terça-feira, 29 de abril de 2008

BLUES IMAGE - Open (1970 US Psych Rock)

BOM E RARO VENENO DESTA BANDA BOA LIDERADA POR MIKE PINERA QUE DEPOIS PARTICIPOU DE VÁRIAS OUTRAS BANDAS COMO IRON BUTTERFLY, CACTUS, RAMATAM E ALICE COOPER!! TEM ATÉ UMA VERSÃO DE LA BAMBA FEITA COM MAESTRIA!! HARD ROCK, BLUES E PITADAS PSICODÉLICAS!! VALE CONFERIR!!
Blues Image was formed in Tampa, Florida in 1966 by singer-guitarist Mike Pinera, singer-drummer Manuel "Manny" Bertematti, singer-percussionist Joe Lala and bassist Malcolm Jones. They were later joined by keyboardist Frank "Skip" Konte. Blues Image moved to Miami in 1968, where they were instrumental in helping promoters form the most innovative music venue in South Florida, "The Image". Blues Image became the house band at the club, which featured bands like the Grateful Dead, Cream and Blood, Sweat and Tears.

The band moved to Los Angeles and signed with Atco Records, releasing their self-titled debut album in February 1969. Their second album, Open (April 1970), included the popular hit "Ride Captain Ride," which was co-composed by Pinera and Konte.

Pinera left the band and was replaced by singer Dennis Correll and guitarist Kent Henry. The band later broke up but did release a third album, Red White & Blues Image, in May 1970.

The various members of Blues Image went on to become parts of other rock bands. Pinera & Bertematti later played with Iron Butterfly and Cactus. Pinera also played with Ramatam and Alice Cooper. Konte joined Three Dog Night, and Lala played with Crosby, Stills, Nash & Young. Lala's percussion work figures prominently on the Stephen Stills/Chris Hillman led group, Manassas. Kent Henry played lead guitar with Steppenwolf prior to their breakup in the early 1970s. Bertematti toured with Chi Coltraine, and Bobby Womack.

Mystic Siva - Mystic Siva (Classic US Psychedelia 1970)

VENENO AMERICANO COM ESTILO ROCK ACID PSYCH!! GUITARRA E KEYBOARDS TRABALHANDO MUITO BEM!!

From Michigan produced an excellent psych-rock album, which comes in an amazing sleeve and is as rare as hell.Finally from the master tapes! Be blown away by the mind bending power of "Supernatural Mind" in a previously unheard clarity.

Tripped out fluid guitar and rippling keyboards envelop mystical acid lyrics. Perfection! This legendary US '60s psych monster that under the right influences will destroy your head!

01. Keeper Of The Keys - 4.29
02. And When You Go - 4.56
03. Eyes Have Seen Me - 3.30
04. Come On Closer - 3.29
05. Sunshine Is Too Long - 3.19
06. Spinning A Spell - 3.31
07. Supernatural Mind - 4.21
08. Find Out Why - 5.48
09. Magic Luv - 3.30
10. Touch The Sky - 3.57
11. In A Room - 5.31
or

segunda-feira, 28 de abril de 2008

Canned Heat - Livin' The Blues (1968 USA Blues Psych) (2CD)

BOM, SE NO DISCO ANTERIOR "HALLELUJAH" O CANNED HEAT FLERTAVA COM O PSICODELISMO, AQUI NESTE ÁLBUM DUPLO ELES FORAM AINDA MAIS FUNDO!! A FAIXA PARTHENOGENESIS É UM BOM EXEMPLO DISSO, UMA OBRA DO PSICODELISMO!! A FAIXA "GOING UP THE COUNTRY" É UMA DAS MELHORES E UMA DAS MINHAS MÚSICAS FAVORITAS E VIROU HIT NO FESTIVAL DE WOODSTOCK!! O CD 2 É BOOGIE BLUES DA ESSÊNCIA E OCUPAVA NO VINIL OS DOIS LADOS!!
BELO VENENO E ACREDITO QUE COM ESTES DOIS DISCOS POSTADOS ESTA GRANDE BANDA TÁ BEM REPRESENTADA NESTE BLOG!! DOIS VENENOS DO BOM!!

CD1
1- Pony Blues
2- My Mistake
3- Sandy's Blues
4- Going Up The Country
5- Walking By Myself
6- Boogie Music
7- One Kind Favour
8- Parthenogenesis
CD2
1- Refried Boogie (Part I)
2- Refried Boogie (Part II)

Contém covers.

Link para download:

CANNED HEAT - HALLELUJAH (1969 US BLUES)

PRA QUEM NÃO CONHECE O CANNED HEAT É UMA EXCELENTE OPORTUNIDADE DE CONHECER UMA DAS MAIORES BANDAS DE BLUES DA ÉPOCA ÁUREA DO ROCK, A CHAMADA "ROCK N'ROL GOLDMINE"!! JÁ PRA QUEM CONHECE É A OPORTUNIDADE DE BAIXAR O MELHOR DISCO DA BANDA JUNTAMENTE COM O DISCO "LIVIN BLUES", O QUAL ESTAREI POSTANDO EM BREVE NESTE BLOG!! ESTE DISCO NÃO SE ACHA POR AÍ TÃO FACILMENTE E, DIFERENTE DO SEU PRIMEIRO ALBUM QUE ERA UM BLUES TRADICIONAL, AQUI ELES JÁ COMEÇAM A FLERTAR UM POUCO COM A PSICODELIA!!

"Em resumo, o Canned Heat é uma banda norte-americana de Blues, que ficou famosa depois de se apresentar em grandes festivais como o Woodstock, Stamping Ground e Monterey. O nome veio de uma música de 1928 que falava sobre um alcoólatra (ou alcoolista, como preferir) que começou a beber Sterno, um combustível mais conhecido como “Canned Heat”. Liderado por dois entusiastas do blues, Alan “Blind Owl” Wilson e Bob “The Bear” Hite, a banda foi longe e chegou a gravar até um álbum duplo com a lenda do estilo, John Lee Hooker."

Track Listing
01 - "Same All Over" (Canned Heat/Henry Vestine) – 2:51
02 - "Change My Ways" (Alan Wilson) – 2:47
03 - "Canned Heat" (Bob Hite) – 4:22
04 - "Sic 'em Pigs" (Hite/White) – 2:41
05 - "I'm Her Man" (Leigh) – 2:55
06 - "Time Was" (Wilson) – 3:21
07 - "Do Not Enter" (Wilson) – 2:50
08 - "Big Fat (D. Bartholomew/Fats Domino) – 1:57
09 - "Huautla " (Wolf) – 3:33
10 - "Get Off My Back" (Wilson) – 5:10
11 - "Down in the Gutter, But Free" (Canned Heat) – 5:37

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sexta-feira, 25 de abril de 2008

The Deep - Psychedelic Moods (Sought After US Psychedelia 1966)

ESTE É CONSIDERADO O PRIMEIRO LP À ÉPOCA COM TEMÁTICA PSICODÉLICA DO COMEÇO AO FIM. É UMA VIAGEM ONDE SE PERCEBE EXATAMENTO ONDE TERMINA O ROCK DE GARAGEM E COMEÇA E ENTRA O ROCK LUNÁTICO, CRAZY E PSICODÉLICO!! É PRA QUEM TEM PESCOÇO PRA ENXERGAR MAIS LONGE!! AS VEZES LEMBRA A BANDA SEEDS COM MAIS AUDÁCIA E EXPERIMENTALISMO!! NA ÉPOCA FOI COLOCADO NA CAPA DO DISCO "NÃO RECOMENDADO PARA CRIANÇAS"!! É PROVAVELMENTE UM DOS MAIS FASCINANTES E PROCURADOS ÁLBUNS POR ALUCINADOS PSICODÉLICOS E QUE TODOS OS COLECIONADORES QUEREM POSSUIR!! VENENO PURO E ALTAMENTEW PSYCH!! É DAQUELES DISCOS FRUTOS DA ÉPOCA ÁUREA DO ROCK ONDE EXPERIMENTAÇÕES E ANTICOMERCIALISMO NÃO IMPEDIAM AS GRAVADORAS DE PUBLICAR UM DISCO!! ÉPOCA BOA E SEM VOLTA!!

The Deep's Psychedelic Moods (1966) is probably one of the most fascinating and sought after psychedelic albums of all time, and this Radioactive reissue of the incredibly-rare stereo version is the one that all collectors want to own.

This was a Philadelphia-based studio-only project. The album, which is an extremely rare and quite costly collectors' item, has until recently been shrouded in total mystery. It was produced by Mark Barkan and Rusty Evans. Both were also involved in Freak Scene whose album Psychedelic Psoul (CBS 9456) 1968 is virtually a second Deep LP. We also know thal David Bromberg was involved in the project. The other personnel listed above have been deduced from songwriting credits and may also have been involved.

Their album is very strange, full of weird sound effects, haunting vocals and acid-soaked lyrics. It is based on a psychedelic folk format. Some, such as Color Dreams and Your Choice To Choose, sound very Seeds-like. Others, like Shadows On The Wall and Wake Up and Find Me are haunting acid ballads.

"Wake up and find meWith dreams of liquid nightsAnd never ending lights"
(from Wake Up and Find Me).

Arguably the best two tracks are Turned On and Psychedelic Moon - which are both very odd. The album is recommended listening. Fans of the band will also be interested in a series of outtakes released on CD by Collectables, Part 2 and Part 3 contains alternate takes and unreleased tracks which were recorded in 1966), whilst Part 4 (which also features tracks by Hydro-Pyro) and Part 5 are now also available on CD through Collectables.
Barkan went on to a group called Hydro Pyro. In 1970 Rusty released a solo album as Marcus.

01. Color Dreams
02. Pink Ether
03. When Rain Is Black
04. It's All A Part Of Me
05. Turned On
06. Psychedelic Moon
07. Shadows On The Wall
08. Crystal Nite09. Trip #76
10. Wake Up And Find Me
11. Your Choice To Choose
12. On Off - Off On

Download here
or here

or here
Part 1
Part 2

quinta-feira, 24 de abril de 2008

Beacon Street Union - The Eyes Of & The Clown (2 Albums on 1 CD)

DAQUELAS BANDAS QUE PRODUZIRAM VENENOS PODEROSOS MAS EM POUCA QUANTIDADE. NESTE CASO FOI APENAS ESTE DOIS DISCOS QUE SÃO PSICODÉLICOS E RAROS!

The Eyes of the Beacon Street Union is a highly experimental album released around the time of the Bosstown sound. Much better than first albums from Eden's Children and Ultimate Spinach, the disc, however, lacks direction — and cohesion. Vocalist John Lincoln Wright has the same look that he sports 23 years later on his 1991 Honky Tonk Verite CD, including his trademark cowboy hat, but the similarities between these two albums stop there.
The Eyes of the Beacon Street Union is garage rock and psychedelia, and it is a trip. Where Orpheus opted for the serious pop of "Can't Find the Time," producer Wes Farrell includes a recitation by the late Tom Wilson, producer of The Velvet Underground & Nico, acting very avant-garde: "Look into the gray/look past the living streets of Boston/look finally into the eyes of Beacon Street Union." Well, Wilson did a decent job with the V.U., but he's no Crazy World of Arthur Brown screaming the immortal line "I am the god of hellfire." The band immediately dips into "My Love Is." resplendent in Robert Rhodes' (aka music attorney Robert Rosenblatt) best ? & the Mysterians keyboard sound, very cool '60s backing vocals, and guitars that are straight from the Psych Out film soundtrack.
In fact, this song would have fit perfectly on that album along with the Seeds and Strawberry Alarm Clock. Had Wes Farrell kept the band on this track, the album might have more collectability. "Beautiful Delilah" is too novel to keep the momentum going, and "Sportin' Life" is lounge blues. Side two fares a bit better; "Speed Kills" and "Blue Avenue" are classic '60s psychedelia, a far cry from John Lincoln Wright's Sour Mash Boys, and amazing that it is the legendary Massachusetts country artist singing. "South End Incident" refers to the South End of Boston, which has become quite trendy, but in the day Jonathan Richman, Moe Tucker of the Velvet Underground, and George Thorogood would play that part of town — on the same bill!
The music to the song might be an old blues riff, but the body of the work is "Heartbreaker" by Grand Funk Railroad, and one wonders if Mark Farner had this album and perhaps nicked this vamp a few years later? The Eyes of the Beacon Street Union slightly misses the mark, but must be commended for its original approach to this genre. The album cover looks like some history textbook that mistakenly got pressed by Mad Magazine. A mushroom next to an atomic bomb's mushroom cloud ought to tell you enough about MGM's packaging. A hit single and less cluttered album cover is what these musicians deserved, but what they have is, next to the album Listening by the band of the same name and the hit single from Orpheus, the best work from the Bosstown sound.

The Clown Died in Marvin Gardens (1968)

The Clown Died in Marvin Gardens is an original statement by a Boston group who was musically superior to Eden's Children and Ultimate Spinach, but not as focused as the Remains, the Hallucinations with Peter Wolf, or the emerging J. Geils Band. Where national groups like the Peanut Butter Conspiracy may have been misguided and sputtered with no direction, vocalist John Lincoln Wright developed into a first-rate songwriter and a country singer with a purpose. Hearing his work on highly experimental tunes, like the title track or the impressionistic "May I Light Your Cigarette?," is true culture shock. "The Clown's Overture" seems pointless, yet "Angus of Aberdeen" is inspired and a bright spot in the morass that was the Bosstown Sound. The rave-up version of "Blue Suede Shoes" is great, the guitar funneled through effects and brimming with excitement. Therein lies the problem with this album and this group.
The most structured piece is a Carl Perkins cover, while "A Not Very August Afternoon" feels like a song wanting to belong to some hippie movie that was never made. Where the Chocolate Watchband rocked with authority, the Beacon Street Union are feeling their way through the times, the business, and their music. "Now I Taste the Tears" is some jazz-folk piece gone psychedelic. It is dramatic and creative, but misses the mark. "Baby Please Don't Go" takes the pluses and minuses and stretches them past 16 minutes. This is not "Sister Ray," the explosive grunge invention that thrust the Velvet Underground into the Rock & Roll Hall of Fame, nor is it the decadence of the Doors' "The End." It's a jam trying to be something more. While the Fifth Estate delivered a tremendous album of well-crafted pop and Moulty & the Barbarians delivered two striking hit singles, the very talented crew who were the Beacon Street Union needed a little more time in the incubator. Producer Wes Farrell should have nudged them into a more commercial direction and brought more accessible material to their attention. John Lincoln Wright is a major talent, and had he the right direction this early in his career who knows what kind of chart action he could have enjoyed. The tragedy of The Clown Died in Marvin Gardens is that it could have been so much more.

original members were:
John Lincoln Wright (vocals, percussion)
Paul Tartachny (guitar, vocals)
Wayne Ulaky (bass, vocals)
Robert Rhodes (keyboards, bass)
Richard Weisberg (drums)

01. My Love Is
02. Beautiful Delilah
03. Sportin' Life
04. Four Hundred and Five
05. Mystic Morning
06. Sadie Said No
07. Speed Kills
08. Blue Avenue
09. South End Incident (I'm Afraid)
10. Green Destroys the Gold
11. Prophet
12. Clown Died in Marvin Gardens
13. Clown's Overture
14. Angus of Aberdeen
15. Blue Suede Shoes
6. A Not Very August Afternoon
17. Now I Taste the Tears
18. May I Light Your Cigarette
19. Baby Please Don't Go

Part 1:
Part 2:
Download entire (um só arquivo)

quarta-feira, 23 de abril de 2008

Comus - First Utterance (1971 UK Folk Prog Psych)

"Enquanto a maior parte dos fãs do folk inglês se contenta com os álbuns da Incredible String Band e Fairport Convention, os ávidos colecionadores de vinil se deliciam com preciosidades como o álbum de estréia do Comus. Agora relançado em formato digital, resta saber quem está disposto a cruzar essa fronteira. Na época em que foi lançado, em 1971, as poucas críticas foram isentas, apenas pelo fato do disco ser assustador demais para os críticos. Compreensível. First Utterance exige muita disposição do ouvinte. Apesar de trazer elementos de acordo com o que vinha sendo feito no folk progressivo da época, First Utterance tem corais femininos assustadores, violinos, flautas e percussão tribal, enquanto fala sobre temas como estupro, tortura e loucura. Os vocais masculinos são extremamente perturbados, ganhando mais dramaticidade quando contrapostos com as vozes do coro, que vão do angelical ao aterrorizante em questão de segundos. Repulsivo em alguns momentos, mas completamente cativante."

Another of this year's reformations/comebacks, and one that I've found most surprising is undoubtedly that of Comus. Formed in 1971 by Roger Wootton, Comus were a progressive rock/folk band who many claim can be seen as a primary influence on today's freak-folk and apocalyptic folk genres. Though they only released two albums, 71's utterly classic First Utterance and 74's lesser but very much underrated To Keep From Crying, these records are so undeniably exciting that it's been inevitable that they would soon get the acclaim they deserve.
If you haven't heard them, nothing can quite prepare you for the utterly insane genre mixing they were doing at the time they were doing it. Progressive rock, drone, noise, and traditional folk combine to create a noise that's really unlike anything else at the time, and it's no wonder that folkies then didn't know what to do with them. There's even a bit of the second record that sounds like Animal Collective!i Overlapping male and female vocals are sometimes almost comically demonic, at other times beautifully sweet. Think The Incredible String Band led by Genesis P-Orridge and you're only half way there. Probably the most obvious modern followers of Comus would be David Tibet's Current 93, and indeed Tibet covered the Comus classic Diane on 1990's Horse. Sweden's fabulous Opeth have also reused lyrics from Comus on their own albums.

The band split after their second album bombed, and all has been quiet since then, as the album slowly reached more people, grew something of a mini cult around itself and was reissued. Lead man Roger Wootton's mental problems were first documented on First Utterance track The Prisoner, and indeed he's reportedly been in and out of mental hospitals for much of his life. This makes it all the more surprising that he has apparently been let out of the mental hospital he lives in (or has been committed to, i'm not sure on this) in order to reform Comus for an appearance next March at the Mellotronen festival, where they'll be performing along with Opeth, Leaf Hound and many other such excellent types. Whats even better is that it takes place on a cruise ship, and is called the 21st Anniversary Schizoid Boat (as its the ubergood Mellotronen label/promoter/store's anniversary). Good for them. How i'd kill to be able to afford to go to this.

Glen Goring / 6-12 acoustic guitar, electric guitar, slide, hand drums, vocals
Andy Hellaby / fender bass, slide bass, vocals
Colin Pearson / violin, viola
Roger Wootton / acoustic guitar, lead vocals
Rob Young / flute, oboe, hand drums
Bobbie Watson / vocals, percussion
1. Diana (4:37)
2. The Herald (12:12)
3. Drip Drip (10:54)
4. Song to Comus (7:30)
5. The Bite (5:26)
6. Bitten (2:15)
7. The Prisoner (6:14)

Links para Download

terça-feira, 22 de abril de 2008

Atomic Rooster - In Hearing Of (1971 UK Rock Prog)

ESTE VENENO É PODEROSO E TRATA-SE DE UM BELO DISCO DE ROCK N'ROLL PROGRESSIVO PRODUZIDA POR ESTA BANDA BRITÂNICA FORMADA EM 1969 PELOS EX-INTEGRANTES DA BANDA MALUCA "THE CRAZY WORLD OF ARTHUR BROWN", VINCENT CRANE E CARL PALMER, ESTE ÚLTIMO FUTURO INTEGRANTE DA BANDA "EMERSON, LAKE & PALMER"!! O SOM DO ATOMIC ROOSTER É UM PETARDO!! TECLADOS TRABALHAM A MIL NUM EXCELENTE, BOM E VELHO ROCK N'ROLL!!

HISTÓRIA RESUMIDA:

Atomic Rooster foi uma banda de Rock Progressivo britânica formada pelos ex-integrantes da banda de Arthur Brown (Crazy World of Arthur Brown), Vincent Crane e Carl Palmer em 1969. Seus únicos singles de sucesso foram lançados em 1971 com "Tomorrow Night" e "The Devil s Answer".Em 1970 a banda, que na época contava com (Vincent Crane e Carl Palmer), lançou o auto intitulado álbum de estréia. Entre a partida de Palmer para o Emerson, Lake & Palmer e a gravação do segundo álbum, o guitarrista John Cann entrou na banda, dando nova dimensão a sua música com um distinto som de guitarra que Cann proporionava. O álbum Death Walks Behind You ainda contava com Paul Hammond na bateria.
Após o sucesso comercial, a banda contou com o vocalista Peter French em seu terceiro álbum In Hearing Of Atomic Rooster. Após esse álbum, Cann, Hammond e French deixaram a banda. Peter French se uniu ao Cactus, enquanto John Cann e Paul Hammond se reuniram com o ex-baixista do Quatermass John Gustafson para fundar o Hard Stuff. Vincent Crane reformulou a banda com o ex-vocalista do Colosseum Chris Farlowe, Johnny Mandala e Ric Parnell, a fim de gravar e lançar Made in England. A mesma formação ainda lançou, Nice n Greasy, já com uma nova direção no som, para tristeza dos fãs mais tradicionaisA banda parou temporariamente até o início da década de 1980, quando Vincent Crane e John Ducann reuniram-se novamente para novos trabalhos.

1. Breakthrough
2. Break The Ice
3. Decision Indecision
4. A Spoonful Of Bromide
5. Black Snake
6. Head In The Sky
7. Rock
8. Prince
9. Devils Answer (US Version) (Bonus Track)
10. Breakthrough (BBC In Concert) (Bonus Track)
11. A Spoonful Of Bromide (BBC In Concert) (Bonus Track)

Size: 109 MbBitrate: 256 mp3Artwork Included
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segunda-feira, 21 de abril de 2008

Dragonwyck - Dragonwyck (Very Good US Psychedelia 1968-70)


ESTE DISCO É UMA COLETÂNEA DE VÁRIOS DEMOS ENTRE 1968 A 1970!! CONTÉM SETE FAIXAS DO ALBUM DE DEMONSTRAÇÃO GRAVADO EM 1970 COM PRODUÇÃO DE APENAS 85 CÓPIAS!! AQUI NÓS TEMOS AINDA MAIS CINCO MÚSICAS DE UMA SESSION DE 1968 EM ESTÚDIO QUE RENDEU UM PRÉ LP 45 DA BANDA LANÇADO PELO SELO SUNRISE!! É UMA MASTERTAPE QUE PARECIA ESTAR PERDIDA E FOI MAGNIFICAMENTE RECUPERADA!! O GRUPO É DE CLEVELAND E A SONORIDADE DOS CARAS COMBINA ELEMENTOS DA PSICODELIA BRITÁNICA E AMERICANA COM TONS DO HEAVY METAL!! O CLIMA DAS CANÇÕES É OBSCURO E MÍSTICO FORTEMENTE INFLUENCIADO PELO ÁLCOOL E ALUCINÓGENOS TÍPICOS DA ÉPOCA HIPPIE!!! O SOM É DOMINADO PELA GUITARRA, ORGAN HAMMOND B3, MOOGS E MELLOTRONS!! UM VENENO RARO E RECOMENDADO A TODOS OS APRECIADORES DE UM BOM HARD PROG PSYCH!!!!

Five guys from Cleveland recorded 7 tracks, released a test pressing on Pama Records in 1970 as an edition of only 85 copies and created a milestone for all heavy/psychedelic music collectors. Their first album was released in 1970 for only 85 copies, as a demo LP.The Doors brought main inspiration to their music, with the difference; the songs are heavier and more progressive; the sound is dominated by great vocals, freaked out heavy guitar solos and swirling Hammond B3 organ.

The core of musicians started as Sunrise in 1968 and released one 45 record. This CD is from the mastertape which seemed to be lost, contains 5 bonus tracks (3 unreleased), a bio, cool original artwork and photos. Comes in a high quality digipack cover with an extra 8 page booklet.
A true lost masterpiece!

- Bill Pettijohn - vocals
- Tom Brehm - guitar
- Skip Foster - keyboards
- Pat Osines - bass
- Jeff Richards - bass
- Gary Sanger - drums

01. My Future Waits (Dragonwyck Recordings 1970) (5:41)
02. Ideas within You (Dragonwyck Recordings 1970) (1:01)
03. Fire Climbs (Dragonwyck Recordings 1970) (9:04)
04. Run To The Devil (Dragonwyck Recordings 1970) (3:57)
    http://youtu.be/W3REUjdlYVI
05. God´s Dream (Dragonwyck Recordings 1970) (4:43)
06. Ancient Child (Dragonwyck Recordings 1970) (4:59)
07. The Vision (Dragonwyck Recordings 1970) (2:34)

Bonus tracks remaster:
08. Fire Climbs (Sunrise Recordings 1968) (4:30)
09. Flowers Grow Free (Sunrise Recordings 1968) (3:14)
10. The Vision (Sunrise Recordings 1968) (7:05)
11. Anything I´d Give (Sunrise Recordings 1968) (3:14)
12. Ancient Child (Sunrise Recordings 1968) (4:52)

FREETEXT

Nirvana - Local Anaesthetic (1971 UK Prog Rock)


CALMA AMIGOS, NÃO É A BANDA DO KURT COBAIN, ESTA É DOS ANOS 60-70 E PRODUZIRAM VENENOS NESQUECÍVEIS!! SÃO APENAS DUAS FAIXAS EM QUE HÁ VARIAÇÕES DE ESTILOS E RITMOS!! PROGRESSIVO DE PRIMEIRA LINHA!! UM BOM E RARO VENENO!!


Another great Keef cover-shot! A lady and a child all in white and grey in a spooky room all white and grey, a desolate piece of a garden peeps in. Inside the lady and the child are absent. Trough one of the windows Nirvanas Patrick Campbell-Lyons is looking in. Released on Vertigo 1971.

'Local Anaesthetic' was first issued on Vertigo's 'swirl' imprint and contained two lengthy heavily orchestrated tracks that further enhance the bands reputation for producing striking and innovative work. Nirvana was a minor cult band famous for their catchy psychedelic pop songs, but in this album (their last album), the only member left(Patrick Campbell-Lyons) produced this truly progressive rock album.

Tracklist:
1. Modus Operandi (16:15)
2. Home (19:12)

https://www.mediafire.com/?4l089c612f5d37r

WALTER FRANCO - Revolver [1976 Brazilian Psych Rock]

MAIS UM VENENO DO VELHO WALTER FRANCO QUE É MUITO PROCURADO PELO MUNDO TODO!! UM BOM DISCO!!

Este disco que é considerado por muitos a obra prima de Walter Franco, "Revolver", lançado em 1976 (Não é Revólver, pois no princípio era o verbo, comenta Walter). Um disco com um acento instrumental mais próximo ao rock, com guitarras e efeitos de estúdio muito elaborados. Na capa, Walter Franco em diagonal, todo de branco, como Lennon em "Abbey Road". Na contracapa, em braile, a palavra "Sim".

Neste disco há canções fortes como "Feito Gente" e delicadas como "Cachorro Babucho" , além de uma pequena citação ao episódio "Muito Tudo". Uma faixa de dez segundos onde Walter de acompanha ao violão: "Apesar de tudo, é muito leve...". Segundo Lívio Tragtenberg, "um disco extremamente moderno até hoje, cada canção tem uma moldura sonora própria, Walter não se prende a nenhum estilo de arranjo, está sempre buscando uma sonoridade diferente".

1- Feito Gente
2- Eternamente
3- Mamãe D´água
4- Partir do Alto / Animal Sentimental
5- 1 Pensamento
6- Toque Frágil
7- Nothing
8- Arte e Manha
9- Apesar de Tudo é Muito Leve
10- Cachorro Babucho
11- Bumbo do Mundo
12- Pirâmides
13- Cena Maravilhosa
14- Revolver

Download aqui
http://www.mediafire.com/download/uydao1aok6aqts1/Walter-Revolver-Venenos.rar

Arnaldo Dias Baptista - Loki [1974 Brazilian Rock Prog Psych]

EX-MEMBRO DOS MUTANTES E UM DOS 10 MAIS MALUCOS DO BRASIL LANÇOU ESTE VENENASSO EM 1974!! O NOME DO DISCO NÃO PODERIA SER MAIS APROPRIADO: "LOKI"!! É COISA DE LÓKI MESMO!! ESTE DISCO E O TEXTO ABAIXO É CORTESIA DO BOM BLOG NACIONAL SOM BARATO, CUJO LINK DISPONIBILIZO AO FINAL DESTA POSTAGEM!! VALEU!!

Jean-Luc Godard, depois de experimentar várias radicalidades, demarcou o território impossível de um artista: “Ninguém faz duas revoluções”, e concluiu: “Ainda bem”.Era como se mandasse um recado e predestinasse uma outra voz para a esfinge, em forma de eufemismo, de paradoxo, de axioma.João Gilberto fez a revolução bossanovística; Oswald de Andrade, o pau-brasil/antropófago; Hélio Oticica, os parangolés do experimentar o experimental.

Com a Tropicália, que, antes de estabelecer plenamente, foi “abortada”, pelo AI-5 e suas seqüelas, talvez a maldição godardiana foi diferente, cada tropicalista seguiu seu rumo.Com os Mutantes, não foi diferente. Arnaldo Baptista – Rita Lee & Sérgio Dias escreveram parábolas dentro e a partir de parábolas. Viveram suas possibilidades coletivas, paralelas e individuais.Arnaldo, na musicografia tropicalista e na própria música brasileira, é o artista que saques produziu para quebrar a maldição godardiana. Depois de ser o motor dos Mutantes.

Depois de produzir os primeiros álbuns solos de Rita Lee _ Bluid up, 1970 e Hoje é o primeiro dia do resto da sua vida, de 1972. Depois de ir e vir. E partir para a carreira solo. Levou o conceito de radicalização ao extremo. Seu primeiro álbum-solo: Lóki? (Philips, 1974), é, até hoje, o disco mais visceralmente revolucionário da música brasileira . Com um instrumental mínimo – teclado (Arnaldo), contrabaixo (Liminha), bateria (Dinho) e backing-vocals (Rita Lee) – (o último encontro dos Mutantes), Lóki?, em dez canções, passa a limpo toda a era do rock and roll e o que poderia ter sido uma tropicália lisérgica. Sem dúvida, o melhor elenco de canções incluídas em um único álbum.O formato do álbum é conceituado. Os dois lados do disco abrem com canções chaves. O lado A com “Será que vou virar bolor” e o lado B “Ce ta pensando que sou Lóki?”. Ambas trazem as inquietações pós-Mutantes de Arnaldo. Qual o futuro? O esquecimento? (Bolor) ou A loucura? (Lóki?).

As outras oito canções vão respondendo, cada uma, de uma forma e de um ponto-de-vista. A minimalista canção final “È fácil”, responde com uma melodia supertrabalhada e uma miniletra: nem o esquecimento nem a loucura, mas a genialidade da música. É fácil!As outras canções são: “Uma pessoa só”, única faixa herdada dos Mutantes, da época do A e o Z.

Canção utópica que aponta para a plenitude da convivência humana, em um único corpo e em um único projeto de vida.“Não estou nem ai” é a antítese de “Uma pessoa só”, o antípoda que nega os projetos utópicos e enfrenta o mundo material, o instant karma da vida cotidiana.
Continuando, a quarta canção do lado A é “Vou me afundar na lingerie” é a terceira possibilidade, nem o mundo utópico, nem a dureza da vida cotidiana, mas o hedoismo, o ócio, a prequiça como destruidores das opressões e barras-pesadas.Fechando o lado A, a instrumental “Honky tonky”, com apenas Arnaldo no piano, em um misto de boogie woogie e levada trans-stoneana, trans-“Honky tonky woman”.O lado B, depois de “Ce ta pensando que sou Lóki?”, traz “Desculpe”,uma releitura de “Desculpe, babe”, de Arnaldo Baptista & Rita Lee , do álbum A divina comédia ou ando meio desligado, dos Mutantes de 1969.
É uma outra resposta para o impasse: esquecimento/ bolor/ lóki/ loucura. O “amor” como a grande questão. O dizer sim ou não. Perdoar ou não. Seguir em frente.A terceira canção “Navegar de novo” é uma resposta concisa. É o bola pra frente”, “o enfrentar as intempéries” e “seguir”.A Cançao sequinte “Te amo podes crer” é, talvez, a obra-prima das canções de amor do rock brasileiro. Em dois minutos e cinqüenta segundos, Arnaldo faz um tratado das dores de amores, um Werther, um Tristão e Isolda, um Romeu e Julieta com piano, sintetizador, contrabaixo elétrico e bateria.Fechando, a chave-de-ouro de “É fácil”. E o conceito faz clique e se completa.

Na era do CD, algumas informações se perdem, mas uma que, no vinil, fazia muito sentido ainda vale ser comentada. Os dois lados do disco (A e B) trazem exatamente 16 minutos e 50 segundos, nem um nem dois segundos a mais ou a menos. E no rodapé da ficha técnica, uma única nota: “Este disco é para ser ouvido em alto volume”. Aumentar o volume não só do aparelho, mas do rock e das emoções primitivas de cada um. (Marcelo Dolabela - bhz out/nov 1999).

Faixas:
1-Será Que Eu Vou Virar Bolor?
2-Uma Pessôa Só
3-Não Estou Nem Aí
4-Vou Me Afundar Na Lingerie
5-Honky Tonky
6-Cê Tá Pensando Que Eu Sou Loki?
7-Desculpe
8-Navegar de Nôvo
9-Te Amo Podes Crer
10-É Fácil

Rubinho e Mauro Assumpção - Perfeitamente, Justamente Quando Cheguei (1972 Brazilian Rock Psych)

AMIGOS CONSUMIDORES CERTAMENTE ESTE É MAIS UM DOS GRANDES VENENOS BRASILEIROS DOS ANOS 70!! PSICODELIA LEGAL E NACIONAL!!

Grupo de rock formado por Mauro Assumpção (voz), Rubinho (violão e teclados), Marcelo (baixo), Gegê (bateria), Hermes (percussão), Formiga (piston) e Darci (piston) na cidade do Rio de Janeiro no início da década de 1970. Fazia um rock no estilo psicodélico, nos moldes das bandas californianas da década de 1960. Conjunto de curta duração, lançou apenas um LP pelo selo Tapecar em 1972.

Faixas:
01. A Montanha
02. Bloco da Visão
03. Os Olhos
04. Sozinho Não Estou
05. Dobra a Esquina Para Ver o Sol
06. Debandada Geral
07. Quero Companheira
08. Você Falou
09. Qualé a Sua
10. Pé Na Estrada
11. Tá Tudo Aí
12. No Mundo da Lua
13. Quando Cheguei

Donwload

domingo, 20 de abril de 2008

Som Nosso de Cada Dia - Snegs (1974 Brazilian Prog)

BOM VENENO NACIONAL!! ROCK PROGRESSICO COM PITADAS PSICODÉLICAS!!

Formado nos anos 70 em São Paulo, o grupo adotou o estilo rock progressivo, com elementos de psicodelismo. Com integrantes diversos (Manito, Pedrinho, Marcinha, Egídio, Dino Vicente, Rangel), atuou como trio na maior parte do tempo. Um deles, o virtuoso Manito, fazia parte nos anos 60 da banda Os Incríveis, uma das mais populares da Jovem Guarda. O primeiro dos dois discos lançados pela banda é o mais famoso. "Sneg", de 1974, é considerado um dos clássicos do rock brasileiro dos anos 70.
O Som Nosso de Cada Dia inicialmente Cabala, era formado por: Pedrão (contrabaixo, viola e vocal), Pedrinho (bateria e vocal) e pelo virtuoso Manito (órgão Hammond, Mini Moog, piano, violino, flauta, e sax). Além dos músicos, a banda tinha como letrista o poeta Paulinho Mastrote Machado, que assinava suas colaborações com a banda sob o pseudônimo de "Capitão Fuguete", uma vez que na época trabalhava na Editora Abril, situação essa que impedia sua vinculação com bandas de rock. A banda pode ser considerada a primeira banda a fazer rock progressivo no Brasil, uma vez que esse novo estilo que começava a dominar o cenário externo ainda era uma novidade por aqui.
Como o Brasil vivia sob um forte clima de repressão imposto pelo regime militar, a banda enfrentou sérios problemas com a censura, sofrendo patrulhamento ideológico, sendo freqüente a presença da polícia federal em seus ensaios e shows, uma vez que eram considerados um grupo de postura contestatória e subversiva. A barra começou a pesar cada vez mais. A primeira apresentação da banda aconteceu no show organizado pela TV Bandeirantes, seguindo-se a esse participações no "Kohoutek Festival" em 1973.No mesmo ano, a banda grava em apenas sete dias o lendário álbum Snegs, considerado por muitos como sendo o melhor disco de rock progressivo já lançado por uma banda brasileira.
Tudo isso se deve ao altíssimo nível técnico dos músicos, bem como pelas belíssimas e complexas composições, aliadas às letras ao mesmo tempo poéticas e densas, de conteúdo filosófico, existencialista e contestatório, convidando as pessoas a pensar e se rebelar contra a repressão política e a alienação mental impostas pelo governo e pela mídia. O disco contém verdadeiros hinos, como "Sinal da Paranóia", "Bicho do mato", "Snegs de Biufrais" e "Massavilha", soando de maneira geral como um encontro do Emerson Lake & Palmer com Clube da Esquina. Após o lançamento de Snegs em 1974, a banda é convidada a abrir os shows da primeira grande turnê internacional a passar pelo Brasil: Alice Cooper.
Os shows da banda são tão impactantes que era comum ouvir gritos para que a banda voltasse ao palco durante todo o show de Alice Cooper! Apesar de todas essas coisas boas rolando, no ano seguinte o tecladista Manito resolve sair, indo substituir Arnaldo Batista nos Mutantes, mas acaba permanecendo pouco tempo com eles. A banda prossegue, sendo que, no ano de 1976 lançam o disco Sábado/Domingo, que tem o lado A voltado para black music, e no B sua sonoridade característica, devido a pressões da gravadora. Apesar dessa concessão, podemos ver que a banda mostra uma competência ímpar até mesmo quando é obrigada a tocar um estilo completamente diferente do progressivo que a consagrara.
Logo após do lançamento de um compacto com as músicas "Black Rio" e "Identificação", a banda se separa em 1977. Após anos tocando com vários artistas brasileiros de renome, os músicos do SNCD voltam a se reunir em 1994 para uma série de shows comemorativos. Pouco tempo depois vem a falecer o baterista Pedrinho.

01. Sinal da paranóia - (Cimara - Pedrão)
02. Bicho do mato - (Gastão Lamounier Neto)
03. O som nosso de cada dia - (Paulinho - Pedrão)
04. Snegs de Biufrais - (Paulinho - Pedrão)
05. Massavilha - (Paulinho - Pedrão)
06. Direccion de Aquarius - (Paulinho - Pedrão)
07. A outra face - (Pedrão - Pedrinho)
08. O Guarany (Bônus)

Fazer o download de Som Nosso de Cada Dia - Snegs (1974).

The United States Of America - Selftitled (Rare US Psychedelia 1967)

DISCO RARO E UM BOM VENENO AMERICANO!! BANDA DE GARAGEIRA E PSICODÉLICA!!

Despite releasing only one LP, the United States of America was among the most revolutionary bands of the late '60s — grounded equally in psychedelia and the avant-garde, their music eschewed guitars in favor of strings, keyboards and haunting electronics, predating the ambient pop of the modern era by several decades. The United States of America was led by composer and keyboardist Joseph Byrd, a Kentucky native raised in Tucson, Arizona; there he appeared with a series of rock and country bands while attending high school, subsequently playing vibes in a jazz outfit as a student at the University of Arizona.
Despite winning a fellowship to study music at Stanford, Byrd instead relocated to New York, intrigued by the avant-garde experiments emerging from the city's downtown music scene; there he began earning international notoriety for his own compositions, at the same time working as a conductor, arranger, associate producer and assistant to critic Virgil Thomson.

Byrd eventually returned to the west coast, accepting an assistant teaching position at UCLA and moving into a beachfront commune populated by a group of grad students, artists and Indian musicians. He soon began studying acoustics, psychology and Indian music, but quickly turned back to experimental composition, leaving the university in the summer of 1967 to write music full-time and produce "happenings." To perform his new songs — material inspired in no small part by the psychedelic sounds produced during the Summer of Love — Byrd recruited a group of UCLA students (vocalist Dorothy Moskowitz, bassist Rand Forbes, electric violinist Gordon Marron and drummer Craig Woodson) to form the United States of America; the group's lone self-titled LP, produced by David Rubinson, was recorded for CBS in 1968, its unique ambience due largely to their pioneering use of the ring modulator, a primitive synthesizer later popularized by the Krautrock sound.

The subject of critical acclaim, the album spent over two months in the lower regions of the Billboard charts; still, the United States of America disbanded soon after, with Byrd resurfacing in 1969 with The American Metaphysical Circus, credited to Joe Byrd and the Field Hippies, a group of a dozen musicians including vocalists Susan de Lange, Victoria Bond and Christie Thompson. A critical and commercial failure, the LP was his last until 1975, at which time he released Yankee Transcendoodle, a collection of synthesizer pieces. Three years later Byrd also produced Ry Cooder's Jazz album, and in 1980 he issued another synthesizer record, Christmas Yet to Come. He additionally wrote for films, television and advertising jingles. Fellow United States of America alum Dorothy Moskowitz, meanwhile, later resurfaced in Country Joe McDonald's All-Star Band, with the remaining members of the group essentially disappearing from the contemporary music scene.

Track Listings:
01. The American Metaphysical Circus
02. Hard Coming Love
03. Cloud Song
04. The Garden Of Earthly Delights
05. I Won’t Leave My Wooden-Wife For You, Sugar
06. Where Is Yesterday
07. Coming Down
08. Love Song For The Dead Ché
09. Stranded
10. In Time
11. The American Way Of Love
12. Osamu's Birthday (originally unissued)
13. No Love To Give (originally unissued)
14. I Won't Leave My Wooden Wife For You, Sugar (alt. vers., previously unissued)
15. You Can't Ever Come Down (previously unissued)
16. Perry Pier (previously unissued)
17. Tailor Man (previously unissued demo recording)
18. Do You Follow Me (previously unissued)
19. The American Metaphysical Circus (previously unissued Columbia Records audition recording)
20. Mouse (The Garden Of Earthly Delights) (previously unissued Columbia Records audition recording)
21. Heresy (Coming Down) (previously unissued Columbia Records audition recording)

Part 1:
Part 2:

Walter Franco - Ou Não (1973 Brasil Psych Prog)

ESTE VENENO BRASILEIRO É UM DOS MELHORES EM MATÉRIA DE PSICODELIA E ROCK NACIONAL. BELO DISCO E MOSTRA QUE NO BRASIL TAMBÉM SE FABRICAVA BONS VENENOS. WALTER FRANCO FICOU CONHECIDO NA MÍDIA PELA MÚSICA VELA ABERTA. FORA ISSO, PRODUZIU MUITA MALUQUICE!!

Quando Walter Franco apareceu, de "Cabeça" na música popular brasileira, quase não tinha antecedentes. Nem os protagonistas da Tropicália tinham ido tão longe. Era música concreta "in concreto". Foi no Festival da Globo de 1972. E sua bravura mobilizou a intervenção de gente como Décio Pignatari, Rogério Duprat e Julio Medaglia, integrantes do júri que foi destituído pela direção -- porque ousou indicar o nome de Walter como vencedor do Festival. "Cabeça" e "Me Deixe Mudo" -- a explosão da letra em estilhaços de poesia e a sua implosão nos ecos do silêncio -- composições que, como eu disse em meu "Balanço", racharam a cabeça da música popular, estão no primeiro LP de Walter o disco branco "Ou Não", gravado em fins de 1972 e editado no ano seguinte.

De bate-pronto, Caetano respondia com "Araçá Azul",a sua aventura radical, e essa foi talvez a mais bela conversa de guerrilhas jamais travada no âmbito da nossa música popular de invenção bombas cruzadas de bahia e sampa, poema e samba. "Revolver" continuou a antitradição de "Ou Não" com as explosões/implosões dos seus mantras, do primal "feito gente" ao quase mudo "e(ter)na(mente)". Walter seguiu adiante com "Vela Aberta". Mas, minado pela mediocridade da mídia, seu caminhar se fez mais secreto. Seus novos riscos quase não foram vistos pelo público. Um dia ele escreveu o poema certo: "o ab(surdo) não h(ouve)".

01 Serra Do Luar – Walter Franco – (Walter Franco) (3:47)
02 Mixturação – Walter Franco – (Walter Franco) (6:56)
03 Água E Sal – Walter Franco – (Walter Franco) (0:40)
04 No Fundo Do Poço – Walter Franco – (Walter Franco) (4:33)
05 Pátio Dos Loucos – Walter Franco – (Walter Franco) (2:31)
06 Flexa – Walter Franco – (Walter Franco) (3:20)
07 Me Deixe Mudo – Walter Franco – (Walter Franco) (6:42)
08 Xaxados E Perdidos – Walter Franco – (Walter Franco) (3:22)
09 Doido De Fazê Dó – Walter Franco – (Walter Franco) (0:30)
10 Vão Da Boca – Walter Franco – (Walter Franco) (3:04)
11 Cabeça – Walter Franco – (Walter Franco) (4:51)

sábado, 19 de abril de 2008

Pete Brown & The Piblokto - Things May Come... (UK Progressive 1970)

It has to hurt to be dumped from the band you lead, but that's what happened to Pete Brown with the Battered Ornaments -- and to add insult to injury, right on the eve of a prestigious support slot opening for the Rolling Stones at London's Hyde Park in 1969. But Brown, already an acclaimed poet who'd penned many of the lyrics for Cream, dusted himself off and founded Piblokto! This, their first album, was actually far more accessible and commercial than his work with the Battered Ornaments.
The inventive title track percolates, and "High Flying Electric Bird" (which was the B-side of the band's first single) features Brown on the highly unusual rock & roll slide whistle, mimicking a birdsong. But it's "Golden Country Kingdom" that's the highlight; long and involved, it's a wonderful and highly affecting piece of prog rock that stands as the best thing Piblokto! ever put on tape. It stands as a contrast to the more laid-back "Firesong," although "My Love's Gone Far Away" offers a more soulful organ sound. The odd choices are from the bonus tracks, which date from a single issued by a later lineup of the band, although it's pleasant to hear the driving "Flying Hero Sandwich" again, and its flip, "My Last Band." It's quite a mystery why "Living Life Backwards," this incarnation's debut single, isn't included.

Following his shock sacking as leader of The Battered Ornaments on the eve of their prestigious support slot at The Rolling Stones' Hyde Park concert, vocalist and one-time Cream lyricist Pete Brown set about forming a new band, Piblokto! Retaining the services of Battered Ornaments' drummer Rob Tait, he recruited Scottish guitarist Jim Mullen, bassist Roger Bunn and organist Dave Thompson and released the single "Living Life Backwards"/"High Flying Electric Bird" (HAR5008).
This was followed in mid-1970 by the LP, "Things May Come And Things May Go But The Art School Dance Goes On Forever" (SHVL 768), an album that to this day is regarded as one of the finest of the progressive era. A lot more commercial than the LP he made with the Battered Ornaments ("A Meal You Can Shake Hands With In The Dark"), it nonetheless was a varied work containing jazz-tinged rock alongside laid-back folk melodies and all augmented by Brown's witty, questioning and poetic lyrics.

By the time of Piblokto's second single, "Can't Get Off The Planet"/"Broken Magic" (HAR 5023), Roger Bunn had left to pursue a solo career (he released the LP, "Piece Of Mind", in 1971) and had been replaced by Steve Glover. It was this line up that also recorded the LP, "Thousands On A Raft" (SHVL 782), which came with a highly original sleeve depicting both Concorde and Titanic sinking into the sea whilst rafts of toast helped thousands of baked beans to escape! However, shortly after the LP's release, Brown broke up the band to create a new look Piblokto! This featured ex-Eyes Of Blue members Phil Ryan (keyboards) and 'Pugwash' Weathers (drums) plus guitarist Brian Breeze and bassist Steve Glover who remained from the second LP's line-up. This version of Piblokto!, however, made only one single, "Flying Hero Sandwich"/"My Last Band" before Brown disbanded the unit altogether.

Of the original Piblokto! line-up, Jim Mullen made the most impression on the music scene working with the likes of Brian Auger, Vinegar Joe, Average White Band, Kokomo, Georgie Fame and Chris Rea before forming the Morrissey-Mullen Band, one of the pioneers of jazz-rock fusion. Rob Tait also worked with Vinegar Joe as well as Dick Heckstall Smith and Gong. Pete Brown formed a band with Graham Bond releasing 1972's "Two Heads Are Better Than One" LP, followed by a spoken word album, "The Not Forgotten Association", in 1973. He also continued his writing partnership with Jack Bruce as well as contributing to film and musical scores.

01. Things May Come and Things May Go, But the Art School Dance Goes ...
02. High Flying Electric Bird
03. Someone Like You
04. Walk for Charity, Run for Money
05. Then I Must Go and Can I Keep
06. My Love Is Gone Far Away
07. Golden Country Kingdom
08. Firesong
09. Country Morning
10. Flying Hero Sandwich [Single A-Side]
11. My Last Band (Single B-Side)
or

Saturnalia - Magical Love (UK Psychedelic Underground Rock 1969)

BANDA INGLESA E QUE TINHA NESTE DISCO A PRODUÇÃO DE KEITH RELF DOS YARDBIRDS!! COM INFLUÊNCIAS NOTÓRIAS DAS BANDAS AMERICANAS DA ÁREA "WEST COAST", LEIA-SE REGIÃO DE SAN FRANCISCO, PRODUZIA UM SOM PROGRESSIVO PSICODÉLICO COM ALGUMAS FAIXAS CONTENDO EXCELENTE VOCAL FEMININO E UM TRABALHO PRIMOROSO DE GUITARRA BASE!! BOM DISCO!!

Produced by Keith Relf of the Yardbirds, Saturnalia made their 1969 debut with this beautiful picture disc, which has since become a collector's item among fans of the genre. For this release Akarma has attempted to remain as faithful as possible to the original packaging (picture disc format with booklet including photos & extensive band bio.) & the result is this exceptional reissue.
Featuring the beautiful Aletta & Adrian Hawkind on vocals & Rod Roach on guitar. Hawking & Roach were previously together in Horse. An excellent product of the '70s British underground. Includes booklet. Miniature LP sleeve.

Famous on release in 1969 (and re-issue in 1973) for being one of the first picture disc albums, this UK album has stood the test of time well. A thoroughly competent slice of West Coast influenced progressive psychedelia with an occult edge, some excellent female vocals and searing lead guitar work.

Track Listings
01. Magical Love
02. She Brings Peace
03. And I Have Loved You
04. Winchester Town
05. Traitor
06. Soul Song
07. Princess And The Peasant Boy
08. Dreaming
09. Step Out Of Line
or

Peacepipe - Selftitled (Very Good US Heavy Psychedelia 1970)

BANDA NORTE AMERICANA PSICODÉLICA COM UMA GUITARRA ÁCIDA E DISTORCIDA E TECLADOS RODANDO A MIL!! VENENO MUITO LOUCO!!

Long awaited official reissue of this blistering late '60's US acid rock mind blower. Originally reissued on Rockadelic a few years back (one of the label's best known and rarest releases) here it is in digital glory with cool photos, detailed liner notes and bonus tracks.

Stunning tripped out guitar based psych with ripping acid wah-wah lead guitars, distortion, swirling keyboards and stoned lyrics. Turn it up to 13 and trip out. Fantastic!

01. Sea of Nightmares
02. Angel of Love
03. I Can Never Take Your Dreams Away
04. Carry on Together
05. Bikers Tune
06. Open Your Mind
07. Day the War Has Ended
08. Love Shines
09. Keep a Smilin' Cari
10. Sun Won't Shine Forever
11. Lazy River Blues

sexta-feira, 18 de abril de 2008

Q 65 - Afghanistan (Good Psychedelia From Holland 1970-71)

UM VERDADEIRO VENENO VINDO DA HOLANDA. E LÁ SE SABE QUE É TUDO LIBERADO!! OS CARAS USAVAM SAX, FLAUTA, HARMONICA E PRODUZIAM UMA PSICODELIA LEGAL!!

Based on sheer musical ability, the Q 65 deserved to be at least as well known as the Pretty Things or the Yardbirds. Indeed, the Dutch quintet could have held their own with either of those groups or the Animals without breaking a sweat, based on the recorded evidence, and they also had room for some of the more countrified blues evident in the work of the Downliners Sect.
Yet the Q 65 have remained one of Europe's best-kept star caliber musical secrets for more than 30 years. The Q 65 were Frank Nuyens (guitar, vocals, sax, flute, harmonica), Wim Bieler (vocals, harmonica), Peter Vink (bass), Joop Roelofs (guitar), and Jay Baar drums, who first got together in 1965, in the Hague. The city was known as "the Liverpool of the Netherlands," with a music scene that had been thriving since the end of the 1950s.

Instrumental groups, patterned after the sound of the Shadows had been very big at that time. Peter Vink and Jay Baar had been playing in a blues-based band called Leadbelly's Limited before they hooked up with Wim Bieler, Frank Nuyens, and Joop Roelofs to form the Q 65 in February of 1965. The group's professed influences were American soul acts like Sam & Dave, Wilson Pickett, and Otis Redding, yet somehow, when they performed, what they played came out closer in form and spirit to the likes of the Pretty Things, the Downliners Sect, and the Yardbirds than it did to any of those soul acts, at least at first. They landed a recording contract with Phonogram, a unit of Philips Records, late that year, and put on the Decca label. Their first single, "You 're the Victor," was released in February of 1966. This was a strange record for a band professing an admiration of Sam & Dave or Wilson Pickett, a frantically paced piece of punk-style blues-rock with an infectious Bo Diddley beat, screaming, raspy vocals, and a savage attack on their instruments. The single made No. 11 on the charts in Holland rode the bestseller lists for 13 weeks. The B-side, another original called "And Your Kind," was a more low-key, relaxed piece of blues-rock with slightly more of a soulful feel, but also some crunchy punk guitar.

In May of 1966, with the group now primed for success (including a full-time manager working for them), they released their second single, "The Life I Live." This was a more soulful record that built almost bolero-like in intensity. It was a good enough record to get Phonogram's management interested in promoting the group in England, which led to a publicity stunt that was not only a waste of time, but utterly foolish, sending the group to England by boat and having them come ashore in a rubber lifeboat, a though they'd come across the ocean that way. They were then supposed to play a gig, but as nobody had secured work permits, the group was only able to pose for photographs and press interviews before returning to the Netherlands. The Q 65 were greeted at the shore in Schevenning when they landed (again manning the lifeboat to land) by 30,000 fans, and ended up playing a gig right there at the pier. The band may not have done much for themselves in England, but they garnered a top 10 hit in the Netherlands.

With two successful singles under their belt, the group debut album, Revolution, followed in 1966. Revolution was a powerful blues-rock album that included a snarling rendition of Willie Dixon's "Down in the Bottom," a rendition of Dixon's "Spoonful" that boasted gloriously crunchy acoustic guitars behind a raspy vocal worthy of Howlin' Wolf himself, and a funky version of Allen Toussaint's "Get Out of My Life, Woman," and a handful of originals that were fully competitive with the covers. The highlight, however, was a riveting 14 minute version of Sonny Boy Williamson II's "Bring It On Home." The album sold 35000 copies, a respectable number in the Netherlands, and established group sufficiently to rate a spot playing with the Small Faces, the Spencer Davis Group, the Kinks, and the Pretty Things when they toured Holland.

During 1967, they didn't release any LPs, but did get a solid extended-play single out called Q Blues, which did well at home. Their music during this period reached what was arguably its peak--"Ain't That Lovin' You Babe" is a garage-punk classic worthy of the best American bands of the period, while their version of "Ramblin' On My Mind" thunders and surges with ferocious energy. They were unique in their approach, mixing the sounds of saxes and even an ocarina--an instrument virtually unknown in rock away from the Troggs--into country and Chicago-style blues. The group continued trying to make it as a blues-rock band for most of 1967. Their sound began to change late in the year, just as music was turning psychedelic, and around the time just before Wim Bieler was drafted into the army. His exit heralded the end of the Q 65's classic period. Nuyens, Baar, and Roelofs hooked up with Herman Brood (piano, vocals) and Henk Smitskamp (vocals, bass) to form a new, more psychedelic oriented outfit, which eventually evolved into a group called Circus, which lasted, in varying line-ups, for the year of 1968. Peter Vink, meanwhile, joined a group called Big Wheel, whose line-up included future Focus member Cyril Havermans. In 1969, a second Q 65 album was released, entitled Revival and made up of singles and latter-day tracks. The music was still powerful and very intense--perhaps too much so--if not as accessible. Had the line-up stayed intact, the group might even have found an audience. They still played well, even if it was experimental in nature (and what blues they played was more psychedelic than classic style). They might've given bands like the Creation a run for their money, but the Q 65 split up at just about this point. The Q 65 reformed in 1970 with Beer Klaasse on drums, and signed to Negram Records, staying together for one year and two LPs, Afghanistan and We Are Gonna Make It, which had a slightly more psychedelic orientation.

The Q 65's line-up changed during the early '70s as Nuyens exited to join Baar in a band called Rainman, while the Q 65 continued with a new line-up, featuring John Frederikz on vocals and Joop van Nimwegan on guitar. The original Q 65 reunited in 1980 and toured that year. The group continued in various configurations throughout the middle of the 1980's. Jay Baar passed away in 1990, but a version of the band, with Wim Bieler as leader, continued playing into 1990's. During the early 1970's, Dutch bands such as Ekseption (Holland's answer to The Nice) began getting a tiny bit of exposure in England and America, and in 1973, the floodgates fairly well opened, albeit briefly, with the chart-topping status of Focus. The Q 65 were around a little too early for their own good, in terms of finding any major exposure in England, much less America, but they were at least as worthy of being heard as any number of better known British bands of the period. ~ Bruce Eder, All Music Guide.

Frank Nuyens (guitar, vocals, sax, flute, harmonica)
Wim Bieler (vocals, harmonica)
Peter Vink (bass)
Joop Roelofs (guitar)
Jay Baar (drums)

01 Love Is Such a Good Thing
02 Injection
03 Baby Don't Worry
04 I'm Glad
05 Nobody Knows You When You're Down and Out
06 Please Come Back to Me
07 We Are Happy
08 I Gotta Move
09 There Was a Day
10 Don't Let Me Fall
11 Crumblin'
12 Night
13 Sexy Legs
14 I Just Can't Wait
15 We're Gonna Make It
16 Saddy
17 On the Highway/Graveyard Train
18 Rock 'N Roll Medley: Long Tall Sally, Whole Lot of Shakin', Jenny Jenny

Part 1:
Part 2:

quarta-feira, 16 de abril de 2008

Elonkorjuu - Harvest Time (1972 Finlandia Hard Prog)

Um super-grupo vindo da Finlândia, fazendo um som que vagueia entre o hard e o progressivo, claramente influenciado pelos primeiros trabalhos do Jethro Tull e pelo Led Zeppelin. Riffs nervosos, bateria quebrando tudo, teclados, flauta, vocais poderosos, enfim, pura ousadia e um grande trabalho instrumental. Destaco a faixa "The Ocean Song", com um espetacular solo de orgão. Mais um veneno mortal!!


Músicos :

Jukka Syrenius (guitarra)
Veli-Pekka Pessi (baixo)
Ilkka Poijarvi (guitarra, orgão e flauta)
Eero Rantasila (bateria)
Heikki Lajunen (vocais, guitarra, piano)

01 - Unfeeling

02 - Swords
03 - Captain
04 - Praise To Our Basement
05 - Future
06 - Hey Hunter
07 - The Ocean Song
08 - Old Man's Dream
09 - Me and My Friend
10 - A Little Rocket Song
11 - Where's the Rising Sun

Link Download
http://rapidshare.com/files/107454347/Elonkorjuu.Harvest_Time.71.Voo7177.rar

torrent para o álbum
http://www.torrentbox.com/download/109165/1972%20-%20Harvest%20Time.torrent

terça-feira, 15 de abril de 2008

East of Eden - Mercator Projected [1969 Rock Prog]

BOA BANDA FORMADA EM 1967 E QUE MISTURA UM BOM ROCK SETENTISTA COMO BASE MAS COM INFLUÊNCIAS PROGRESSIVAS MEIO JAZZ-FUZZION! OS CARAS USAM VIOLINO ELÉTRICO, FLAUTA, SAXOFONE E OUTROS INSTRUMENTOS TRADICIONAIS QUE DÃO A ESTE DISCO A ENTRADA NO MUNDO DOS BONS VENENOS!!

They where formed in 1967 and signed with DECCA RECORDS around the year 1969.


Their line-up included:
Dave Arbus (electric violin, flute, saxophone)
Ron Caines (alto sax)
Geoff Nicholson (guitar, vocals)
Steve York (bass guitar)
Dave Dufont (percussion).

Their sound is a mixture of jazz-fusion with many oriental influences.Excellent album where you get an outburst of electric violin, flute and saxes combined with Bela Bartok and other classical, oriental and even gypsie tunes always of course on a heavy rock basis.

01. Northern Hemisphere (5:03)
02. Isadora (4:19)
03. Waterways (7:00)
04. Centaur Woman (7:09)
05. Bathers (4:57)
06. Communion (4:02)
07. Moth (4:03)
08. In The Stable Of The Sphinx (8:20)

segunda-feira, 14 de abril de 2008

Denny King - Evil Wind Is Coming (Good US Bluesrock 1972)

EXCELENTE E RARO DISCO DE ESTILO PSYCHEDELIC HEAVY BLUES LANÇADO EM 1972 E QUE É INTEGRADO POR EX-COMPONENTES DA BANDA CAPTAIN BEEFHEART,. É BLUES PESADO E PSICODÉLICO!!

Excellent but rare psychedelic heavy blues album issued in 1972 by the late Denny King and B.O boogie band who featured Captain Beefheart's Magic Band's members Alex St. Claire (guitars) and Doug Moon (harp).

This album sounds so close to "Safe As Milk" era Beefheart it's spooky, with some furious guitars and sneaky slide along with howling harp and suitably loco crazy vocals. Great!

01. Evil Wind Is Blowing - 2.58
02. Bottle Blues - 2.58
03. Desert Sand - 3.46
04. Sunday Driver - 2.55
05. Boogie Man - 5.16
06. Bessie Mae - 3.10
07. Lucille - 3.09
08. Home Cooking - 4.03
09. Go Down Moses - 2.26
10. Putting Away The Blues - 2.24
or

sábado, 12 de abril de 2008

Magic Mixture - This is the Magic Mixture (1968 UK Psych Folk Rock)

MAIS UM EXCELENTE DISCO INGLÊS QUE MERECE ESTAR ENTRE OS BONS VENENOS DO ROCK!! MÁGICA MISTURA!!

Saga Records has got to be one of the most eclectic and collectable of the first flush of budget record labels that emerged in London in the 1960s. Its catalogue boasts everything from genuine spit and sawdust beardy-folk to prime psychedelia and back again via a good few dollops of Swinging London's best finery. The possibilities of finding an excellent record on the Saga imprint are equally as high as unearthing something utterly dreadful, and that is perhaps one of its greatest charms. Seeing the Saga label always makes you look twice at a record, and that's a good sign. (Saga Records: The Swinging Saga).

One of the rarest and most pricey Saga albums, the Magic Mixture LP is quite pleasing psychedelia in the style of early Soft Machine or the trippy side of Syd era Floyd - pumping electric organ all the way with searing bursts of fuzz guitar in the right places. While none of the tracks stand out as classics, it's not a bad effort at all and you can easily see why this record is much prized in psyche circles - 'Moonbeams' having cropped up as a bonus cut on one of the early Rubble series. However, the real peach is 'Motor Bike Song', and odd-ode to the iron horse, sung with tongue firmly in cheek in a cyderdelic accent, that pops up just in time to break up the all-too-serious freak-out. (written @ vinylvulture).

(I'm So) Sad
Urge To LeaveYou
Slowly The Day
New Man
Living On A Hill
It's Alright By Me
When I Was Young
Hey Little Girl
Tomorrow's Sun
Motor Bike Song
Moon Beams