Monday 21 April 2008

December 2007 pt.2

Sunday, December 30, 2007

V.A. - Love Is The Song We Sing: San Francisco Nuggets 1965-1970

Love Is The Song We Sing: San Francisco Nuggets 1965-1970

Released in commemoration of the 40th anniversary of the Summer of Love, the four-CD San Francisco Nuggets set gives an unprecedented look at the music scene that changed America. Featuring legends such as Jefferson Airplane, Sly Stone, and Santana alongside local hits from the fertile garage-rock underground, it's an ideal reminder for those who were there and a proper introduction to those who wish they were.

It wasn't all peace, love, and drugs that made San Francisco the fulcrum of the burgeoning hippie scene in the mid '60s. According to this sprawling 77-track, four-disc set — the third in Rhino's ongoing Nuggets series — it was the music that nurtured and helped create Haight-Ashbury. This expansive package succeeds in presenting the disparate acts involved in that cultural revolution through a detailed aural exploration. Sure, the usual suspects like the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, and Janis Joplin are here, but it's the obscurities and oddities — some never previously available and many more extremely difficult to find — that provide intimate glimpses into the crevices, building blocks, and influences of what was later dubbed the "San Francisco Sound." The platters are broken down into rough category/chronological groupings, with disc three focusing on 1967, the Summer of Love whose 40th anniversary this box's release celebrates. Even there, acts such as the Ace of Cups, the Mystery Trend, and the Loading Zone fly way below the radar. There's lots to absorb, even for genre enthusiasts, but compiler Alex Palao's extensive, track-specific liner notes provide concise yet vital contextual background to guide the listener through a wildly diverse landscape that runs from the British Invasion-styled pop of the Beau Brummels and the soft folk of the Youngbloods to the furious garage psychedelia of the Count Five and the eardrum-bursting, proto-metal power rock of Blue Cheer. — Hal Horowitz

Disc 1: Seismic Rumbles
1. Dino Valenti - "Let's Get Together"
2. Country Joe & The Fish - "I Feel Like I'm Fixin' To Die" (EP Version)
3. We Five - "You Were On My Mind"
4. The Charlatans - "Number One"
5. The Warlocks - "Can't Come Down"
6. The Beau Brummels - "Don't Talk To Strangers"
7. The Vejtables - "Anything"
8. Jefferson Airplane - "It's No Secret"
9. The Mystery Trend - "Johnny Was A Good Boy"
10. The Great! Society - "Free Advice"
11. The Grass Roots - "Mr Jones (A Ballad Of A Thin Man)"
12. Blackburn & Snow - "Stranger In A Strange Land"
13. Quicksilver Messenger Service - "Who Do You Love" (Demo Version)
14. The Mojo Men - "She's My Baby"
15. The Wildflower - "Coffee Cup"
16. The Family Tree - "Live Your Own Life"
17. The Sons Of Champlin - "Fat City"
18. The Frantics - "Human Monkey"
19. The Tikis - "Bye Bye Bye" (Warner Bros. Single Version)
20. Country Joe & The Fish - "Section 43"
21. The Sopwith "Camel" - "Hello Hello

@320 part 1 - part 2

Disc 2: Suburbia
1. Count Five - "Psychotic Reaction"
2. The Front Line - "Got Love"
3. The Mourning Reign - "Satisfaction Guaranteed"
4. The Oxford Circle - "Foolish Woman"
5. The Stained Glass - "My Buddy Sin"
6. The Otherside - "Streetcar"
7. Teddy & His Patches - "Suzy Creamcheese"
8. The Immediate Family - "Rubiyat"
9. Syndicate Of Sound - "Rumors"
10. The Harbinger Complex - "Sometimes I Wonder"
11. The New Breed - "Want Ad Reader"
12. The Generation - "I'm A Good Woman"
13. The Chocolate Watchband - "No Way Out"
14. Butch Engle & The Styx - "Hey I'm Lost"
15. People - "I Love You"
16. Public Nuisance - "America"
17. Country Weather - "Fly To New York"
18. The Savage Resurrection - "Thing In 'E'"
19. Frumious Bandersnatch - "Hearts To Cry"

@320 Part 1 - Part 2

Disc 3: Summer Of Love
1. The Charlatans - "Alabama Bound"
2. The Mystery Trend - "Carl Street"
3. The Great! Society - "Somebody To Love" (LP Version)
4. Country Joe & The Fish - "Superbird"
5. The Beau Brummels - "Two Days 'Til Tomorrow"
6. Moby Grape - "Omaha"
7. The Serpent Power - "Up & Down"
8. Grateful Dead - "The Golden Road (To Unlimited Devotion)"
9. Quicksilver Messenger Service - "Codine"
10. Big Brother & The Holding Company - "Down On Me" (Live)
11. Salvation - "Think Twice"
12. Jefferson Airplane - "White Rabbit"
13. Steve Miller Band - "Roll With It"
14. Notes From The Underground - "Why Did You Put Me On"
15. Sly & The Family Stone - "Underdog"
16. Blue Cheer - "Summertime Blues"
17. The Ace Of Cups - "Glue"
18. Santana - "Soul Sacrifice"
19. The Loading Zone - "The Bells"

@320 Part 1 - Part 2

Disc 4: "The Man Can't Bust Our Music"
1. Santana - "Evil Ways"
2. Fifty Foot Hose - "Red The Sign Post"
3. Kak - "Lemonaide Kid"
4. The Sons Of Champlin - "1982-A"
5. Dan Hicks & His Hot Licks - "How Can I Miss You When You Won't Go Away"
6. Mad River - "Amphetamine Gazelle"
7. The Steve Miller Band - "Quicksilver Girl"
8. Mother Earth - "Revolution"
9. Moby Grape - "Murder In My Heart For The Judge"
10. Quicksilver Messenger Service - "Light Your Windows"
11. Flamin' Groovies - "I'm Drowning"
12. Seatrain - "Portrait Of The Artist As A Young Lady"
13. It's A Beautiful Day - "White Bird"
14. Grateful Dead - "Dark Star" (Single Version)
15. Blue Cheer - "Fool" (Single Version)
16. Jefferson Airplane - "Mexico"
17. Janis Joplin - "Mercedes Benz"
18. The Youngbloods - "Get Together"

@320 Part 1 - Part 2

Enjoy and Happy New Year Everybody!

Quintessence - 1970 - Quintessence

Quintessence - Quintessence ( UK Island Rec. 1970)

Quintessence The fifth essence. The ancient Greeks said there are four elements or forms in which matter can exist- fire, or the imponderable form; air, or the gaseous form; water, or the liquid form; and earth, or the solid form....
(Details Here)

by Richie Unterberger
While Quintessence's second album had a guileless sincerity to its spiritual striving that was uncommon in pop music, it's very much a relic of its hippie age.

The good points? An uncalculated, genuine wish to both reflect the era's ideals and to use its music as a tool to achieve them, as well as a willingness to blend aspects of jazz,
Indian music, and religious invocation into an overall psychedelic-progressive rock structure (complete with flute and some acid rock guitar). The bad points? An absence of conventional songwriting chops, exacerbated by the band's tendency to ramble on in formless jam-like passages, though actually none of the tracks here exceed six minutes. Certainly it's eclectic, with a commune-like vibe permeating the proceedings, though the recording's quite professional. "Jesus, Buddha, Moses, Gauranga" sounds rather akin to the We're Only in It for the Money-era Mothers of Invention, though minus any hint of satire or irony in the over the top beatific lyrics. Overall, though, it feels a little like listening to the house rock band of a pan-religious cult that doesn't have anything of particular value to sell. The 2004 CD reissue on Repertoire adds a live version of "Jesus, Buddha, Moses, Gauranga" (originally released on the first pressing of the 1970 Island compilation Bumpers) as a bonus track.

Quintessence (English band)
From Wikipedia, the free encyclopedia :
Quintessence was a band formed in April 1969 by Raja Ram in Notting Hill, London, England. The style was a mixture of jazz and progressive rock with an influence of music from India. This trend in music started by Quintessence would later resurface in the 1990s in the form of Goa trance. Quintessence were formed in April 1969 by Raja Ram in Ladbroke Grove, Notting Hill. They played a hybrid of jazz, progressive rock and Indian Music.

The original line-up included Shiva Jones (voice, keys, percussion), Raja Ram (flutes, percussion), Sambhu Baba (bass, guitar), Maha Dev (guitar), Allan Mostert ((guitar), and Jake Milton (drums, percussion). Quintessence were tagged a 'spiritual' band and were playing new age rock before the term was born.
Although their evangelism in retrospect might seem to be a bit over the top, the music retains its beauty created by some highly individual souls. They rehearsed in All Saints Hall which was a converted church near Portobello Road, and recorded 3 albums for Island Records between 1969 and 1971. two further albums were recorded in 1972 for RCA. The 'Self' entitled first of these was their best with studio material on side one, and the band playing live at Exeter University December 11, 1971 on side two. Their live set was usually mostly improvised as they avoided playing the same riff twice or going into a routine thing. Not unlike the Grateful Dead, they did a lot of collective jamming with an intention to trance out their colourful audiences by a forceful combination of the chanting of mantras with the Krishna flute lines and the lyrical guitar soloing. Often the local Hare Krishna disciples would provide an extra percussion section to the already steamy proceedings. Quintessence had their household guru in Swami Ambikananda. They built a reputation on solid club work and were deemed London's Underground Sensation in 1970. Besides appearing at the first two Glastonbury Festivals (then called 'Faires'), in 1970/71, they also were invited to play the Montreux Jazz Festival at a time when jazz was still being played there. At their peak they sold out the Royal Albert Hall twice.
Although Quintessence played many hundred of concerts and festivals all over Europe, they never made it to the United States. Although a concert at New York's Carnegie Hall was already lined up in early 1972, they didn't make it because Shiva and Maha Dev were asked to leave the band by Raja Ram in spring 1972. Shiva and Maha Dev went on to form the short-lived outfit called Kala.

With ego clashes and problems on many frontiers, Kala quickly folded and Quintessence, now trying to make it the body without a head, and bereft of a sense of purpose, direction and being victims of the changing times, played on into the eighties, then slowly drifted into limbo.
Jake Milton went on to form Blurt with his brother Ted Milton.
(Maha Dev) has recently released his first solo album.
"The band turned down a US record deal negotiated by Chris Blackwell (Island Records) and didn't play at Carnegie Hall or tour the USA because four of its members wanted a larger monetary advance. This disappointed Chris Blackwell greatly and he dropped the band from the label. The band signed with RCA and recorded one album with Shiva and Maha Dev. Raja Ram unexpectedly 'fired' Shiva and Maha Dev after that album with RCA was recorded.
"The 'real' reason that Shiva's band Kala broke up was because Bradley's Records (a subsidiary of ATV) changed their policy towards their artists. They no longer wanted bands to make albums and insisted on them being singles pop artists. They wanted Shiva to wear a 'glitter suit', and when he refused, the senior management of ATV broke up the band by taking all of the equipment back and canceling their dates. It had nothing to do with 'ego' clashes. I don't know where this 'Nik' got his info from." - directly quoted from Shiva/Phil Jones

Sambhu Babaji -Bass
Dave Codling -Guitar
Shiva Shankar Jones -Keyboards, Vocals
Jake Milton -Drums
Alan Mostert -Guitar
Raja Ram -Flute, Piano, Vocals

see complete information

Saturday, December 29, 2007

Purple Overdose - 2004 - Painting The Air

Based in Greece, Purple Overdose were one of the great psychedelic bands of the past several years. Though disbanded for a couple years now, their manager, Stefanos Panagiotakis, enthusiastically pursued making available this vinyl only collection of rarities and unreleased tracks. The songs on Painting The Air were originally recorded in 1989 with the intention of comprising their second album, slated to be titled Magic Forest. Five of the songs later ended up, in different forms, on what ultimately became their second album, Indigo.

Long time Purple Overdose fans will be pleased to know that two of the tracks are unreleased. "Painting The Air" is classic Purple Overdose 60's inspired psychedelia, a heady mixture of trippy song and acidic instrumental. And "Still Ill" is a special treat, being one of the first ever recorded Purple Overdose songs, and featuring a guitar/bass/drums trio version of the band. It has the trademark Purple Overdose sound, but has more of a down ‘n dirty garage-psych feel, and includes an ultra trippy jam section. Excellent! "Sail On Your Wings" originally appeared on the volume 3 CD of the fanzine The Thing in 1996, and was later included on the CD version of The Salmon's Trip Live. This track is a real highlight, featuring Purple Overdose at their most cosmic, with swirling guitars, a luscious 60's organ sound and a mind expanding atmospheric vibe. "2008 Old View" is the B side of the bands only 7" single, and is an intense song with more classic 60's organ melody and cool shimmering trip guitars.

Those who own the album Indigo will of course recognize the 5 songs that appeared on that album - "Moonlight Sunshine", "Cosmic Ladder", "Rain Without Storm", "Golden Eyes" and "Magic Forest". Diehard fans with a taste for historical perspective will enjoy hearing these earlier versions of the songs. Most have a rawer sound and feel than the Indigo versions, which in some cases has a special charm of its own, having a cool trippy flower power vibe. I particularly liked the version of "Cosmic Ladder" on this collection, which has much more of a garagey sound than what's heard on Indigo, and we get some really tasty screaming guitar lines. And though similar to one other, the versions of "Golden Eyes" and "Magic Forest" are each lengthy tracks that take off into jams that are worth hearing side by side.

In summary, Painting The Air is a real treat for fans of this sadly defunct band. And as most of their albums were vinyl only releases that are long out of print there are likely many of you out there who have never had the opportunity to hear any of these songs. Here's your chance.

From Aural Innovations #29 (October 2004)

@320k with covers

V.A. - A Perfumed Garden Vols 1-3

A Perfumed Garden Vols 1-3

A Perfumed Garden, collects some of the rare U.K. mod-psych 45s for 3 LP's which should blow the flowery mynds of all Chocolate Soup/Electric Sugar Cub fan-addicts.

Track Lists :
Vol 1 ~ Vol 2 ~ Vol 3

Out of Print for some time, no serious Psych-Collector should be without these.
Ripped from my own Original CD's with Lame 3.97,
at 256 kbit/s. Artwork included !
(Cover, Back, Inlet)

Each Volume Separately :
MegaUpload : Vol. 1 ~ Vol. 2 ~ Vol. 3

Alternate Links (All 3 Vols in 4 Parts) :
RapidShare : Part 1 ~ Part 2 ~ Part 3 ~ Part 4
Mirror Links
SendSpace : Part 1 ~ Part 2 ~ Part 3 ~ Part 4

Enjoy !!!

Thanks SKULL(y)76 for the rip, tag & upload of this compilation !!!

Friday, December 28, 2007

Unknown Passage (Greece) - 2001 - Tales From Prison

If you're into the no fuss raw-garage /psychedelic side of the American sixties in the spirit of Syd Barrett and Rocky Erickson you'll be overblown by this gem. “Tales From Prison” is their first release consisting of 7 tracks and including a magical rework of Lucifer Sam (Pink Floyd) and White Rabbit (Great Society / Jefferson Airplane) blended into a single track. Expect to be blown away by this prodigiously talented band!

@ 320k covers inside


Green Bullfrog - The Green Bullfrog Sessions

I wasn't actually sure where to classify this. Most tracks are in the Northern Soul vein, yet personnel hails from other genres. Anyway....
Fans of Ritchie Blackmore would probably know this album. It was recorded in 1970 in De Lane Lea studios, London, and it allegedly began as a session jam. Ritchie Blackmore, Albert Lee, Big Jim Sullivan & Tony Ashton are among the musicians. It was produced by Derek Lawrence and engineered by Martin Birch. The tracks are mostly in the Northern Soul style, as I mention above, and production quality is fairly good. The musicians are in a loose form and Blackmore doesn't really sound very decent, since he manages to overindulge in those fast-and-tedious riffs as well as tremolo bar abuse. I, personally, prefer soul music played by musicians who have an actual understanding of the particular groove. And the musicians in this album don't have it, in my opinion. Simply because their actual genre is quite different.
I bought the particular album in green vinyl (1991 reissue) and it contains some extra tracks from the vaults. Rip is in 224kbps and I have also scanned all the notes from the sleeve.

Get It Here :
MediaFire :
RapidShare :

Thursday, December 27, 2007

The Mops - 1968 - Psychedelic Sounds In Japan

The Mops - 1968 - Psychedelic Sounds In Japan

A buzzing, hard-hitting batch of pychedelic rock from Japan's The Mops -- featuring some groovy, echoey tunes penned by the group and sung in their native language -- plus a nice choice of passionate covers! The sound is a little bit like Love in their early rawness -- and the Mops obviously have a great feel for psychedelia at its fuzziest and most tuneful. Great stuff!

Tracks :
1. Asamade Matenai
2. San Franciscan Night
3. I Am Just A Mops
4. Inside Looking Out
5. The Letter
6. Blind Bird
7. Somebody To Love
8. Bera Yo Isoge
9. White Rabbit
10. Asahi Yo Saraba
11. Light My Fire
12. Kienai Omoi

Personnel :
Hiromitu Suzuki - vocals
Masaru Hoshi - lead guitar, vocals
Tarou Miyuki - guitar
Kaoru Murakami - bass
Mikiharu Suzuki - drums

Bio ~by Keith Cahoon :
The Mops are one of Japan’s best know “group sounds” bands, particularly noted for their psychedelic period. The group was founded in 1966 by high school friends Mikiharu Suzuki (drums), Taro Miyuki (guitar), Masaru Hoshi (lead guitar) and Kaoru Murakami (bass), playing mostly instrumental rock ala the fabulously popular Ventures. Suzuki’s older brother Hiromitsu joined in later and became the group’s main vocalist, sharing the job with Hoshi.

The Mops started playing clubs and discos early on, but did not immediately distinguish themselves. In the summer of 1967 their manager visited San Francisco, and was very excited about the hippie movement that was booming there. He brought a copy of a Jefferson Airplane album back with him to Japan, which he impressed the Mops with. The band became enthusiastic about the new sounds, and singer Hiromitsu Suzuki especially became a big fan of Animals singer Eric Burdon. In what seems a fairly commercially driven decision, the Mops, prodded by their manager, became a “psychedelic band”, and signed with JVC Records. In November 1967 they released “Asamade Matenai”, which went to #38.

The Mops album of April 1968 Psychedelic Sound in Japan, was full of flower power flourishes, including cosmic artwork, ethnic clothing, fuzz guitars and sitar playing. It included covers of the Airplane’s hits “Someone To Love” and “White Rabbit”, the Doors' “Light My Fire”, the Animals' “San Franciscan Nights” and “Inside Looking Out”, as well as the Mops theme song “I Am Just A Mops” (which later became a cult favorite after being included on the obscurities album Nuggets 2). To complete the band’s hippie vibe, at their album release party they passed out banana peels to journalists.

Much was made of the band being Japan’s first psychedelic band, and they are sometimes credited as pioneering new studio effects, or at least introducing them to Japan. The band also performed with lighting effects, and sometimes blindfolded, supposedly to simulate the influence of drugs. Despite being widely considered a psychedelic band, their original songs were more garage band sounding. Also while most GS bands were playing love songs, the Mops had a song called “Blind Bird”, which contained the lyrics “please kill me”, which led to the song being left off some re-issues (but included on the obscurities collection Boulders #7). In 1969 Murakami quit the band and Miyuki took over bass duties.

After just one album with JVC, the group switched to Toshiba/EMI, where they changed their sound to more of a blues rock sound, it seems trying to change with the times. While not as warmly recalled, the band did moderately well after their psychedelic period. Their biggest hit was in 1971, “Gekko Kamen (Moonlight Mask)", which they recorded as a joke, but which became a novelty hit. Their hard rock number “Goiken Muyo (No Excuse)" charted in 1971, and the following year they did well with “Tadoritsuitara Itsumo Amefuri”, which was written for them by popular folk singer Takuro Yoshida. Before finally breaking up in May 1974, the Mops released a total of eight albums on Toshiba/EMI, a long career compared to most of the GS bands. Hoshi continued in the music business as an arranger, and Hiromitsu Suzuki became a TV “talento”. Mikiharu Suzuki today runs a major artist management company.

The Mops, however remain best remembered for their landmark psychedelic first album.

Get It Here :
RapidShare or SendSpace

Tuesday, December 25, 2007

The Pretty Things - 1968 - S.F. Sorrow

The Pretty Things - 1968 - S.F. Sorrow

A late 60s masterpiece from The Pretty Things -- beautifully baroque west coast psyche pop, done in a style that links together the headier LA sound of Love with some of the more concept-driven work of the UK scene at the time! There's an undeniable power in the record -- an energy that was years ahead of its time, and which has led to the album's rediscovery by a host of new generations. At some points, the instrumentation is simple guitar-based rock -- but at others, it's topped off by just the right use of strings, larger orchestrations, and bits borrowed from Indian music!

Tracks :
1 S.F. Sorrow Is Born
2 Bracelets Of Fingers
3 She Says Good Morning
4 Private Sorrow
5 Ballon Burning
6 Death
7 Baron Saturday
8 Journey
9 I See You
10 Well Of Destiny
11 Trust
12 Old Man Going
13 Loneliest Person
14 Defecting Grey (Bonus_Acetate Recording)
15 Defecting Grey (Bonus)
16 Mr.Evasion (Bonus)
17 Talkin' About The Good Times (Bonus)
18 Walking Through My Dreams (Bonus)
19 She Says Good Morning (Bonus_Live 1969)
20 Alexander (Bonus_Live 1969)

[This reissue adds four valuable songs from their 1967-1968 singles ("Defecting Grey," "Mr. Evasion," "Talkin' About the Good Times," and "Walking Through My Dreams"). This version of "Defecting Grey" is the original, long, uncut five-minute rendition, and not of trivial importance; it's superior to the shorter one used on the official single.] ~ Bruce Eder & Richie Unterberger, All Music Guide

One of the first rock concept albums, S.F. Sorrow was based on a short story by singer-guitarist Phil May. The album is structured as a song cycle, telling the story of the main character, Sebastian F. Sorrow, from birth through love, war, tragedy, madness, and the disillusionment of old age.

The album is now generally acknowledged as having been an influence on The Who's Pete Townshend in his writing of Tommy (1969).

The songs were recorded over several months during 1967 at EMI's famous Abbey Road Studios in London, during the same period when The Beatles and Pink Floyd were recording Sgt Peppers' Lonely Hearts Club Band and The Piper at the Gates of Dawn respectively.

Working with noted EMI staff producer Norman "Hurricane" Smith (who had engineered the earlier Beatles recordings) and house engineer Peter Mew, the group experimented with the latest sound technology, including the Mellotron and early electronic tone generators, often employing gadgets and techniques devised on the spot by Abbey Road's technicians.

Phil May has emphatically stated that Smith was the only person at EMI who was fully supportive of the project, and that his technical expertise was invaluable to the effects and sounds on the album; May once even referred to Smith as a "sixth member" of the band. This attitude was in marked contrast to Pink Floyd's unhappiness with Smith. No need to say more about one of the best albums ever recorded !

Get it here :
Part 1 :
Part 2 :
Part 1 :
Part 2 :

Marry Christmas to All of You !

Monday, December 24, 2007

Link Wray - 1964 - The Swan Demos

I bought this vinyl album a few years ago, for a very small price. It contains alternative takes and out-takes of otherwise known tunes by that great surf-axeman, Link Wray. I lent the album to a friend who inconsiderately left it in his car one very hot summer's day and, subsequently, the vinyl got warped and so did my mind. Luckily, I had managed to rip the record before it became redundant. The original vinyl had no cover, as it came in a simple black cardboard sleeve. Thus, I scanned the vinyl tag. Encoding quality is very high and, apart from a few clicks and pops, you'll be able to enjoy this great album. Try to locate the vinyl (there has been no CD reissue of this) and if you find two copies, please let me know!!!

Enjoy !

Sunday, December 23, 2007

Prúdy - 1969 - Zvoňte, Zvonky

Prúdy - 1969 - Zvoňte, Zvonky

Tracks :
1. Zvonky, zvoňte (Let The Rings Ring)
2. Pred výkladom s hračkami (In Front Of The Toy Shop Window)
3. Balada o smutnom Jánovi (Ballad Of Sad John)
4. Jesenné litánie (Autumn Litanies)
5. Strašidlo (Bugaboo)
6. Keď odchádza kapela (When A Band Ends)
7. Poď so mnou (Come With Me)
8. Možno, že ma rada máš (You May Love Me)
9. Možno (Maybe)
10. S rukami vo vreckách (With Their Hand In Their Pockets)
11. Dám ti lampu (I'll Give You A Lamp)
12. Ćierna ruža (Black Rose)

The debut album of Prúdy, a Slovak band, who had previously recorded a couple of songs for radio and this is a collection of them. Considered by many to be the best album of Slovak pop music, it contains nowdays' classic Slovak hits such as Čierna ruža, Zvonky zvoňte, Možno or Pred výkladom s hračkami.

Posted by Porculus

The Sun Blindness - 2007 - Like Pearly Clouds

The Sun Blindness - 2007 - Like Pearly Clouds

Tracks :
1. Our Glassy Selves
2. Everything Is Imminent
3. Flash in the Cosmic Pan
4. A Crack In The Concrete (For D. Crosby)
5. Jeremy Stares Into The Sun
6. It's Only 3 am
7. A Trip In A Painted World
8. Right Where You Are Sitting Now
9. Sleep Inside
10. Everything Comes Right
11. Panta Rhei'
12. Lazy Livin'

A delightfully lush, druggy & dreamy neo-psychedelic affair is this one. These guys hail from somewhere in Australia and they really have come up with something unique here for their first album. A strange mixture of LSD-era Beach Boys, J.K & Co, Byrds & perhaps the softer side of Spacemen 3.... songs such as "It's Only 3am" and " Everything Is Imminent" really have a warm, beautiful atmosphere to them. Lots of backwards guitars, strange percussion, echoed harmonies and a New Tweedy Bros cover. This is one of my favorite releases of the year.

Shared w/ Permission.... Enjoy!

Get It Here :

If you like the album you can visit band's myspace
for instructions how to purchase a copy !

Posted by DangerDuck23

Astral Projection - 1968 - The Astral Scene

A straight reissue of a 1968 album originally issued on Metromedia, The Astral Scene is one of those weirdly compelling pop albums that could have only emanated from the Age of Aquarius. A conceptual undertaking meant to reveal the wondrous cycle of the telepathic phenomenon of astral projection. The album somehow manages to communicate the complex precepts of astral experience in lay terms and remain deliciously frothy pop at the softest, most easy-listening end of the spectrum. It works the same sonic conceit as the Fifth Dimension (only in lily-white, soul-lite mode) or the stable of bands (the Association, Ballroom, Sagittarius, and Millennium) produced or helmed by Curt Boettcher, only without the countercultural credibility and legitimately trippy factor. That's because the album, as with dozens of similar efforts from the era, is really a quasi-exploitive cash-in project. Essentially a studio creation conceived and written by Bernice Ross and Lor Crane, who did not take part in the actual recording (although the latter co-produced). The playing was done by ace sessionmen (Al Gorgoni, Hugh McCracken, Frank Owens, Buddy Saltzman, etc.), and then the music overlaid with delicate strings, and a brass and woodwind section. In a sense, it entirely missed the thrust of the decade's more original and exploratory music that it meant to exploit. But in another cosmically ironic sense, it captures the heady era far more vibrantly than those more important artists, partly because the music of the Astral Projection is nowhere near as timeless as the music of those artists. And partly because the explosive creativity of the era filtered in weird and wonderful ways even down to the eternally unhip music business types responsible for this album, giving them carte blanche to experiment with the money formula, but not too much, thereby resulting in this odd hybrid of commercially minded but ultimately uncommercial music. Like most such efforts, it is wildly uneven and only intermittently successful, containing too much lightweight material and unbearably twee sentiment to take serious, but then that partial failure to execute its pretensions is perhaps the most intriguing aspect of such masterworks, and especially this one. Still, The Astral Scene is largely soft-pop ambience. Songs are scarely present (and as a result it's difficult to single out particular successes), which stands to reason since it is more studio exercise than artistic inspiration. Nevertheless, it has moments of pure delight that bring the '60s experience back in full technicolor.
~ Stanton Swihart, All Music Guide

Track list;
01 - The Sunshine Seekers
02 - Plant Your Seed
03 - The Airways of Imagination
04 - The Happening People
05 - Accordian Pleated Mind
06 - Dreams, Shadows and Illusions
07 - Whatta We Gotta Loose
08 - Something To Believe In
09 - Today I Saw The Sunrise
10 - The Astral Scene


Style; Psychedelic Pop

Friday, December 21, 2007

Nightshadows - The Psychedelic Years_1967-1969

The Nightshadow(s)


1(A) THE SQUARE ROOT OF TWO (Spectrum Stereo ) 1968
2(A) THE SQUARE ROOT OF TWO (Hottrax ST 1414) 1978
3(-) LIVE AT THE SPOT (Hottrax ST 1430) 1981
4(-) INVASION OF THE ACID EATERS (Hottrax ) 1982
5(-) A ROCK ANOMALY (Roft ) 1988
6(-) PATRIARCHS OF GARAGE ROCK ( Penniman) 2003

NB: (2) was remixed in stereo and is much superior in sound to (1). Consequently this reissue has become very wanted and belongs better in the R2 rather than R1 category in the rarity/sought-after scale.

1 The Way It Used To Be/So Much (Dot 16912) 1966
2 Hot Dog Man/Hot Rod Song (800 pressed) (Banned 6T9) 1966
3 60 Second Swinger/In The Air (500 pressed, 250 with PS) (Gaye 3031) 1966
4 Turned On/Don't Hold Your Breath (500 pressed) (Baja 4504) 1967

NB: (1) - (3) as Little Phil & the Night Shadows. (4) as 'Square Root of 2'.

The Nightshadows, who were also known as Little Phil And The Nightshadows, were one of the Old South's few acid punk bands, and something of a rock anomaly. They started playing in the late fifties, and their 27 or so members apparently included Barry Bailey (later of The Atlanta Rhythm Section). The artistes listed above were those who recorded their 1968 album which was pieced together from an assortment of tapes recorded on portable cassette machines. The band, who came from Atlanta, Georgia in the heart of Dixieland, never achieved the recognition they might have because of the Vietnam War, which prevented them touring for fear of losing their draft deferments.

Of particular note on their album is the psychedelic intro to In The Air and The Hot Rod Song. Another track I Can't Believe has a Spoonful-type beat and others like Illusions sounded rather a racket. Overall, the album is probably best forgotten. The most sought-after of their recordings is the original release of The Square Root Of Two on Spectrum Stereo. They recorded over a long period under various names and backed numerous other artistes so the 45s shown are highly selective and only cover their garage/psych period.

Compilation appearances have included:
The Way It Used To Be on Pebbles Vol. 5 (CD) and Pebbles, Vol. 5 (LP); and So Much on Psychedelic States: Georgia Vol. 1 (CD).
(Vernon Joynson / Max Waller)

Tracklist :
1 The Prologue (The Voice of Electric Bob) 2 So Much (1967 Version) 3 I Can't Believe 4 Plenty of Trouble 5 In The Air 6 Anything But Lies (Time After Time) 7 Gimme, Gimme 8 Don't Hold Your Breath 9 Listen To My Heart 10 Fly High 11 60 Second Swinger 12 Psychedelic Illusion 13 Little Phil Jokes With The Audience14 Anything But Lies (Lost Live Version) 15 Turned On 16 The Hot Dog Man (Stoned Version) 17 Epilogue: Fly High Reprise 18 Excerpt from a 1979 Radio Retrospective on Little Phil 19 The Garbage Man (1961)

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V.A. - Girls in the Garage Vols 1-11

V.A. - Girls in the Garage
Variable sound quality of this series makes these discs slightly less attractive than they were back in the '80s, when they started the whole trend.
But the song selection is still awesome, as is the harder-edged, garagey, chicks-can-rock-too headbanginess of it all.As with most reissue series, the first volumes are the best... and they are all doozies!

Highly recommended!

Girls In The Garage #1
- CD @ 256
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Girls In The Garage #2 - CD @ 256
(Ripped & Uploaded by Jflyaway)

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Girls In The Garage #1 - LP @ 192
Girls In The Garage #2 - LP @ VBR

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Girls In The Garage #3 - CD @ 192

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Girls In The Garage #3 - LP @ 192

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Girls In The Garage #4 - LP @ 256

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Girls In The Garage #5 - LP @ 256

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Girls In The Garage #6 - EP @ 192
Girls In The Garage #6 - LP @ 192
Girls In The Garage #7 - EP @ 192

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Girls In The Garage #7 - LP @ 320

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Girls In The Garage #8 - LP/CD @ 112
Girls In The Garage #9 [Oriental Special] - LP/CD @ 192

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Girls In The Garage #10 [Groovy Gallic Gals!] - LP @ 192
Girls In The Garage #11 - LP @ 192

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Track Lists on format (LP, EP, CD)

Note :
CD versions didn't include all tracks from the LP versions.
(But CD versions have better quality)

Enjoy !!!

Wednesday, December 19, 2007

Kenneth Higney - 1976 - Attic Demonstration

Attic Demonstration is a collection of demos performed by Higney in 1976. A New Jersey truck driver looking to jumpstart a career as a songwriter, Higney pressed the record in order to give it to other musicians, in hopes that they would perform his songs. That no one took him up on his offer is not surprising, since this a relentlessly downbeat, ramshackle collection of music. It’s a compelling and frequently bleak piece of work, but not one with much (or anything at all) in the way of the commercial potential Higney may have hoped for. Imagine Neil Young’s depressive masterwork On the Beach, only replace Neil Young with an untrained singer who vacillates between a haunted, plaintive drawl and a raspy shout, force the musicians to play constantly out of time, drench everything in tortured lead guitar, and deprive the band any second-takes.

As Higney explains in his liner notes, all of the music, (including overdubs), was recorded in a single take. That explains the ragged, cacophonous sound of the LP’s two rockers, the opening “Night Rider” and the final track, “No Heavy Trucking.” Perhaps they were intended as anthemic road songs; instead, these are abandoned landscapes as desolate as the one photographed on Attic Demonstration’s front cover – a shaggy haired Higney framed by a dreary cloud-choked sky, a vaguely pained expression on his face, resembling the jean-jacketed lead in some long-lost, Garden State Antonioni film. “Night Rider” is the most upbeat track; Higney harangues the title character, probably a biker, backed by clattering drums and guitars that are rarely in sync with the percussion. The dissonant and claustrophobic “No Heavy Trucking” portrays a truck-driver at the end of his rope, sitting alone and helpless in a malfunctioning rig - a glimpse into the trucker’s life far removed from anything dreamed up by C.W. McCall.

There’s also a plodding dirge sung from the point of view of a disillusioned rock star, a plea for his “Children of Sound” (his songs?) not to leave him and go “die in this world of hate,” and three break-up laments that combine bitter misanthropy and wounded self pity. “Look at the River” is the highlight – it begins as an acoustic rumination on the pain of being left by a woman, but builds into an acidic rebuke of her foolishness in abandoning him (”Your life will be an empty shell / Your life will be a rusty bell”), with Higney‚s increasingly desperate vocals matched by corrosive blasts of guitar.

While the LP showcased Higney’s original songwriting (almost utterly devoid of hope and happiness), the two bonus tracks, both from a single released in 1980, are in a more playful vein. Since they were produced with the intention of actually being released commercially, they are considerably more polished than the demos on Attic Demonstration. “Funky Kinky” is a disco (!) song, complete with a high-pitched chorus and cheesy synths. The stomping glam-rocker “I Wanna be the King” is Higney’s tribute to New York City punkers, and contains a great should-not-be-a-rhyme in the line: “I’m gonna be a star / I hate the sissy music of John Denver!” The single, Higney explains, didn’t get much more attention than Attic Demonstration did – it was a “monster record which drowned in the swamp after being chased by villagers.” (BUY IT!)

1) Night Rider
2) Children of Sound
3) Rock Star
4) Can't Love That Woman
5) Look at the River
6) Quietly Leave Me
7) Let Us Pray
8) I'll Cry Tomorrow
9) No Heavy Trucking
10) Funky Kinky
11) I Wanna Be the King

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Saddar Bazaar - 1998 - Path Of The Rose

Saddar Bazaar - 1998 - Path Of The Rose

Tracks :
1 Madhya Laya
2 The Process
3 Sama Red
4 Mi' Raij
5 Arabesque
6 Painted Dust
7 Peacock Angel
8 Five Jewels
9 Tones And Waves
10 When The Waters Were Changed

From Aural Innovations #6 (April 1999) :
From Bristol, UK comes this Eastern-psychedelic quartet Saddar Bazaar, though I wouldn't be surprised if the lead duo, the Hyder brothers Shaun (sitar) and Rehar (guitar), were really from Pakistan where the actual Bazaar exists. Because this is very nearly 'true' Eastern music, complete with instruments I'd never heard of...such as a dholak (Indian hand drum) and a tambura (Asian lute). So it surprises me to learn that these Bristol lads recorded a track with Texas doom metal-heads Solitude Aeturnus, the entity that also spawned the excellent psychedelic trio the Liquid Sound Company. Hmmm.... perhaps that meeting even led to the inspiration for LSC's formation?

"Path of the Rose" wanders through 10 tracks of similar length, amounting to a 45-minute oriental journey. Tablas and sitar abound throughout, although a number of tunes have a western pop flavor (á la the Beatles) with the melodies carried by various instruments, usually sitar and slide guitar from the Hyders or moogy organ from Terry Banx. "Arabesque" (sic) in fact sounds a bit like "Norwegian Wood" though the melody is built atop a mindnumbing drone created by some unknown instrument, probably something that relies on a rosin wheel and a crank (my ignorance is showing). The followup, "Painted Dust," is a pretty, ambient piece that sprinkles a simple sitar melody and light acoustic guitar work atop the hovering synth tones. "Peacock Angel" then comes across with a little more urgency with sitar/guitar drone and multiple percussion tracks from Dave Spencer, and features an excellent flute solo by guest Tainenska Royal. This is the sort of frosting the group really needs to exploit more. The remaining tracks explore very similar themes, and are a bit anti-climactic even.

The lone major drawback of "Path of the Rose" is the lack of vocals... nothing wrong with instrumentals, but many of these tracks seem to be set up for verses and choruses - or at least I can imagine them in my head. Still, by listening to the Bazaar, you'll take one more step towards appreciation of true Eastern music past what one would get by simply listening to the Ozrics or Steve Hillage's "L." And the cover art is too cool to pass up.
~Reviewed by Keith Henderson

Link @ 192 :

Enjoy !!!

Monday, December 17, 2007

Sundragon - Listen To The Sky_The Complete Recordings 1964-1969


1 Oh Yeah
2 If You Don't Come Back
3 Smokestack Lightning
4 I'm Taking Her Home
5 River Deep, Mountain High
6 Mrs Gillespie's Refrigerator
7 Listen To The Sky
8 Weddings Make Me Cry
9 Green Tambourine
10 So You Wanna Be A Rock ''N Roll Star
11 Seventeen
12 Peacock Dress
13 Five White Horses
14 Far Away Mountain
15 Blueberry Blue
16 Love Minus Zero
17 I Need All The Friends I Can Get
18 Windy
19 Empty Highway
20 Look At The Sun
21 Drivin' Drivin' Drivin'
22 Bring Back That Love Again
23 Hey, Hey, What Did You See


1 Green Tambourine/I Need All The Friends I Can Get (MGM MGM 1380) 1968 50
2 Blueberry Way/Far Away Mountain (MGM MGM 1391) 1968
3 Five White Horses/Look At The Sun (MGM MGM 1458) 1968

This male duo had a minor hit in 1968 with their cover of The Lemon Pipers' Green Tambourine. Their album was attractive Summery pop-psych in the vein of the first Bee Gees album. At least one of the members had earlier been in Sands.

Compilation appearances include: Far Away Mountain on Justavibration (LP).


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