Your Lowdown Ways)
Everybody Needs A Good Friend
General Flash Of The United Hallucinations
Floating Anarchy (Part 32)
Ripped By @rcadium @320kbps from cd.
ROBERT PARKER JAMES aka CHRIS LUCEY/BOBBY JAMESON hrmnca, vcls A
1(A) SONGS OF PROTEST AND ANTI-PROTEST (Surrey SS 1027) c1965/6
NB: Mono and stereo versions exist. There were also two different label colors: red and purple, red being the somewhat rarer one and the purple label crediting "Chris Ducey". Mint copies can fetch upwards to $150-300. (1) also issued in the UK as by Bobby Jameson, but entitled Too Many Mornings. Also issued in Canada, some copies say "Chris Lucey" on cover and labels, some say "Chris Ducey" on cover and labels!
Robert Parker James was born in Tucson, Arizona but took the pseudonym Bob Jameson and was most likely based in California. In the US, this album was released under the alternative pseudonym Chris Lucey, but in the U.K. it was released as Too Many Mornings as by Bob Jameson. Produced by ex-surfer Marshall Lieb and issued in the U.S. on the same budget label as The Leaves debut, no info is given on the cover other than the picture of a Byrd look-alike with his mouthharp(*). The album also includes an excellent version of Girl From The East similarly featured on the Leaves album.
The music is laidback folk/rock with echoes of Byrds, Tim Buckley, Steve Noonan and Lovin' Spoonful. Many of the songs feature charming guitar parts, dreamy arrangements, jazzy even Lee Underwood-ish backing. Some of the highlights are I'll Remember Them and Girl From Vernon Mountain, both of which are excellent introspective pieces. Most of the album is filled with a haunting atmosphere and all the tracks are originals.
Collectors may wish to note that the Mono copies differ considerably to the Stereo ones.
Surrey was a sort-of subsidiary label of VeeJay operated by their West Coast promo team, led by Randy Wood and Steve Clark (the link between BJ and Boettcher). They cut Hoyt Axton and various others on the budding folk-rock club scene in L.A. According to Axton, he went over to the office one day, and everything was gone, even the desks and chairs!
Jameson's records were promoted by Tony Alamo, who also worked with many other artists and John and Bobby Kennedy. L.A. musician Denny Bruce recalls: "To introduce Bobby Jameson to the 'industry' Tony Alamo took out a 7-page fold out ad (four color in Billboard) that showed Bobby standing on top of a limo somewhere on the Pacific Coast Highway. With the ocean in the background, so he was not lit, you just saw this guy with a cowboy hat, with his staff next to the limo: very much like the Village People- wearing the very obvious uniforms of their jobs: chef, nurse, barber, bodyguard, driver, etc. There were at least 10 of them. Tony arranged for Bobby to be the opening act for another new act that had signed to Atlantic and were getting a buzz. The showcase was to be at lunch time, so with food being served, everyone came. The act was Caesar and Cleo, wearing togas with olive wreaths in their hair. They of course, became Sonny and Cher. They went on first. Needless to say, when Tony took the mike and had Bobby backlit, behind some see-through screen and was saying "Ladies and gentlemen, here's an act that can act as well as James Dean, sell as many records as the Beatles, on and on, everybody got up and started walking out while a four-track demo was playing, with Bobby is lip-synching to an almost empty house."
NB: (*) This picture, according to Denny Bruce, was actually a photograph of Brian Jones, pictured at a Hollywood club called 'The Action'.
(Claus Frisenberg Povlsen/John Paul Jones/Michael Johnson/Joe Foster)
01 That's The Way This World Has Got To Be
02 I'll Remember Them
03 Girl From Vernon Mountain
04 I Got The Blues
06 That's The Way This World Has Got To Be (Part Two)
07 With Pity, It's Too Late
08 You Came, You Saw, But You Didn't Conquer Me
09 Girl From The East
10 Don't Come Looking
Bonus tracks never before released:
11 Metro Man
12 There's a War Going On
13 Insecure Little Person
14 World War 3
Wednesday, November 01, 2006
Chalk Farm, The Roundhouse, London
13th February 1972
Martin Ace--Bass guitar, Vocals
Michael Jones--Guitar, Vocals
Roger Leonard--Guitar, Vocals
ANDY DUNKLEY (Speech Only)
It's Just My Way of Saying Thank You
I'm Ahead If I Can Quit While I'm Behind
Surrender To the Rhythm
Bob Andrews Keyboards, Vocals
Billy Rankin Drums
Nick Lowe Bass, Vocals
Brinsley Schwarz Guitar, Vocals
Ian Gomm Guitar, Vocals
Music Belongs to the People
Master of the Universe
Born to Go
Bob Calvert: vocals
Dave Brock: guitar, vocals
Lemmy: bass guitar, vocals
Nik Turner: saxophone, vocals
Dik Mik: audio generator, electronics
Del Dettmar: synthesisers
Simon King: drums
Stacia: mime & dance
Get It Here !!!