PROGRAMA ROCK N' ROLL GOLDMINE

THE BLOG "VENENOS DO ROCK" IN THE RADIO!! ALL THE SUNDAYS!!

WHO LIKES IT MY BLOG AND GOOD MUSIC can listen to my program to live in radio UNIJUÍ FM. The name of the program is ROCK N' ROLL GOLDMINE. The best of the rock of years 60 and 70. Only Good Poisons.

HIGHLY RECOMMENDED MY RADIO PROGRAM "ROCK N' ROLL GOLDMINE"!! ALL THE SUNDAYS NIGHTS 8 HOURS OF THE NIGHT (8:00 PM) IN THE UNIJUI FM RADIO!! TO LISTEN IT GOES TO THE ADDRESS http://www.unijui.edu.br/ LINK UNIJUI FM AND LATER CLICK IN "OUÇA ON LINE"!!

VERY GOOD THE PROGRAM OF THE BLOG VENENOS DO ROCK!!

Prezados amigos envenenados:

Informo a vocês que quem gosta de boa música pode escutar o meu programa ao vivo na rádio UNIJUÍ FM. Neste programa que intitulei de ROCK N'ROLL GOLDMINE, mando bala no que há de melhor do rock fora dos padrões comerciais dos anos 60 e 70!!

Pra escutar o programa é só entrar no site http://www.unijui.edu.br/ clicar no link UNIJUI FM e aí é só clicar no link OUÇA ON LINE que está no canto superior direito do site!! O programa vai ao ar todos os domingos às 20 horas.

Um final de domingo com boa música aos envenenados do blog Venenos do Rock. É só escutar o ROCK N'ROLL GOLDMINE!!

Um abraço e espero que se liguem todos os domingos!!

Tangerine Zoo - Outside Looking In (1968 US Psychedelia)

MAIS UMA POSTAGEM DESTA BOA BANDA PSICODÉLICA DE BOSTON FORMADA EM 1967 COM O NOME DE "THE EBB TIDES" E POSTERIORMENTE MUDOU PARA "FLOWER POT"!! ÀS VÉSPERAS DE GRAVAR ESTE PRIMEIRO ALBUM EM 1968 )POSTADO ANTERIORMENTE) MUDARAM O NOME PARA "TANGERINE ZOO"!! OS CARAS FORAM CONVIDADOS PARA PARTICIPAR DO ETERNO FESTIVAL DE WOODSTOCK, PORÉM, INFELIZMENTE MESMO, NÃO PUDERAM COMPARECER DEVIDO A COMPROMISSOS E SHOWS AGENDADOS ANTERIORMENTE AO CONVITE!! PERDEMOS TODOS NÓS!! EXCELENTE E RARO VENENO PRA QUEM CURTE BOA PSICODELIA!!

From Newport, Rhode Island. Although their first album contains some impressive swirling organ work and occasional fuzztone guitar, its material, which is largely written by the band, lacks originality. Their second effort, Outside Looking In is the better of the two. Tavares departed prior to its recording and the remaining quartet produced wilder and more imaginative music which translated to vinyl quite effectively. On this, Wake Up Sun, Can't You See, Confusion and a cover of The Moody Blues' Another Morning are all excellent. It's a pity that the group didn't recruit a new lead vocalist, however, as shortcomings in this department are occasionally obvious.

Tangerine Zoo evolved out of The Ebb Tides, and Wayne Gagnon later played in an outfit called Wadsworth Mansion.

Pebbles, Vol. 21 includes a version of one of their better tracks Nature's Children as by The Kidds, a previous incarnation of this outfit.

For more information check out the bands website:- http://www.tangerinezoo.com

(Vernon Joynson/Clark Faville)

Personnel:
ROBERT BENEVIDES (*) ld gtr, bs, vcls A B
WAYNE GAGNON gtr, vcls A B
RONALD MEDEIROS hrmnca, organ, vcls A B
DONALD SMITH drms, vcls A B
TONY TAVARES bs, gtr A

01 - Birth
02 - Like Pepole
03 - Wake Up Sun
04 - Another Morning
05 - Confusion
06 - You I L ove
07 - Farther Down The Road
08 - Can't You See
09 - Young Dream

http://rapidshare.com/files/143994017/Tangerine2_Venenos.rar

13th Floor Elevators - Paradise Found (Studio Sessions 1966-68 Psychedelia)

EXCELENTE BANDA TEXANA E EXCELENTE ALBUM!! ESTA É UMA COMPILAÇÃO DE TODO O MATERIAL GRAVADO EM SESSÕES DE ESTÚDIO ENTRE 1966 E 1968!! PRA QUEM NÃO CONHECE A BANDA É UMA DAS MELHORES MANEIRAS DE CONHECER!! PRA QUEM JÁ CONHECE FICA MELHOR AINDA!! EXCELENTE VENENO ALTAMENTE RECOMENDADO!! UMA DAS MINHAS BANDAS PREDILETAS NESTE GÊNERO!! QUEM NÃO CONHECE E GOSTA DE PSICODELISMO TENHO UMA DICA!! NÃO DESOCUPE O PLANETA SEM ESCUTAR OS CARAS!!

The 13th Floor Elevators was a psychedelic rock music group founded in Austin, Texas in late 1965.

They found only limited commercial success before dissolving amid legal troubles and drug use. However, the 13th Floor Elevators are one of the first psychedelic bands. They have been cited as an influential protopunk group. Their classic song "You're Gonna Miss Me", a Billboard #55 hit in 1966, was featured on the first Nuggets release in 1972, marking a series of garage-rock singles that were a treasure trove for early punk rockers.

Personnel were singer/guitarist Roky Erickson, electric jug player Tommy Hall, guitarist Stacy Sutherland, drummer John Ike Walton and bass player Ronnie Leatherman, as it was in their "prime". Erickson and Hall were the band's primary songwriters, but most band members wrote or co-wrote some material. The sound of Tommy's electric jug (which bore no resemblance to the sound of traditionally-played jugs) became the band's signature and trademark.

HISTORY:
The group's first single, "You're Gonna Miss Me" (actually a second version—the song had been recorded once before by the band when it was known as The Spades, with bassist Ernie Culley), reached #2 on local charts in early 1966, eventually reaching #56 on the pop charts nationwide. The band was contemporary with other Austin psychedelic bands including Shiva's Headband and the Conqueroo.

Throughout the spring of 1966, the group toured extensively in Texas, playing clubs in Austin, Dallas, and Houston. They also played on live teen dance shows on television, such as Sumpin Else, in Dallas, and The Larry Kane Show in Houston.

In late summer 1966 the Elevators successfully toured the west coast, made two nationally televised appearances, and played several dates at the San Francisco ballrooms The Fillmore and The Avalon. The International Artists record label (also home to contemporary Texas underground groups such as Red Krayola and Bubble Puppy) in Houston signed the Elevators to a record contract and released the album The Psychedelic Sounds of the 13th Floor Elevators in the latter part of 1966, becoming an underground classic among the burgeoning counterculture. Not uncontroversially, the album's sleevenotes advocated LSD as nothing less than a guaranteed gateway to a higher state of consciousness, a
philosophy the band's members adopted with a vengeance.

Posters from the period show them on the same bill as Quicksilver Messenger Service, The Great Society, and The Byrds. Playing in San Francisco during that time, and the exposure to other bands, would lead to their second album, Easter Everywhere, which was also released by International Artists.

Singer Janis Joplin was a close associate of the band. Joplin sang with the band at a few shows, and considered joining the group in Austin, before she headed to San Francisco and became part of Big Brother and the Holding Company.

01. You’re Gonna Miss Me
02. Everybody Needs Somebody
03. I’m Gonna Love You Too
04. Before You Accuse Me
05. You Can’t Hurt Me Anymore
06. Make That Girl Your Own
07. Monkey Island
08. Thru The Rhythm
09. Roller Coaster
10. Fire Engine
11. Levitation
12. She Lives
13. Dust
14. Slide Machine
15. Nobody To Love
16. Slip Inside This House
17. Right Track Now
18. Splash 1
19. Never Another
20. Fire In My Bones
21. I Don’t Want To Come Down
22. Livin On
23. Scarlet And Gold
24. May The Circle
25. Larry Kane Show

PART1

http://rapidshare.com/files/148007679/13thParadise.part1.rar

PART2
http://rapidshare.com/files/147997508/13thParadise.part2.rar

Fresh Blueberry Pancake - Heavy (1970 US Hard Rock Fuzzy)

POWER TRIO MUITO LOUCO FORMADO NA FILADELFIA E QUE LANÇOU APENAS ESTE EXCELENTE ALBUM DE HARD ROCK COM VÁRIA FUSÕES ENTRE O PSICODÉLICO, O BLUES E OUTROS RITMOS COM UMA SONORIDADE ÍMPAR!! SOM DE ÓTIMA QUALIDADE!! VENENO ALTAMENTE RECOMENDADO!!

This unknown beauty was only released as a testpressing in USA in 1970 of 52 copies. Real heavy Psychedelic like Butterfingers, Betty or Stack, fuzzguitar, soundeffects, the whole thing. Comes in great commic cover (the original had only a stamped white cover). Maybe the last-unknown-never-reissued-before-heavy-Psychmonster.

We don't know too much about this US trio other than their album was recorded in Philadelphia in 1970. It's an excellent disc with searing lead guitar and cool organ work reminsicent of early Zeppelin, Grand Funk or even MC5, whilst the vocals have a weird vibrato quality. Highly prized by lovers of late '60's US private heavy fuzz albums. (Freak Emporium)

This is a record no one heard (54 copies were pressed, total) back when it was not-really-released (in 1970) from a band no one outside the greater Pittsburgh area had ever heard of. Plus it's psychedelic power-trio hippie stuff with really annoying wavery vocals and smack-yr-head lyrics and some wanky-ass proto-metal guitar jazz/blues jams. It's now been re-released by Shadoks, but I cannot imagine that anyone is asking for it.

Nonetheless, it's awesome. You can appreciate it on two different levels: 1) oh my god this is so awful and out of time that it's fun; and 2) against all odds, it rocks like a damned beast. Yeah, I imagine these three dudes had heard a lot of Iron Butterfly (Heavy is a very popular album name) and Hendrix and all them usual suspects, but John Behrens's guitar playing is nice and loud and gothic, and Geoff Rydell is a capably unimaginative drummer, and Tony Impavido's bass playing is better than his singing.

Look, this shoulda gotten these guys a record deal, and the fact that it didn't probably spared us from/deprived us of a really weird album. Bad choices abound; "Bad Boy Turns Good" has some hyperactive overdone harmonica to go along with its neanderboogie, and the way-misplaced "I Call Him Lord" may be the song LEAST likely to make people convert to Christianity ever recorded. And whoever decided "My feet are draggin' / My lips are saggin'" was a good rhyme with which to open "Sleep Bound" needs to be retroactively made fun of.

But, after you hear a few songs, you start getting into it a little. Well, okay, not "you" so much as "I." When they wanna rock, they don't mess around, like on the opener "Hassles," which fuses a Zep-like riff with Impavido's very Grace Slick vocal attack to create a soundtrack for bitching about The Man and boasting about how he plays his "ax" very very very well and if you don't believe it you can go to hell. When Behrens cuts loose, it's pedestrian and lowest common denominator and all that ... but it's also really satisfying and cool.

I know, against all odds. But it's pretty fun, if you're either a hardcore ironist or a lover of obscure Pittsburgh psychedelic bands or (maybe just maybe) you don't snob yourself out of existence and you like fun music when it's kinda dumb sometimes.

01 - Hasless
02 - Being In Town
03 - Clown On A Rope
04 - Bad Boys Turns Good
05 - I Call Him Lord
06 - Down On The Farm
07 - Where's The Sun
08 - Sleep Bound
09 - Stranded

http://rapidshare.com/files/148297578/Pancake_Venenos.rar

Headband - A Song For Tooley (1973 Australian Psych Pop Rock)

BOA BANDA AUSTRALIANA QUE FAZIA UM SOM QUE BEIRAVA A UM ESTILO POP PSICODÉLICO E EM CERTOS MOMENTOS BEIRANDO AO JAZZ E AO PROGRESSIVO!! UM DISCO BEM INTERESSANTE E RARO!!

A blues rock band who were based in Adelaide and played between 1972-74. Their sole album sold quite well spending five weeks in the charts and making the Top 50. Prior to this they'd recorded a couple of lightweight pop singles, the second of which was a minor hit.

Their album is patchy and encompasses a wide range of styles. A Song For Tooley is psych-pop, Headsong is good-time pop, Land Of Superears veers towards a jazzy feel, Country Lady is a tedious country-tinged song and some cuts like Brand New Morning, Wait Until Tomorrow and Goodbye Mother Nature are pretty dire. Stay With Me with its fuzz guitar and Children's Dreams are among the better cuts. All the tracks were penned by Mauri Berg (or co-written by Berg and keyboardist Peter Beagley). The album featured a fold-out insert with photos and biographical details of band members and the cover art is stunning.

Bassist Chris Bailey had previously been in Red Angel Panic and went on to play in Aussie pub rock outfit The Angels. Berg and skinman Joff Bateman were later half of Mickey Finn.

Chris Bailey - Vocals, Bass
Joff Bateman – Drums
Peter Beagley (aka Peter Head) – Keyboards
Mauri Berg – Guitar

01. A Song For Tooley
02. Land Of Supercars
03. Stay With Me
04. My Younf Friend
05. Headsong
06. Country Lady
07. Children's Dreams
08. Wait Until Tomorrow
09. Brand New Morning
10. Goodbye Mother Nature

http://rapidshare.com/files/148025832/Headband_Venenos.rar

The Artwoods - 100 Oxford Street (1964-1966 UK 60s Rock)

PRIMEIRA BANDA DE "JOHN LORD" TECLADISTA DO DEEP PURPLE!!

ARTWOODS ERA O LEGÍTIMO REPRESENTANDO DO QUE DENOMINAMOS "BIG BAND"!! É SÓ OBSERVAR OS COMPONENTES DELA E VERÁ QUE ISSO É VERDADEIRO!! "KEEF HARTLEY" (JOHN MAYALL & BLUESBREAKERS), "JOHN LORD" (DEEP PURPLE), "ART WOOD" (SMALL FACES), QUE ERA IRMÃO DE RON WOOD (STONES) E COM OUTROS NOMES DE PESO FORAM ESTA SUPERBANDA DOS ANOS 60!! O SOM É GENIAL, ROCK DOS ANOS 60 DA MELHOR SAFRA COM TECLADOS, SAX E UMA SONORIDADE QUE ESTAVA BEM A FRENTE DE OUTRAS BANDAS DA ÉPOCA!! QUEM CONHECE SABE DO QUE FALO E QUEM NÃO CONHECE, POR FAVOR, NÃO DESOCUPE O PLANETA SEM ESCUTAR!!

One of the main reasons behind Making Time is to cover not only the best known artists but also those who do have have the same level of awareness but that have nevertheless made an important contribution to 1960s British music. The Artwoods claim to fame was that they boasted Art Wood, brother of Ronnie, and Jon Lord, later to appear in Deep Purple. The members came from other bands. The drummer Keef Hartley had replaced Ringo Starr in Rory Storm and the Hurricanes.

The band played on the first live edition of Ready Steady Go where they promoted their first single Sweet Mary, the opening track on this CD. However, the band never matched its live reputation gained in the pubs and clubs of London on record despite releasing an LP, an EP and a number of singles. Some sources claim that I take What I Want charted although this is not collaborated my own sources.

The band lasted until 1967 when they changed into St Valentine's Day Massacre. Keef Hartley later moved to John Mayall's Bluesbreakers, Jon Lord joined the Flowerpot Men and then Deep Purple. Derek Griffiths the guitarist moved to playing sessions. Art Wood teamed up briefly with former Small Faces to form Quiet Melon with his brother Ronnie and a singer called Rod Stewart. This evolved into the Faces.

100 Oxford Street includes A and B sides of the first four Artwoods singles as well as the fifth A side I Feel Good. Other tracks are credited to the Decca release LK 4830 which could be an EP.

Recorded at Southern Music Recording Studio in London 1964-66, The Artwoods 100 Oxford Street on this Italian 180g gram pure virgin vinyl pressing!

Art Wood, vocals
Derek Griffiths, guitar
Keef Hartley, drums
Malcolm Pool, bass
Jon Lord, organ

1. Sweet Mary
2. If I Ever Get My Hands On You
3. Goodbye Sisters
4. Oh My Love
5. I Take What I Want
6. Big City
7. She Knows What To Do
8. I'm Looking For A Saxophonist
9. Keep Lookin'
10. I Keep Forgettin'
11. I Feel Good
12. One More Heartache
13. Down In The Valley
14. Be My Lady
15. Stop And Think It Over
16. Don't Cry No More

http://rapidshare.com/files/145676746/Artwoods_Venenos.rar

Fraction - Moon Blood (1970 US Hard Psych)

ÓTIMA BANDA AMERICANA RADICADA EM LOS ANGELES COM UMA IDENTIDADE SONORA PRÓPRIA, MAS SOANDO COMO UMA MISTURA DE "THE DOORS" COM A INTENSIDADE DE UM "MC5" OU "STOOGES", ADICIONA-SE AÍ A PITADAS DE KAUTROCK AO ESTILO "HAIRY CHAPTER" E CHEGAMOS PERTO DA DEFINIÇÃO DO ESTILO DA BANDA!! O VOCALISTA JIM BEACH TEM O VOCAL SUJO, RASGADO, POTENTE E LIGEIRAMENTE LEMBRA JIM MORRISON, O QUE COMBINA BEM COM A POTENTE GUITARRA FUZZY DE DON SWANSON!! VENENO RECOMENDADO!!

"This 1971 release on the Angelus label (Angelus 571) was limited to only 200 copies, so originals are worth a small fortune. Fraction, with vocalist Jim Beach bearing an uncanny vocal resemblance to Jim Morrision (although he was singing on Sunset Strip long before Morrison took to the stage), were often compared favourably with the Doors, although their quasi-religious message would probably not have found favour with the recently-departed Morrison. Indeed, this rather fine album was once famously described as the album the Doors probably wished they had made! Underpinned by guitarist Don Swanson's superb Ritchie Blackmorestyle guitar work, this is an album full of beautiful psychedelia, acid and hard rock, at once emblematic of the era but not
dated by its association. The five original compositions are all of the highest quality and the contribution of Beach's Morrison-esque vocals place a stamp of originality on the recording that endures from beginning to end."

*Jim Beach: Lead Vocals
*Don Swanson: Lead Guitar
*Curt Swanson: Percusion
*Victor Hemme: Bass Guitar
*Robert Meinel: Rhythm Guitar

01.Sanc-Divided - 3.52
02.Come Out Of Her - 4.57
03.Eye Of The Hurricane - 8.55
04.Sons Come To Birth 5.26
05.This Bird - 4.38
06.Sky High - 3.24

http://rapidshare.com/files/142098834/Fraction_Venenos.rar

Pot Liquor - Levee Blues 1970 & Louisina Rock and Roll 1974

DOIS VENENOS NUM FRASCO SÓ!! BANDA DA LOUISIANA QUE FAZIA UM SOM QUE PASSEAVA PELO COUNTRY, BLUES, SOUTHERN ROCK E HARD ROCK!! DOIS ALBUNS DE CONSIDERÁVEL RARIDADE E MUITO BOM SOM!!

Potliquor hailed from Louisiana and straddled the line between country, blues, southern rock and hard rock...all the while throwing in horns just to keep things fresh. With a powerful singer in George Ratzlaff, Potliquor were able to muster some pretty inspired moments on vinyl. This, their elusive second album, "Levee Blues" is widely considered their artistic peak. With an ensemble of female background vocalists in tow, the album bears a certain gospel charm that some of their other efforts were missing. This is a passionate and visceral collection of songs and any lover of the aforementioned genres would be well served to check them out. Ripped from vinyl, here it is, "Levee Blues".

All music says it's southern rock. I'd call it blues-rock with a touch of southern influence and a huge injection of hard rock on several songs. Pot Liquor's first LP from 1970 called Levee Blues. To me it's kind of like Trapeze's album You Are the Music as the ballads are soft and mellow but the rockin' songs are total pounders. Good stuff.

http://rapidshare.com/files/145701963/Pot_Liquor_VenenosdoRock.rar

The Zombies - Into The Afterlife (Magnificent Recopilation Odessey & Oracle and Rare Demos)

MARAVILHOSA, RARA E EXCELENTE SELEÇÃO DE SINGLES, RARIDADES E DEMOS DA BANDA ZOMBIES!! BASICAMENTE SÃO AS MÚSICAS QUE NÃO ENTRARAM NAQUELE QUE FOI UM DE SEUS MELHORES DISCOS, ODESSEY & ORACLE MAIS ALGUNS DEMOS E RARIDADES PERDIDAS DA BANDA!!

DARIA PRA DIZER QUE É ODESSEY & ORACLE PARTE 2 COM CERTEZA!! SELECIONADAS POR "ALEC PALAO", CATEDRÁTICO MAIOR DO REINO ZOMBIE, TRATA-SE DE UMA JÓIA RARA, UMA REEDIÇÃO DE LUXO E SEM DISCUSSÃO QUANTO A SUA QUALIDADE!! O DISCO JÁ COMEÇA COM A BELA CANÇÃO E UM DOS MAIORES SUCESSOS DA BANDA "SHE'S NOT THERE" COM UMA ROUPAGEM COMPLETAMENTE DIFERENTE!! UMA AGRADÁVEL SURPRÊSA E A MIM ME PARECE MELHOR QUE A PRÓPRIA CANÇÃO ORIGINAL!! ESCUTEM E DIGAM!! UMA OBRA!! NO MAIS, O DISCO É UMA LEVEZA SÓ, FAZ BEM PRA ALMA E PARA O ESPÍRITO!! CANÇÕES MARAVILHOSAS E MELODIAS HARMONIOSAS QUE BEM CARACTERÍSTICOS DESTA ÓTIMA BANDA!!

OS CARAS DEMORARAM 10 ANOS PARA COMPILAR TODO ESTE MATERIAL, MAS COM CERTEZA VALEU A PENA ESPERAR, POIS TRATA-SE DE UM DOS MELHORES PRESENTES PARA QUEM GOSTA DA BANDA ZOMBIES E ACHOU QUE TUDO DOS CARAS JÁ HAVIA SE ESGOTADO!! TRATA-SE DE UM RESGATE DE MATERIAL PRIMOROSO E QUE NINGUÉM IMAGINAVA QUE EXISTIA!! SÓ TEMOS DE AGRADECER A "ALEC PALAO" POR ESTE TRABALHO DE RESGATE EXCEPCIONAL!! VEVENO RARO, HISTÓRICO E UM DOS MAIORES RESGATES DE CANÇÕES PERDIDAS DE UMA BANDA DOS ANOS 60!!

The Zombies split in April 1968 upon the completion of their masterwork "Odessey & Oracle". Songwriters Rod Argent and Chris White busied themselves forming a production company, whilst the other band members, including lead singer Colin Blunstone, depressed by the lack of recognition for "Odessey", retreated back to 'civvy street'.

Throughout 1968 Chris and Rod demo'ed their new material with an embryonic version of what would become the group Argent. The best of these experimental recordings are included on "Into The Afterlife" and as with the Zombies, the songs and performances are better than most other groups' regular releases. Meanwhile, Colin Blunstone had been romanced back into the studio by producer Mike Hurst and, under the nom-de-disque of Neil MacArthur, made three excellent singles including a revamp of 'She's Not There' that hit the UK Top 40 in 1969. All nine sides recorded by Colin in this period are featured and include his fabulous interpretations of Nilsson's 'Without Her', Billy Vera's 'Don't Try To Explain' and the Buffalo Springfield's 'Hung Upside Down', the latter previously unreleased.

As a special bonus, the disc contains special mixes of Zombies material that showcase the orchestral overdubs that were added for their aborted RIP project, plus a rare vintage live cut. Over half of "Into The Afterlife's" contents is unissued, and indeed, ninety percent has never appeared on CD before. Add to that detailed notes that clarifies this murky yet fascinating period in the group's history and this becomes a worthy addition to the perfectly-formed discography of the Zombies.

The Zombies may have one of the few catalogues in the history of 60s pop music to be treated with the full and proper respect it deserves. This comes down partially to the fact that the band themselves own the material but it's largely due to the caretaking abilities of compiler, writer and Zombies historian Alec Palao.

Alec made it easy for both super-fans and novices to collect the Zombies when he dreamed up Zombies Heaven, the 4 CD set of all of their studio recordings. There are side trips along the way with releases containing alternate mixes and rarities but owning the band's complete output is as easy as that one purchase. Now, 10 years since the release of Zombie Heaven Palao has given us one of the finest encores we could have imagined with Into the Afterlife.

Compiling 20 post-Odessey & Oracle tracks, Afterlife, like the box set before it, is another carefully compiled and well documented package. In this one collection you get the complete recorded output of Colin Blunstone's alter ego Neil MacArthur, a handful of excellent Rod Argent and Chris White demos, alternate mixes of later Zombies recordings and a few other oddities.

The proceedings kick off with the Neil MacArthur recording of She's Not There. The liner notes tell us that producer Mike Hurst coaxed Colin Blunstone away from his day job as an insurance salesman to make a return to the studio. The first number they tried together was this trippy version of the old Zombies hit. Luckily for us Blunstone stayed with Hurst for two more excellent singles, the Billy Vera penned blue-eyed soul track Don't Try to Explain, Nilsson's Without Her and the big production of 12:29 and It's Not Easy. We're also treated to a few rare MacArthur recordings including a breathy version of Stephen Stills' Hung Upside Down. The MacArthur tracks alone make this CD worth the price of admission.

Rod Argent and Chris White are represented by 6 demos, the highlights being Unhappy Girl and To Julia (for When She Smiles). Both of these demos would have fit nicely on Odessey & Oracle and are easily up to the standards of that album. Telescope (Mr. Galileo) is another fantastic number, very much in a pop psych vein. A completed studio recording of Telescope by an early incarnation of Argent is also included.

Rounding out the collection are 3 Zombies tracks, Walking in the Sun, I Know She Will and If It Don't Work Out, all remixes of tracks that appeared on Zombie Heaven. The mixes on Afterlife highlight the orchestral bits that were added as an effort to eek another hit out of the band. If anything could be considered filler on this CD it would be these tracks. More than anything the orchestrations prove to be bloated and overbearing when they are separated from the Zombies' original recordings.

Finally, we are presented with a rare live recording of the Zombies from 1966. On Going to a Go Go we get to hear just how much the band could rock in front of an audience and it's a shame more of these performances aren't available. While the not so excellent sound quality on this track breaks the mood it is among the most interesting artifacts on the CD.

Afterlife is packaged with the same quality we've come to expect Big Beat/Ace. A nice, fat booklet, filled with all the necessary details, band quotes, photos and memorabilia is housed artfully in an Odessey & Oracle part 2 cover. It may have taken 10 years to round this material up into one package but the wait was worth it. Palao and Big Beat have produced a Zombies collector's dream and one the best 60 reissues so far this year.

Track Listings
1. SHE'S NOT THERE - Neil MacArthur
2. HUNG UPSIDE DOWN - Neil MacArthur
3. UNHAPPY GIRL - Rod Argent & Chris White
4. SHE LOVES THE WAY THEY LOVE HER - Rod Argent & Chris White
5. I KNOW SHE WILL (Orchestral Mix) - The Zombies
6. MR. GALILEO (Demo) - Rod Argent & Chris White
7. WITHOUT HER - Neil MacArthur
8. TWELVE TWENTY NINE - Neil MacArthur
9. IT NEVER FAILS TO PLEASE ME - Rod Argent & Chris White
10. I COULD SPEND THE DAY (Demo) - Rod Argent & Chris White
11. WALKING IN THE SUN (Orchestral Mix) - The Zombies
12. NEVER MY LOVE - Neil MacArthur
13. IT'S NOT EASY - Neil MacArthur
14. TO JULIA (FOR WHEN SHE SMILES) - Rod Argent & Chris White
15. WORLD OF GLASS - Neil MacArthur
16. DON'T TRY TO EXPLAIN - Neil MacArthur
17. MR. GALILEO - Chris White & Argent
18. IF IT DON'T WORK OUT (Orchestral Mix) - The Zombies
19. MA NON E'GIUSTO (She's Not There - Italian) - Neil MacArthur
20. GOING TO A GO GO (Live) - The Zombies

http://rapidshare.com/files/145642940/Zombies_Venenos.rar

Oly Jr. - Pirataria Autorizada (Compilation Brazilian Folk Rock Blues)

RARE AND GOOD POISON!! FOLK ROCK BLUES OF HIGH QUALITY!! MY OLD FRIEND AND MUSICIAN OF QUALITY TO BE BETWEEN THE POISONS!! A COMPILATION CHOSEN FOR THE AUTHOR!! THE BEST ONES OF THE 10 YEARS OF ROAD!! FOLK ROCK WITH STRONG INFLUENCES BLUES!! HARP, ACUSTIC GUITAR, MANDOLIN AND OTHERS MUSICAL INSTRUMENTS THEY MAKE OF THIS ALBUM A GOOD POISON!! RECOMMENDED!! POISON WITHOUT CONTRAINDICATION!!

VENENO RARO, BOM E GAÚCHO!! OLY JR. ALÉM DE SER UM VELHO PARCEIRO FAZ UM SOM FOLK BLUESY DE MUITO BOA QUALIDADE E MERECE ESTAR ENTRE OS VENENOS!! EM 10 ANOS DE CARREIRA ELE JÁ LANÇOU 7 DISCOS, SENDO QUE ESTE ALBUM É UMA COLETÂNEA EM QUE O PRÓPRIO AUTOR ESCOLHEU AS SUAS MELHORES COMPOSIÇÕES DESSA SUA DÉCADA DE ESTRADA!! VENENO RECOMENDADO PRA QUEM GOSTA DE CONHECER NOVOS TALENTOS E CERTAMENTE PRA QUEM GOSTA DE UM BOM FOLK ROCK COM FORTES PITADAS BLUES!! HARMÔNICA, VIOLÃO ACÚSTICO, BANDOLIN E MAIS OS TRADICIONAIS INSTRUMENTOS FAZEM DESTE DISCO UM VENENO DE BOM EFEITO E CERTAMENTE SEM CONTRA-INDICAÇÕES!!

"Esse disco é o fechamento de um ciclo, o minimo da minha carreira musical que eu gostaria de mostrar para qualquer ser humano ou qualquer outro ser, até esse momento. Aqui tem músicas de um disco chamado "Tó Na Mira", o primeiro da minha carreira solo, gravado com a celteza que daquele momento em diante eu estaria na mira dos mais diferentes conceitos e opiniões. Passando pelos discos "Ineditismo Barato', "Na Capa Da Gaita"(Gaspo Harmõnica & Oly Jr.), tem músicas de um disco que nem se quer foi lançado, chamado "Diário De Um Louco', um trabalho que lancei via internet chamado "Algumas Canções", e alguns takes gravados em forma de singles, que não fazem palte de nenhum trabalho conceitual." Oly Jr.

Sobre Oly Jr:

Vida & Obra: Oly Jr. nasceu em 03 de Março de 1977 em Porto Alegre/RS. Começou sua carreira musical em 1998 tocando blues em uma banda chamada D’Blues. Apresentavam-se basicamente para o público universitário. Depois formou a banda Mendigos da Noite em 1999. No ano 2000 começam a tocar pelos bares de Porto Alegre e no interior do Estado em formato acústico. A banda entra então para a Gravadora FRAN DISCOS de Porto Alegre e grava seu primeiro e único CD homônimo e passaram a divulga-lo se apresentando em teatros e casas de shows da cidade. A banda se desfez em meados de 2002. O caminho de Oly Jr. Só poderia ser um... a música. Começou então a sua carreira solo tocando voz, violão e gaita de boca nos bares da cidade. Eventualmente se apresentava também com banda Baby Blues (que também fundou), fazendo um Especial Janis Joplin. Em meados de 2003 grava seu primeiro CD Independente solo, intitulado ''Tô na Mira'', gravado no Estúdio ''C'' da ACIT e produzido por Egisto dal Santo. É um trabalho extremamente pessoal, feito com poucos instrumentos (violão, bandolim, contra-baixo e gaita de boca) mas com um conceito musical bem formado. No ano de 2004, Oly entrou no estúdio para gravar o que seria seu segundo trabalho. Um projeto de disco intitulado “Diário De Um Louco”, que nunca chegou ao estado material. O projeto chegou a ser gravado e também produzido por Egisto , mas até o presente momento, não foi lançado. Em 2005 é lançado seu segundo disco solo, o “Ineditismo Barato”, que foi gravado ao vivo no estúdio Live em Porto Alegre. Também em 2005 é lançado o disco “Na Capa da Gaita”, trabalho de Oly Jr. em parceria com o gaitista de boca Gaspo “Harmônica”, um trabalho voltado às raízes do blues. Oly também gravou por conta própria, um disco que está engavetado; Um projeto com 10 poesias de Mário Quintana musicadas por Oly, no formato voz, violão e gaita de boca. Uma singela homenagem ao grande poeta gaúcho. Em 2007 lança um trabalho chamado "Algumas Canções", um disco virtual contendo 10 faixas inéditas que foram disponibilizadas para dowload. Nesse ano lançou também o disco "Onde Está O Meu Dinheiro...", segundo disco em parceria com Gaspo "Harmônica". E também em 2007, Oly Jr. lançou sua tão esperada coletânea, denominada "Pirataria Autorizada"; Um disco que reúne as melhores canções em 10 anos de carreira, segundo o próprio autor. Além dos shows convencionais, onde mistura suas composições a de artistas que o influenciam, Oly ainda tem dois projetos paralelos: Um projeto intitulado “Revisitando Bob Dylan”, onde ele interpreta releituras de algumas canções de Bob Dylan, em formato solo ou com uma banda de apoio. O outro projeto consiste em apresentações solo de Oly Jr. no formato voz, violão e gaita boca (ou eventualmente com participações de outros músicos), reproduzindo canções sulistas que ele mais admira. Canções estas, que fazem parte da história cultural do Rio Grande do Sul, de artistas que fizeram e fazem parte do cenário musical do estado, como Nei Lisboa, Bebeto Alves, Kleiton & Kledir, Vitor Ramil, Almôndegas, Fughetti Luz, Mutuca, Lupicínio Rodrigues, Julio Reny, Frank Jorge, Garotos Da Rua, TNT, Cascavelletes, Engenheiros do Hawaii e etc. Ou seja, referências musicais regionais que influenciam direta e indiretamente Oly Jr.. Agora Oly lança sua mais nova concepção musical: A "Milonga Blues" Misturando elementos da milonga gaúcha com o slide blues americano.

1- 08:35 AM Ineditismo Barato, 2005
2- RUA DA PRAIA Musffek Take, 2007
3- NOSSO CASO FICOU NO AR Inedilismo Barato, 2005
4- EU TAMBÉM JÁ CHOREI Musitek Take, 2007
5- I DON'T BELlEVE Ineditismo Barato, 2005
6- NADA ALÉM Inedffismo Barato, 2005
7- MARIE ANN T6 Na Mira, 2003
8- SUA FILHA Algumas Canções, 2007
9- ATÉ QUANDO Algumas Canções, 2007
10- TEU OLHAR Algumas Canções, 2007
11. SABE-SE LÁ Algumas Canções, 2007
12-IGNORANDO OS FATOS Tõ Na Mira, 2003
13- EU AINDA ESTOU AQUI Algumas Canç6es, 2007
14- ONDE ESTÁ O MEU DINHEIRO? Na Capa da Gaita, 2005
15- TENTANDO ME ACABAR Musitek Take, 2007
16- ONDE ESTÃO SEUS AMIGOS? Ineditismo Barato, 2005
17- ERA UMA NOITE FRIA Diário de um Louco, 2004
18- EU TÔ NO OSSO Diário de um Louco, 2004
19-ESTAVANAMIRA Musilek Take, 2007

http://rapidshare.com/files/146092096/Oly_Venenos.rar

The Freak Scene & The Devils Anvil (1967 US Psychedelia Rock Middle East)

PSICODELIA E ROCK DO ORIENTE MÉDIO!! DUAS BANDAS INTERLIGADAS DISPONIBLIZADO EM UM SÓ CD!! A CAPA MOSTRA O DESERTO E PIRÂMIDES DO EGITO, MAS NÃO SE ENGANE, A MAIOR PARTE DOS CARAS ERAM ÁRABES AMERICANOS DE NOVA YORK, MESMO QUE O SOM SEJA UM AUTÊNTICO ROCK DO ORIENTE MÉDIO IGUAL FAZIAM SEUS CONTERRÂNEOS TURCOS, COMO POR EXEMPLO, ERKIN KORAY E MOGOLLAR!! UM CONHECIDO DO ROCK FEZ PARTE DA BANDA, "FELIX PAPPALARDI", DA POPULAR BANDA MOUNTAIN!! ALBUM DE COLECIONADOR E EXTREMAMENTE RARO!! TENTEM TRADUZIR E LER A HISTÓRIA DOS CARAS QUE SEGUE ABAIXO E VEJAM QUE INTERESSANTE ESTE ALBUM!!

In light of recent events, we figured that this reissue of "Hard Rock From the Middle East" would make a great choice for record of the week...no, we don't mean 'cause of the current war, we mean because of the popularity of the "Turkish Delights" and "Hava Narghile" compilations 'round these parts. We've been super-into those collections of fuzzed-out '60s Middle Eastern psych-rock this year, as are quite a few of you, judging by their still-booming sales. So, when we recently discovered this 1998 cd that contains the reissued The Devil's Anvil album, it quickly became a favorite at AQ.

The cover art shows the band hangin' in the desert in front of the pyramids of Egypt -- but don't be fooled, they were actually mostly Arab-Americans, based in New York City. Still, their rock n' roll was as authentically "Middle Eastern" as their Turkish contemporaries. They could have held their own with the likes of Erkin Koray and Mogollar.

Ok, now we'd better explain about this particular cd (pay attention, it gets kinda confusing): Sony's Collectables has reissued two long-out-of-print 1967 albums by two totally different bands on *one* disc. The bands are tenuously connected through the friendship of The Freak Scene's Rusty Evans and Felix Pappalardi of The Devil's Anvil, as the two had played together four years previous. Okay, so maybe it's a bit of a stretch putting these two albums together on one disc. Whatever. The real treasure here is The Devil's Anvil album.

The Devil's Anvil got together in the happenin' mid sixties Greenwich Village scene, playing their Middle Eastern influenced music at folk cafes and rock clubs. Eventually they hooked up with classical musician-turned-rocker Felix Pappalardi (producer of Cream's "Disraeli Gears", later to play alongside Leslie West in Mountain). He began playing bass with the band and eventually scored the group a record deal. The resulting album was truly one-of-a-kind and would certainly made greater impact had it not been released on the very eve of the Arab-Israeli war in 1967. Thus, no New York radio stations would play it and unfortunately the album has remained an expensive collector's find until now.

The rock contained herein is absolutely kick ass, with bluesy and impassioned Arabic vocals, electric (or at least amplified) oud, bouzouki, tamboura, durbeki as well as the usual rock suspects of (fuzz!) guitar, bass and drums. The majority of the tracks here are either rock arrangements of traditional Middle Eastern and Greek numbers or original compositions, but a couple are actually straight traditional numbers with no western instruments at all. Plus there's an excellent Middle Eastern-esque rock arangement of "Misirlou" that's perhaps the best version ever recorded, IMHO. And the record ends with a Devil's Anvil original that kinda reminds us of one of the Beatles' more Eastern-influenced tunes. This is about as good as it gets. Even if the Freak Scene album doesn't interest you at all, this cd is still worth buying for The Devil's Anvil alone. Very, very highly recommended! Nay, ESSENTIAL.

(As for The Freak Scene -- you might guess from that band's name and album title, The Freak Scene were a bit of a psychedelic-era novelty, a studio project put together by producer/songwriter Evans for CBS Records. The record exploits all of the trippy tropes of the times, from Eastern-raga modes to LSD-inspired lyrics. It's no classic, but does include at least one truly great psych-pop track, the Nuggets-worthy "A Million Grains of Sand". The Freak Scene also indulges in dated but amusing free-form sound-collage experiments like "...When In The Course of Human Events (Draft Beer, Not Students)" which tries to make a statement about the whole sixties counterculture vibe. It's a mix of Pete Seeger, Laugh-In, an LSD party -- Vietnam-era pop culture hippie kitsch -- consider it a free bonus that comes with The Devil's Anvil album.)

The Freak Scene:
01. A Million Grains Of Sand - The Freak Scene
02. '...When In The Course Of Human Events'- The Freak Scene
03. Rose Of Smiling Faces - The Freak Scene
04. Behind The Mind - The Freak Scene
05. The Subway Ride Thru Inner Space - The Freak Scene
06. Butterfly Dream - The Freak Scene
07. My Rainbow Life - The Freak Scene
08. The Center Of My Soul - The Freak Scene
09. Watered Down Soul - The Freak Scene
10. Red Roses Will Weep - The Freak Scene
11. Mind Bender - The Freak Scene
12. Grok! - The Freak Scene

The Devils Anvil:
13. Wala Dai - The Devil's Anvil
14. Nahna U Diab - The Devil's Anvil
15. Karkadon - The Devil's Anvil
16. Selim Alai - The Devil's Anvil
17. Isme - The Devil's Anvil
18. Besaha - The Devil's Anvil
19. Shisheler - The Devil's Anvil
20. Kley - The Devil's Anvil
21. Hala Hala - The Devil's Anvil
22. Treea Pethya - The Devil's Anvil
23. Misirlou - The Devil's Anvil
24. Teyeul Leili - The Devil's Anvil

http://rapidshare.com/files/145771006/Freak_Venenos.rar

Damnation of Adam Blessing...Plus (1969 USA Hard Psycho)

BEAUTIFUL POISON!! HIGH RARITY!! UM VENENO MARAVILHOSO E PERDIDO POR MUITO TEMPO!! UM ALBUM GENIAL!! OS CARAS FAZIAM UM HARD PSYCH DE PRIMEIRA LINHA!! UM VOCAL E GUITARRAS PODEROSAS, BOAS COMPOSIÇÕES E MUITA ENERGIA!! ESTA EDIÇÃO DA GRAVADORA AKARMA INCLUI MUSICAS EXTRAS PRA COMPLETAR O VENENO!! VENENO DO BOM, RARO E ALTAMENTE RECOMENDADO!!

Info:

... who were "far ahead of their time" and are now receiving growing critical acclaim --- by those in the know -- 35 years after the bands demise. This lavishly produced cd --The Damnation of Adam Blessing is considered their best albumn out of 4 produced from 1969-1972 -- but they are all heads over heels when compared to a lot of current "big name" staples of classic rock radio. DOAB recently played in Cleveland and Akron on April 27-28th (only the second time in 35 years!!!). Cookbook, Lonely, You Don't Love Me, PLUS a stunning version of the late Tim Rose penned classic "Morning Dew" shows that DOAB is one of the Great-great bands of ANY era.

On top of the recorded tracks -- 2 bonus tracks are included. Hands down -- "Floatin" was a show stopper back in the day --one of the all time enduring jams -- and it remains so for this legendary band. In sum -- buy this albumn and "take a technicolor daydream, and let your mind and soul unwind..

Adam Blessing - Lead Vocals
Ray Benich - Bass Guitar
Kenny Constable - Lead & Supporting Vocals
Jimmy Quinn - Rhythm Guitar - Supporting Vocals
Bobby Kalamasz - Lead Guitar - Supporting Vocals
Billy Schwark - Drums - Percussion

http://rapidshare.com/files/145650159/Damnation_Venenos.rar

Blues Creation - Live 1971 (Japan Hard Rock Blues Psych)

MAIS UMA POSTAGEM DESTA BOA BANDA JAPONESA!! ESTE É UM ALBUM AO VIVO ONDE OS CARAS MOSTRAM TODA SUA ENERGIA NO PALCO, NUMA DAS SUAS MELHORES FASES E FAZENFO UM HARD ROCK BLUES PESADO DURANTE PRATICAMENTE TODA A APRESENTAÇÃO!! A FAIXA UNDERSTAND CONTA COM A PARTICIPAÇÃO DE UMA DAS MUSAS DO ROCK NIPÔNICO "CARMEN MAKI"!! BELO VENENO!!

Reissue of rare Japanese heavy blues acid psychedelic hard rock concert album from 1971!

BLUES CREATION - Live!

Straight from the Japan Folk Jamboree Circa 1971 comes Thee Mighty Blues Creation with their brand of electrified/electrifying bastardized heavy rock riffage. Yer unworthy earholes will have an audial orgasm as Lord of Hot Licks Kazuo ‘Flash’ Takeda and his band of not-so-merry-men stomp all over those foolish notions you had about what comprised Great Hard Rock.

Beginning in 1969 as a pedestrian, John Mayall’s Bluesbreakers imitation, Kaz saw the limitations of being a purist and drafted a whole new lineup to shit all over such pursuits. He undoubtedly sat down with a big reefer and half-consciously nodded his noggin along with the first Sabbath LP… and the stone was cast. The Blues Creation Mk. II (Vocalist Fumio Nunoya, bassist Takayuki Noji & Minister of Battery Shinichi Tashiro) unleashed their masterwork, “Demon & Eleven Children” in ‘70 to plenty o’ fanfare in their native Japan. They were so respected in fact, that their label, Columbia Japan, wanting a shot to sign then-free agent, but extremely popular pop diva Carmen Maki, used ‘em as bait to get her to sign on the dotted line (she’d been itchin’ to be taken seriously as a rock ‘n’ roller).

That collaboration, the imaginatively-titled, “Blues Creation & Carmen Maki” is unlistenable at worst and mediocre at best. Maki, despite having decent range, had horrible phrasing and quite frankly, had nary a rockin’ bone in her lovely body. The band pumped out their usually head-spinning thunder all to no avail. Luckily, she only appears on one track on this here live LP (the easily skippable “Understand”), their swansong. They torch Muddy’s “Rolling Stone” and gobble, chew and spit out Loudermilk-by-way-of-Blues-Magoos standard, “Tobacco Road”. The highlight though, is the fuck-the-overdubs, screw-the-subtlety version of “Demon & Eleven Children”– the boys positively rape their instruments on this ‘un. Don’t get much better’n this, kids.

01 - Rolling Stone
02 - Nightmare
03 - Drinkin' Blues
04 - Demon & Eleven Children
05 - Understand (Feat.Carmen Maki)
06 - Tobacco Road

http://rapidshare.com/files/145381575/Live1971_Venenos.rar

Flamin Groovies - Supersnazz (1968 USA Rock)

MAIS UMA POSTAGEM DESTA EXCELENTE BANDA AMERICANA!! ESTE É O PRIMEIRO DISCO DOS CARAS!! UMA OBRA!! VENENO RECOMENDADO!!

While fellow San Francisco bands like the Grateful Dead and Jefferson Airplane were dropping out and turning on, the Flamin' Groovies were revivalists hell-bent on mining '50s rock for inspiration. Despite playing the wrong kind of music at the wrong time, their cult-like success sparked by the 1967 mini-album SNEAKERS earned the Groovies a contract with Epic to record a full-length record.

Led by vocalist Roy Loney and guitarist Cyril Jordan, this Frisco quintet put together a debut overflowing with garage-rock brio on songs like the fuzz-guitar driven "Love Have Mercy" and the rollicking "The First One's For Free." Not surprisingly, the Flamin' Groovies pulled out all the stops in paying tribute to their idols. Highlights include a chugging version of Little Richard's "The Girl Can't Help It" along with a smoking medley of Eddie Cochran's "Somethin' Else" and the swing standard "Pistol Packin' Mama" (complete with Loney's hiccuping phrasing). Also notable is a laid-back reading of Huey P. Smith's "Rockin' Pneumonia and The Boogie Woogie Flu" that could have could have been the inspiration for John Lennon's ROCK 'N' ROLL album. Unfortunately, poor sales and anachronisms don't mix and Epic released the band after only one record.
-----------------------
AMG Review by John Dougan

For an unknown band, Epic sank a lot of money into this record, and wasn't happy when it didn't sell. But that's hardly the fault of the band, who sound great despite the intrusive overproduction of novice knob-twiddler Steve Goldman. Loney's yelping lead vocals are in fine form, and the rest of the band rocks with a reckless abandon and stunning succinctness that was totally out of step with the times.
-----------------------
Flamin Groovies First Album Is Their Best

Reviewer: A music fan

Wow, I can't believe no one has reviewed this. Could be that this first album, originally released in 1969, has been forgotten in favor of the band's later recordings like "Shake Some Action," which, being produced by Dave Edmunds, fit more neatly into the typical rock hack's categories--power-pop or whatever you want to call it. Still and all, I guess I like "Supersnazz" best of all the Flamin Groovies albums. The album both looks backward, to the Beatles and '50s rock and roll, and foreward to the revisionist bands of the '70s, like Big Star and the Raspberries. Whereas the Raspberries were crass and from Cleveland, and Big Star muted and from Memphis, the Groovies had a bit of San Francisco gaslight in their sound--a kind of rueful, civilized approach, an end-of-the-era sound. They never sounded so un-mannered again. Classics: "The First One's Free," "Laurie Did It," and "Brushfire." You want to hear where Wilco and all the rest come from, you could do worse than "Supersnazz." And remember, back in 1969, a lot of folks said that rock was dead, which may have been true, because an album like this, coming in the same year as the Stones' "Let It Bleed," seemed pretty insubstantial Now it sounds like a charming minor classic.

Roy A. Loney - lead vocals, rhythm guitar, acoustic guitar, clap
Cyril Jordan - lead guitar, vocals, acoustic guitar, clap
Tim Lynch - lead guitar, vocals, mouth harp, clap
George Alexander - bass guitar, vocals, mouth harp, clap
Danny Mihm - drums, percussion, insanity, clap

Additional personnel includes:
Tom Scott (clarinet);
Curtis Amy (saxophone);
Mike Lang (keyboards).

Track List
-----------------------
01. Love Have Mercy
02. The Girl Can't Help It
03. Laurie Did It
04. A Part From That
05. Rockin' Pneumonia And The Boogie Woogie Flu
06. The First One's Free
07. Pagan Rachel
08. Somethin' Else / Pistol Packin' Mama
09. Brushfire
10. Bam Balam
11. Around The Corner
-----------------------

http://rapidshare.com/files/145367119/Supersnazz_Venenos.rar

Flamin' Groovies - Yesterday's Numbers (US Compilation Garage Rock)

UMA GRANDE BANDA AMERICANA E QUE FAZIA UM SOM GARAGEIRO, UM ROCK N ROLL TRADICIONAL!! ENERGIA PURA!! BELO VENENO!!

O disco mais famoso deles atende pelo nome de ‘Shake Some Action’, foi lançado em 1976 e é um dos grandes clássicos do rock de todos os tempos. Mas, a banda tem, pelo menos, mais quatro grandes álbuns, a maioria deles reeditados apenas no Japão, como é o caso de ‘Now’, que só saiu nos Estados Unidos este ano. Três de seus integrantes, assim como a banda, são geniais, verdadeiras legendas do rock independente americano. Dois deles com carreira solo posteriores. Mesmo assim, o grupo dificilmente freqüenta as listas de ‘melhores’, seguindo sua sina de andar na contra mão.

Estamos falando da banda The Flamin’ Groovies, tão importante para a história do rock quanto desconhecida e pouco valorizada. Flamin’ Groovies surgiu em meados dos anos sessenta, em São Francisco, na Califórnia, em meio à explosão da invasão britânica, que marcou a sonoridade da banda para o resto da carreira. Os três primeiros discos da banda - ‘Supernazz’ (1969), ‘Flamin’o’ (70) e ‘Teenage Head’ (1971) – já mostravam a vocação rebelde da banda. Em plena onda do flower power, dominado por bandas como Jefferson Airplane e Grateful Dead, o Flamin’ Groovies lançava discos de rock and roll, digamos, ‘tradicional’.

Se no primeiro álbum, ‘Supersnazz’, o grupo atravessou o som “retrô” em meio à psicodelia dominante, no segundo, ‘Flamin’o’, investiu em outra direção, produzindo um dos sons mais avançados para aquele momento. Na faixa ‘Road House’, por exemplo, e em outras músicas, Flamin’ Groovies antecipa o psychobilly em mais de uma década, ao mesmo tempo em que também aponta para o punk. ‘Teenage Head’, de 1971, é como se fosse um ‘Sticky Fingers’ alternativo, poderoso e tão provocante em sua mistura de levadas ‘boogie’ e baladas soul. Apesar da qualidade e do caráter revolucionário de sua obra, a banda não atingiu o público, sendo empurrada para o anonimato.

Na época, a banda contava com sua formação original: Roy Loney (o lado rockabilly), Cyril Jordan (a parte Byrds), Danny Mihm, Tim Linch e George Alexander. No disco ‘Shake Some Action’, já sem Loney, a banda incorpora Chris Wilson a sua formação, que introduz o componente ‘Beatles & Stones’ com mais força na sonoridade dos Groovies. Em carreira solo, Roy Loney gravou diversos discos, como ‘Roy Loney & The Phantom Movers’ e ‘The Longshots’, com destaque para ‘Out After Dark’ (1979), ‘Having a Rock and Roll Party’ (1982), ‘The Scientific Bombs Away!!!’ (1988) e ‘Drunkard in The Think Tank’ (2004). Wilson também tem discos solos legais, especialmente ‘Randon Centuries’, praticamente só com voz e violão.

Sem Roy Loney, e com Chris Wilson à frente da banda, ao lado de Cyril Jordan, e em sintonia com sua trajetória, The Flamin’ Groovies explode em plena era punk com um disco totalmente “sixties”. Batizado ‘Shake Some Action’, o disco trazia guitarras e vocais à la Beatles 65, toques de Kinks e rock and roll na linha dos primeiros Stones. Para não deixar dúvidas, a banda agrega ao repertório próprio geniais covers para ‘Misery’ (Lennon & McCartney), ‘Don’t Lie To Me’ (Chuck Berry) e ‘She Said Yeah’ (Larry Williams). Gravado na Inglaterra, o disco foi produzido por Dave Edmunds que, pouco depois, também assinou os primeiros discos dos Stray Cats. Edmunds ainda produziu os discos ‘The Flamin’ Groovies Now!’ (1978) e ‘Jumpin’ In The Night’ (1979).

Em ‘Now’ e ‘Jumpin’ in The Night’, The Flamin’ Groovies radicaliza a linha “revival” e consegue soar, ao mesmo tempo, como Stones, Beatles, Byrds e John Lennon, entre outras influências, sem perder a identidade. Aquele som de guitarras Rickenbacker, vocais dobrados e sonoridade limpa, que na época poderia parecer ‘fora de moda’, nas décadas seguintes marcaram a história do rock, em discos de bandas como Stone Roses, Oasis ou, mesmo, os atuais Jet, para citar alguns exemplos. Além das composições de autoria de Jordan e Wilson, principalmente, os dois discos trazem mais covers do porte de ‘Fifthy Dimension’ (Byrds), ‘Paint it Black’ (Rolling Stones) e ‘Move It’ (Cliff Richard & The Shadows). Inéditos em CD até pouco tempo atrás nos Estados Unidos, ‘Now’ acaba de ser editado na terra dos Groovies, enquanto ‘Jumpin’ in The Night’ segue disponível apenas no Japão.

A longa e contraditória carreira dos Flamin’ Groovies produziu uma grande, complexa e dispersa discografia, que conta ainda com uma série de coletâneas de raridades, algumas delas indispensáveis. ‘California Bord and Bred’, por exemplo, traz versões alternativas e registros ao vivo, como as enérgicas releituras de ‘I Can’t Explain’, ‘Louie Louie’ e ‘Carol’. O CD ‘68/70’ resgata gravações dessa época, incluindo registros de shows ao vivo, do mesmo período, com excelente qualidade de som. Outros discos, com menos qualidade, como ‘A Collection Of Rare Demos & Live Recordings’, valem pelo repertório, que destacam covers de ‘Miss Amanda Jones’ e ‘Juping Jack Flash’, ambas dos Stones, entre outros.

Ainda hoje, os discos do Flamin’ Groovies soam atuais, o que faz deles, mais do que registros ‘de época’, obras-primas que sobrevivem às mudanças ocorridas no rock. Se, além de Pete Townshend e seu The Who, alguém merece a paternidade da invenção do ‘power pop’, ela deve ser creditada ao Flamin’ Groovies, por conta, especialmente, do disco ‘Shake Some Action’. A descoberta da banda, invariavelmente, leva os incautos neófitos ao vício e a busca desesperada por todos os seus discos, o que é uma tarefa, atualmente, difícil. Por isso, para começar, fica a sugestão de se começar por ‘Yesterday's Numbers’, coletânea que abrange todas as fases, reunindo um pouco dos melhores momentos da banda.

Texto do site Senhor F

compilation on the Camden label featuring 22 tracks from their early '70s albums 'Teenage Head' & 'Flamingo',

Guide Note

Founded by Roy Loney and Cyril Jordan in 1965, The Flamin' Groovies began as a gritty Stones-influenced garage rock band, but progressed in a more melodic direction, eventually gaining the label power-pop.
The turn toward pop began after Loney quit in 1971, leaving Jordan to create more tuneful sound. Songs like "Shake Some Action" and "You Tore Me Down" were a throwback to mid-60's pop-rock and British Invasion sounds. The music was strangely out of time in the early and mid-1970s, particularly in the band's native San Francisco, the world capital of psychedelic rock.

1. Teenage Head
2. Doctor Boogie
3. Yesterday's Numbers
4. Headin For the Texas Border
5. High Flyin Baby
6. Comin After You
7. City Lights
8. Have You Seen My Baby
9. 32-20
10. Whiskey Woman
11. Gonna Rock Tonite
12. She's Falling Apart
13. Evil Hearted Ada
14. Jailbait
15. Sweet Roll Me on Down
16. Second Cousin
17. Childhood's End
18. Keep a Knockin
19. Walkin the Dog
20. Around & Around
21. Rockin Pneumonia & The Boogie Woogie Flu
22. Going Out Theme

http://rapidshare.com/files/144940607/GROOVIES_Venenos.rar

Blues Creation - Demon & Eleven Children (1971 Japan Hard Rock)

OUTRO DISCO DESTA BOA BANDA JAPONESA, AGORA MAIS HARD ROCK!! UM PETARDO NIPÔNICO!! RECENTEMENTE POSTEI O PRIMEIRO DISCO DOS CARAS QUE ERA BLUES DA GEMA!!

Blues Creation was the brainchild of guitarist/singer Kazuo Takeda. They were known as Blues Creation from 1969-1972 and after a three year hiatus returned as just Creation in 1975, not to be confused with the mid-60's British Blues Pop band known as The Creation.

Kazuo Takeda (guitar, vocals, harp, keyboards, percussion)
Fumio Nunoya (vocals)
Yoshiyuki Noji (guitar)
Jun Shinozaki (bass)
Mamoru Shimura (organ)
Eiryu Koh (guitar)
Shinichi Tashiro (drums)
Hiromi Osawa (vocals)
Masashi Saeki (bass)
Masayuki Higuchi (drums, percussion)

1 Atomic Bombs Away 5:31
2 Mississippi Mountain Blues 4:08
3 Just I Was Born 6:19
4 Sorrow 7:28
5 One Summer Day 2:21
6 Brain Buster 2:02
7 Sooner or Later 5:14
8 Demon and Elven Children 9:19

http://rapidshare.com/files/143204280/BCreation2_Venenos.rar

Raw Material - Raw Material (1970 UK Prog Rock)

MAIS UMA POSTAGEM DESTA EXCELENTE BANDA INGLESA!! ESTE É O PRIMEIRO ALBUM DA "RAW MATERIAL", UM VENENO MORTAL!! O SEGUNDO ALBUM JÁ HAVIA POSTADO RECENTEMENTE!!

Super rare UK progressive from the late '60s. Leaning in a psych direction with Doors like keyboards, 'Tull like flute, long tracks, quality vocals, varied instrumentation etc.This was Raw Material's self-titled maiden voyage in the studio, they would release one more album in 1971 titled Time Is. The sound created on this album was not as intense or complex as their second outing but it is a glimpse at what they would become.

This music was progressive but will most likely be looked upon as pre-progressive (i.e. Yes, Pink Floyd) by most fans and critics. Colin Catt, the vocalist and keyboard player, set the tone for the band with his trilling vocal style and Jon Lord/Deep Purple influenced keyboard playing.

Although this album has some of the fusion and jazz elements present, it is not a prevalent as their second album. Rock seems to be the foundation that everything else stems from on their freshman outing. It remains as a fine example of early prog-rock with the use of the flute, sax and harp. Although this may not be the best album that you have heard from that period of time it is good and worth checking out.

Reviews

Time is ... is a good example of the British early prog scene. A five-piece of drums, bass/a.guitar, keys/vox, guitars and sax/flute/vox, Raw Material have their roots in a blusey and often hard-rocking ground, but they branch out into interesting directions. The blaring sax work and the almost gothic vocal melody on the opening track "Ice Queen" evokes the spirit of King Crimson, while the second track "Empty Houses" is mostly a straight-ahead hardrocker but contains a calmer middle section with an interesting-sounding saxophone solo. "Insolent Lady" and "Sun God" are both longer (9 - 11 minutes), three-part compositions with folky acoustic moments, hard rock sections and then some keyboard-assisted (mainly organ and piano) pomposity that hints at the nascent symphonic rock sound of the time. Two quite straightforward rock tunes round out the album. Hardly an essential album, but certainly of interest to those wishing to explore the development of the genre. Raw but potent material. --

Colin Catt - Vocals, Keyboards
Mike Fletcher - Sax, Flute, Harp, Vocals
Dave Green - Guitar
Phil Gunn - Bass
Paul Young - Percussion

01. Time and Illusion-7:30
02. I'd Be Delighted-5:10
03. Fighting Cock-3:50
04. Pear On An Apple Tree-2:57
05. Future Recollections-3:55
06. Traveller Man-6:10
07. Destruction of America-2:27
08. Time and Illusion (Version)-3:11
09. Hi There Hallelujah-2:46
10. Bobo's Party-3:14
11. Days Of The Fighting Cock (Version)-3:09

http://rapidshare.com/files/144776485/RawMaterial1_Venenos.rar

Steamhammer - Steamhammer (1969 UK Rock Bluesy)

MAIS UMA POSTAGEM DE UMA DAS GRANDES BANDAS DE BLUES ROCK QUE MESCLAVA BLUES ROCK COM PSICODELIA E PROGRESSIVO SEMPRE COM MAESTRIA E COMPETÊNCIA!! A BANDA FOI FORMADA EM 1968 E FOI ESCOLHIDA PARA ACOMPANHAR A BANDA DO MESTRE BLUESEIRO "FREDDIE KING" NA SUA TOURNÊ PELA EUROPA!! ASSIM QUE FINALIZOU O GIRO COM O GRANDE BLUESMAN, STEAMHAMMER GRAVOU ESTE SEU PRIMEIRO DISCO QUE É UMA OBRA!!

Blues-rock band STEAMHAMMER was formed at the end of 1988 by Martin Quittenton (guitar), Kieran White (vocals, harmonica, guitar), Martin Pugh (guitar), Steve Davy (bass) and Michael Rushton (drums). Their first album, "Reflections" (AKA "Junior's Wailing") was released in 1969. After this first album, Quittenton and Rushton both quit the band to be replaced by Mick Bradley (drums) and Steve Joliffe (sax, flute), who gave a jazzy influence to the band in their second album, "Mk. II" (1969). Shortly after this release, Joliffe left the band, wich continued as a 4 piece in their third album "Mountains" (1970), which was a returning to the blues-rock of the first album. After a major turnover, Pugh and Bradley invited Louis Cennamo (bass) and, along with special guest Garth Watt-Roy (vocals), recorded "Speech" in 1971. This last album was released posthumously, after Bradley's death in 1972. Kieran White released a solo album; both Pugh and Cennamo formed Armageddon with Keith Relf in 1975. Martin Quittenton went to play with Rod Stewwart.

BAND

Martin Quittenton - guitar

Kieran White - vocals, guitar, harmonica

Martin Pugh - guitar

Steve Davy - bass

Michael Rushton - drums

Guest musician B.B. King played guitar on "You'll Never Know"

ORIGINAL TRACKS

1. Water (Part One)

2. Junior's Wailing

3. Lost You Too

4. She Is The Fire

5. You'll Never Know

6. Even The Clock

7. Down The Highway

8. On Your Road

9. Twenty-Four Hours

10. When All Your Friends Are Gone

11. Water (Part 2)

http://rapidshare.com/files/144164742/Steamhammer69_Venenos.rar

REPOST: Titus Groan - Titus Groan (1970 UK Progressive Rock)

EXCELENTE BANDA PROGRESSIVA INGLESA E SEU ÚNICO ALBUM!! UMA PENA QUE PRODUZIU SÓ ESTE!! É COISA FINA IRMÃO!! COM SAX, FLAUTA E TECLADOS NA DOSE CERTA E QUE ACRESCENTADOS AOS INSTRUMENTOS TRADICIONAIS NASCEU ESTA OBRA PRIMA!! VENENO DE PRIMEIRA LINHA E DE EFEITO GARANTIDO!!

Although named after the main character of Mervyn Peake's gothic fantasy novel, Titus Groan played music definitely lacking in originality. Since all the tracks are over five minutes long, there is room for elaborate instrumental developments, which almost get exciting, but fall short from their goal. Their early progressive style is laced with large parts for wind, which at times makes for interesting listening, but ultimately the meagre compository skills make the wine too watery. By far the best cut is Hall Of Bright Carvings (title taken from Peake's novel as well), which is versatile and passionate, although at 11'50" inevitably too long. A few spins may be rewarding enough, more of this will probably bore you. Jim Toomey had earlier been in Jon, wrote What Did We Miss for Still Life with Stuart Cowell and was later in The Tourists. He also did some session for for Uriah Heep's Ken Hensley at the end of the '70s.

Tracklist:

01. It Wasn't For You (5:33)

02. Hall Of Bright Carvings (11:37)

a) Themeb) Dusty High-Value Hall

c) The Burning

d) Theme

03. I Can't Change (5:41)

04. It's All Up With Us (6:07)

05. Fuschia (6:18)

Total Time: 35:20

The Band:

Stuart Cowell - Keyboards, Guitar, Vocals

John Lee - Bass

Tony Priestland - Saxophone, Flute, Oboe

Jim Toomey - Drums

http://rapidshare.com/files/144198105/Titus_Venenos.rar

Bodast - Bodast (Steve Howe) (1968 UK Rock)

ALTÍSSIMA RARIDADE!! BODAST É A SEGUNDA BANDA DO EX-GUITARRISTA DA FAMOSA BANDA PROGRESSIVA "YES" "STEVE HOWE", QUE ANTERIORMENTE JÁ HAVIA PARTICIPADO DA BOA BANDA "TOMORROW"!! VENENO RARO E HISTÓRICO!!

O nome surgiu das iniciais de seus fundadores: Bobby Clarke, Dave Curtis e Steve Howe. Posteriormente, o Bodast contou com a participação de Clive Skinner. Esse material foi gravado em 1968, mas, devido a complicações como a falência da gravadora antes do lançamento do disco, ele só foi lançado muitos anos depois. É um ótimo trabalho, com semelhanças ao Tomorrow. Stephen James Howe (8 de Abril, 1947 em Londres) é um músico inglês de rock progressivo, internacionalmente conhecido por seu trabalho como guitarrista da banda Yes. Ele também já participou das bandas The Syndicats, Bodast, Tomorrow, Asia e GTR, além de já ter lançado 14 álbuns solo.

O Tomorrow se separou em 1968 e Howe passou a integrar a banda Bodast. O Bodast conseguiu sucesso considerável, mas sua gravadora foi à falência antes que pudessem lançar o primeiro álbum. Após a experiência no Bodast, Howe estava procurando uma nova banda. Chegou até mesmo a fazer audiências com o The Nice e o Jethro Tull, mas sem sucesso.

01 Do You Remember

02 Beyond Winter

03 Once In A Lifetime

04 Black Leather Gloves

05 I Want You

06 Tired Towers

07 Mr. Jones

08 1,000 Years

09 Nether Street

10 Nothing To Cry For

http://rapidshare.com/files/144253781/Bodast_Venenos.rar

Tangerine Zoo - Tangerine Zoo (Rare 1968 US Psychedelia)

BOA BANDA PSICODÉLICA DE BOSTON FORMADA EM 1967 COM O NOME DE "THE EBB TIDES" E POSTERIORMENTE MUDOU PARA "FLOWER POT"!! ÀS VÉSPERAS DE GRAVAR ESTE PRIMEIRO ALBUM EM 1968 MUDARAM O NOME PARA "TANGERINE ZOO"!! OS CARAS FORAM CONVIDADOS PARA PARTICIPAR DO ETERNO FESTIVAL DE WOODSTOCK, PORÉM, INFELIZMENTE MESMO, NÃO PUDERAM COMPARECER DEVIDO A COMPROMISSOS E SHOWS AGENDADOS ANTERIORMENTE AO CONVITE!! PERDEMOS TODOS NÓS!! EXCELENTE E RARO VENENO PRA QUEM CURTE BOA PSICODELIA!! O SEGUNDO ALBUM DA BANDA VOU POSTAR EM BREVE!!

Formed from members of The Ebb Tides and The Kidds (see separate entries), the Newport, Rhode Island-based Tangerine Zoo came together in late 1967. Sporting a line up of guitarists Robert Benevides and Wayne Gagnon, keyboard player Ronald Medeiros, drummer Donald Smith and bassist Tony Tavares (yep, same guy as was in the '70s soul outfit), the band attracted considerable attention on the local club circuit (Newport's Dorian's and Lucifers niteclubs), quickly scoring a contract with the Detroit-based Mainstream label.

Making their debut with 1968's cleverly titled "Tangerine Zoo", musically the album was a mixed success. As the primary writers, Gagnon and Mederios turned in a marginally interesting blend of garage, pop ("Please Don't Set Me Free") and psychedelic influences ("Trip To the Zoo", "The Flight" and " Crystalescent Heaven"). The absence of a distinctive lead singer coupled with the lack of a killer song didn't help the proceedings. On the other hand, the performances were all enthusiastic (check out "Nature's Children"), and "Mommy and Daddy" was easily one of the earliest slices of progressive rock we've ever heard. As was standard marketing procedure, the LP was rounded out by a couple of popular covers, including a meltdown version of Them's "Gloria" (check out the stunning feedback laced guitar) and equally nifty take on The Miracles' "One More Heartache".

Personnel:

ROBERT BENEVIDES (*) ld gtr, bs, vcls

WAYNE GAGNON gtr, vcls

BRONALD MEDEIROS hrmnca, organ, vcls

DONALD SMITH drms, vcls

TONY TAVARES bs, gtr

01 Gloria

02 Trip To The Zoo

03 Please Don't Set Me Free

04 Nature's Children

05 The Flight

06 Mommy And Daddy

07 Symphonic Psyche

08 Crystalescent Heaven

09 One More Heartache

http://rapidshare.com/files/143985144/Tangerine1_Venenos.rar

The Byrds - Cruising Altitude (Compilation US Folk Rock Psych)

AMIGOS: THE BYRDS DISPENSA APRESENTAÇÕES!! ESTA POSTAGEM É UMA SIMPLES HOMENAGEM DO BLOG A UMA DAS MAIS IMPORTANTES BANDAS AMERICANAS DOS ANOS ANOS 60!! OS VELHOS PÁSSAROS EMPRESTARAM TALENTO A GRUPOS DO PORTE DE "CROSBY, STILLS & NASH" OU "BUFFALO SPRINGFIELD"!! QUEM DIZ QUE NUNCA ESCUTOU THE BYRDS ESTÁ REDONDAMENTE ENGANADO, POIS VOCÊ CERTAMENTE JÁ OUVIU MUITO E NEM SABIA!!

Consistindo em uma mistura entre o folk rock de Bob Dylan e o som pop de The Beatles, a banda é considerada uma das mais importantes e influentes para o rock na década de 1960. Durante sua carreira ajudaram no desenvolvimento de gêneros como folk rock, space rock e rock psicodélico. Neste album tudo isso é muito bem representado.

O início

A banda foi formada em 1964 por Jim McGuinn (batizado como James McGuinn III, nascido em 13 de Julho de 1942 em Chicago, Illinois) (ele mudou o nome para Roger McGuinn in 1967), Gene Clark (batizado como Harold Eugene Clark, nascido em 17 de novembro de 1944 em Tipton, Missouri; morto em 24 de maio de 1991) e David Crosby (batizado como David Van Cortland Crosby, nascido em 14 de agosto de 1941 em Los Angeles). O baixista Chris Hillman (nascido em 4 de dezembro de 1944 em Los Angeles) e o baterista Michael Clarke (batizado como Michael Dick, nascido em 3 de junho de 1946, em New York; morto em 19 de dezembro de 1993) juntaram-se a banda depois.

Quando ainda eram um trio gravaram a música "The Only Girl I Adore" se autodenominando como The Jet Set. Após tornarem-se um quinteto eles passaram a ensaiar e gravar na World Pacific Studios em Los Angeles e lançaram um compacto com as músicas "Please Let Me Love You" e "Don't Be Long" sob o nome de The Beefeaters.

Folk Rock

Em 1964 assinaram um contrato com a Columbia Records e mudaram o nome para The Byrds. Em 20 de janeiro de 1965, eles gravaram a música "Mr. Tambourine Man", de autoria de Bob Dylan. A música ganhou um tratamento elétrico que ficou conehcido como folk rock. Atingiu o primeiro lugar nas paradas de sucesso americana e britânica.

Seu primeiro álbum que ganhou o nome de Mr. Tamborine Man atingiu as paradas de sucesso e contou com versões para outras composições de Bob Dylan (" "Spanish Harlem Incident", "All I Really Want to Do" e "Chimes of Freedom"), versão para a composição de Pete Seeger ("The Bells of Rhymney") além de composições próprias.

Após o álbum ainda em 1965, The Byrds gravaram uma adaptação que Pete Seeger fez para uma melodia tradicional cuja letra foi diretamente tirada da bíblia. A música "Turn! Turn! Turn!" tornou-se o segundo sucesso da banda e também atingiu o primeiro lugar e fez parte do segundo álbum lançado pela banda.

Rock Psicodélico

Cansados do folk rock começaram a experimentar novos sons. No final de 1965 gravaram "Eight Miles High", uma das primeiras músicas psicodélicas. A música foi lançada primeiramente em compacto em 1966 e depois junto ao álbum Fifth Dimension (em julho de 1966). Porém Gene Clark abandonou a banda antes do lançamento, em março.

Irritados com o sucesso produzido da banda americana The Monkees, The Byrds gravou a música "So You Want To Be A Rock'N'Roll Star", uma crítica ao negócio da música. A música fez parte do quarto álbum da banda Younger Than Yesterday.

Mudanças

Em 1967, começaram a surgir tensões na banda, McGuinn and Hillman começaram a ficar irritados com Crosby. Neste mesmo ano tocaram no Festival de Monterey, Crosby cantou a maioria das músicas e fez discursos entre as músicas sobre o assassinato de John Kennedy e sobre os benefícios do uso de LSD. Com as tensões aumentado a banda despediu Crosby que juntou-se a Stephen Stills e Graham Nash formando a banda Crosby, Stills & Nash. Gene Clark juntou-se a banda por três semanas mas após sua saída The Byrds chamou o baterista de estúdio Jim Gordon e o guitarrista Clarence White para finalizar o próximo álbum. Clarence White tornou-se membro da banda oficialmente. O álbum The Notorious Byrd Brothers foi lançado em 1968 que mixava o folk rock, rock psicodélico, jazz além da música country. Alguns críticos de música consideram este o melhor álbum do The Byrds.

Após o álbum, o The Byrds ficou reduzido a dois integrantes (McGuinn and Hillman) eles acabram chamando Kevin Kelley para assumir a bateria e Gram Parsons para os teclados (que posteriormente passou a ser guitarrista da banda).

Música Country

Com a nova formação a banda mudou de rumo novamente. Em janeiro de 1968 eles tocaram em Nashville e logo começaram a gravar um álbum ao estilo country, Sweetheart of the Rodeo. O álbum não atingiu muito sucesso e antes do lançamento Parsons abandonou a banda. Kelley largou a banda logo depois de Parsons. Para substitui-los foram contratados o baterista Gene Parsons e o guitarrista Clarence White. Dois shows após as novas contrataçoes Hillman abandonou a banda e em seu lugar entrou o baixista John York. Roger McGuinn era agora o único integrante presente desde o início da banda.

Após o álbum The Dr. Byrds & Mr. Hyde eles lançaram o álbum Ballad Of Easy Rider ambos de 1969. Em 1970 lançaram o álbum Untitled e no ano seguinte o Byrdmaniax que trouxe uma decepção pois o produtor Terry Melcher fez algumas alterações no álbum que desagradaram a banda.

Reunião

Em 1972, os cinco integrantes originais se reuniram e gravaram um álbum mas sem o nome da banda. O nome adotado foi "Gene Clark, Chris Hillman, David Crosby, Roger McGuinn, Michael Clarke" mas o álbum se chamou Byrds. Menos de um mês depois do álbum ser lançado eles realizaram o último show.

Mortes

Em 1973, Clarence White morreu atropelado e Gram Parsons de overdose de morfina misturada a alcool. Gene Clark e Michael Clarke morreram em 1991.

01. Mr Spaceman

02. John Riley

03. Roll Over Beethoven

04. So You Want To Be A Rock 'N' Roll Star

05. Have You Seen Her Face

06. My Back Pages

07 Tim Between

08. It Happens Each Day

09. Renaissance Fair

10. Everybody's Been Burned

11. The Girl With No Name

12. Triad

13. Lady Friend

14. Old John Robertson

15. Goin' Back

16. Draft Morning

17. Wasn't Born To Follow

18. Dolphin's Smile

19. Reputation

20. You Ain't Going Nowhere

21. The Christian Life

22. I Am A Pilgrim

23. Pretty Boy Floyd

24. You Don't Miss Your Water

http://rapidshare.com/files/144014449/ByrdsCruising_Venenos.rar

Raw Material - Time Is...(1971 UK Prog Hard Rock)

ESTE VENENO É MORTAL!! UM DOIS GRANDES DISCOS DO INÍCIO DOS ANOS 70!! ESTE É O SEGUNDO ALBUM DOS CARAS!! LOGO VEM A POSTAGEM DO PRIMEIRO ALBUM QUE TAMBÉM É DOSE CAVALAR!!

Raw Material é um grupo inglês formado em Londres no início dos anos 70 e este disco, um clássico do selo Neon, é o segundo e último disco da banda e um pouco diferente do primeiro. Este disco é uma mescla perfeita de Space Rock, Progressivo e Blues onde se destaca um extraordinário trabalho de faluta e de uma guitarra acustica perfeita. Bom progressivo, baseado em riffs de sax e algumas vezes também uma guitarra mais pesada, acordes de órgão e teclados, uma flauta e vozes potentes. Pra que curte East of Eden, Jade Warrior ou Gravy Train, arrisco a dizer que Raw Material é superior a todos.Portanto, Progressivos ou não progressivos, blueseiros ou não blueseiros, amantes de um bom som em geral, digo....Eu não perderia! É VENENO PURO E MORTAL!!

Raw Material's second album is definitely a more consistant and even album than their debut. The main improvement would be the addition of lead guitarist Cliff Harewood. Raw Material is one of those groups that could typify best the term Proto-prog as their early and short career produced two adventuresome albums both much worth investigating.

If the debut was very uneven (having one track meandering into beatnick poetry) , this album's strong point is that there are no weak tracks. However of the six tracks present (a little error in the above informations) , none are really highlights or stand out that much as to create a masterpiece either. The three side A tracks are all fine , interesting prog involving good flute and sax work. Only the vocals are rather perfectible and some guitar work is a bit repetitive. Miracle Worker and Religion are a bit in the same mold but are shorter as to make room for the more imposing Sun God tracks with many mood changes and Floyd-esque athmospheres, but somehow the track has all of the asstes on its side but does not manage to take off to nirvana.

Raw Material's two album can be considered a bit as lost 70s nuggets/gems but are not really THE hidden treasure you were waiting for. Certainly worth discovering and a few spins but nothing worth writing a telegram home about either.

Line-up/Musicians

- Colin Catt / lead vocals, keyboards

- Mike Fletcher / saxophone, flute, vocals

- Dave Green / guitar- Phil Gunn / bass

- Cliff harewood / lead guitar

- Paul Young / drums, percussion

1. Ice Queen [6:45]

2. Empty Houses [7:32]

3. Insolent Lady [8:53]

a) By The Way

b) Small Thief

c) Insolent Lady

4. Miracle Worker [4:47]

5. Religion [4:27]

6. Sun God [11:14]

a) Awakening

b) Realisation

c) Worship

http://rapidshare.com/files/143918159/Raw71_Venenos.rar

Electric Prunes - Long Day's Flight (Rare US Psychedelic Rock)

ELECTRIC PRUNES DISPENSA MAIORES APRESENTAÇÕES PRA QUEM CURTE PSYCH DOS ANOS 60!! ESTE ALBUM É UMA COLETÂNEA DAS MAIS RARAS DOS CARAS, MUITO BEM ELABORADA E CERTAMENTE PRA QUEM NÃO CONHECE AINDA OS CARAS É A MANEIRA MAIS LEGAL DE CURTIR O QUE OS ELES FAZIAM!! E ERA COISA MUITO BOA, PSICODELISMO DO BOM MESMO!! EXCELENTE BANDA E VENENO ALTAMENTE RECOMENDADO!! UMA DAS MINHAS BANDAS PREFERIDAS DA CENA PSICODÉLICA DOS ANOS 60!! ESTE ALBUM É 10!!

The Electric Prunes are a rock band who first achieved international attention as an experimental psychedelic group in the late 1960s, and contributed two tracks to the soundtrack of Easy Rider. After a period in which they had little control over their music, they disappeared for thirty years, reforming as a recording and touring band in 2001.

History

[edit] OriginThe group started in the San Fernando Valley in Los Angeles, though during the group's long disbandment, rumors circulated that they were from Seattle, probably because their records were very popular in that city. The first members, Ken Williams (guitar), James Lowe (lead vocal, autoharp), Michael Weakley (drums) and Mark Tulin (bass) called themselves The Sanctions, and later, Jim and the Lords. Soon, Dick Hargrave joined on organ, but shortly thereafter left to pursue graphic arts. Their lineup changed many times, including one lineup with Kenny Loggins.

Lowe, Tulin, Williams and Weakley were introduced to David Hassinger, then resident engineer at RCA studios, who arranged for them to record some demos at Leon Russell's home recording facility (which he called Sky Hill Studios). Hassinger also suggested they needed a new name. In response, the band produced a long list of suggestions, with The Electric Prunes last as a joke. Somehow it stuck.

A single Ain't It Hard/Little Olive was released from these sessions, and flopped.
[edit] Early successThe Prunes' next single, I Had Too Much to Dream (Last Night) (1966), was chosen from material Hassinger culled from the established songwriting team of Annette Tucker and Nancie Mantz. It remains their highest charting success, reaching 11 in the USA and 49 in the UK. Personnel included Jim Lowe on vocals, James "Weasel" Spagnola and Ken Williams on guitar, Mark Tulin on bass and Preston Ritter on drums. This is regarded by many as the classic Prunes lineup.

Their third single, Get Me to the World on Time, was also successful but less so, peaking at 27 in the USA and 42 in the UK. Both their first album, The Electric Prunes: I Had Too Much to Dream (Last Night) (1967) and consisting mainly of Tucker/Mantz material, and the followup Underground (1967) which featured mainly original Prunes material, charted in the lower reaches of the Billboard charts.

By the time Underground was complete, there had been several more personnel changes. Original drummer Weakley returned to replace Ritter, and Spagnola was replaced on guitar by Mike Gannon, who appears on only two songs. Their fourth single Everybody Knows You're Not In Love, was recorded by this line-up, but does not appear on this album.

The Axelrod periodThe Prunes's third album, Mass in F Minor (1968), was a psychedelicized setting of the Mass, written and produced by David Axelrod, and somewhat of an underground favorite. Kyrie Eleison from this record was used to back the Mardi Gras drug-trip scene in Easy Rider. The band reportedly broke up during the recording, and Axelrod completed the album using Canadian band The Collectors[1] and session musicians. A tour had been planned to follow the album release, but it was cancelled after one disastrous show at which it was obvious that the Prunes couldn't play the music, some of which they had seen for the first time only a few days before the concert.

This was followed by Release of An Oath (1968), another religious-themed Axelrod work this time combining Jewish and Christian liturgy. It was produced by Axelrod using top session musicians for all instruments, backing the Prunes's vocal work.

"the new improved Electric Prunes" The following album Just Good Old Rock and Roll (1969) was recorded by another, completely different, group of musicians, originally from Colorado, who were assigned the Prunes's name, which was not legally owned by Hassinger (according to James Lowe in a recent interview). The album cover read the new improved Electric Prunes. This band toured and also released a single on Reprise Records in 1969, but had totally dissolved by 1970.

1. Ain't It Hard

2. Little Olive

3. I Had Too Much To Dream (Last Night)

4. Luvin'

5. Get Me To The World On Time

6. Are You Lovin' Me More (But Enjoying It Less)

7. Bangles

8. Train For Tomorrow

9. Sold To The Highest Bidder

10. Try Me On For Size

11. Dr Do-Good

12. Hideaway

13. The Great Banana Hoax

14. Children Of Rain

15. Antique Doll

16. I Happen To Love You

17. Long Day's Flight (Til Tomorrow)

18. You Never Had It Better

http://rapidshare.com/files/143732332/PrunesLong_Venenos.rar

Shadrack Chameleon - Shadrack Chameleon (1973 US Psych Prog Rock)

RARA E LENDÁRIA BANDA PSICODÉLICA QUE FAZIA UM SOM A BASE DE VIOLÕES, GUITARRA ACUSTICA E UM HAMMOND OCASIONAL!! EXCELENTE SONORIDADE E UM VENENO RARO MAS TRANQUILO!! SEM ALUCINAÇÕES!! DEPOIS DOS JAPAS PIRADOS E ACIDOS UMA CALMADINHA NO CÉREBRO É PRECISO!!

Finally re-pressed and now remastered after two years here is the album by this legendary garage band from Humbolt, Iowa. Taken from the original master tapes the one and only self titled album was originally released on IGL in 1970 and only 800 copies were pressed 500 of which were destroyed before it even got released. All former members of the band worked closely with GEAR FAB to realise this great CD which is a god send for those who do not wish to pay up to $500 for an original. Includes one bonus track that was orignally recorded under the name SHADRACK.

Biografia

Shadrack Chameleon was not so much a band as it was a collective of musicians from a couple popular late-60s Iowa rock bands Steve Fox and Randy Berka were close friends growing up in Fort Dodge Iowa in the early 60s where they were inspired to pick up guitars after hearing the Beatles Foxs family moved to Illinois in 1964 but returned three years later to Humboldt near Fort Dodge By this time Berka had started a band with organist Jon Porter drummer Tom Northup and guitarist John Callahan which evolved into Lazy River With Artie Strutzenberg taking over drum chores from Northup and with the addition of Mark Flanagan on bass Lazy River became a popular band playing gigs throughout the region Steve Fox started his own band Crosstown Traffic with mates Dan Dodgen drums John Brandsgard guitar and Doug Sandvig bss By the outset of the 70s internal conflicts ran high in both bands and Callahan Strutzenberg and Flanagan formed Goo taking Brandsgard with them Berka and Porter asked Fox to join them and Shadrack was born In the summer of 1972 the owners of IGL Records in Iowa had heard Shadrack play and were impressed enought to record a single with the band but by 1973 Shadrack was all but over with members going off to college and other pursuits At the end of 1973 various personnel from Lazy Smoke Crosstown Traffic and Shadrack with Steve Fox the constant recorded Shadrack Chameleon on a reel-to-reel tape machine in a studio they had built from an old storage shed Only 300 LPs were released by IGL under the name Shadrack Chameleon the Chameleon added as an afterthought Stanton Swihart All Music Guide

Track Listings

1. I Wonder Why

2. It Was Me

3. Chameleon (I Love You)

4. Long Road to Ole' Miss.

5. Granite Feast

6. That's the Way It's Gotta Be

7. Don't Let It Get You Down

8. Beyond Eternity

http://rapidshare.com/files/143744860/Shadrack_Venenos.rar

Shinki Chen & His Friends (1971 Japan Acid Rock Bluesy Psych)

MAIS UM JAPA E ESTE EU CONSIDERO O MELHOR DE TODOS, O PAI DELES!! ESTE É O "CARA" DO SOM JAPA!! GUITARRISTA E UM DOS PRINCIPAIS NOMES DO ROCK PSYCH NIPÔNICO!! ERA O JIMI HENDRIX NIPÔNICO!! OLHA A "LAJE" DA FIGURA!!! SHINKI CHEN ERA GUITARRISTA DA BANDA FOOD BRAIN E SPEED GLUE & SHINKI QUE POSTEI ANTERIORMENTE, E QUE SE JUNTOU NESTE DISCO COM FERAS JAPONESAS DO TIPO GEORGE YANAGI, VOCALISTA DA BANDA STRAWBERRY PATH E INTEGRANTE DO FLIE EGG, BEM COMO DE HIRO YANAGIDA, TECLADISTA DO APRYL FOOL E FOOD BRAIN!! O DISCO É MUITO MALUCO, BOM E PERFEITO ROCK ÁCIDO!! ALTAMENTE RECOMENDADO E UM VENENO JAPONÊS DOS MELHORES DAQUELA ÁREA NIPÔNICA!!! ROCK PROG ACID PSYCH SHOW DE BOLA E DE ALTÍSSIMA QUALIDADE!!!!!

Nascido em 30 de maio de 1949, Shinki começou a tocar guitarra aos 14 anos, revelando-se logo um prodígio em seu instrumento. Após montar um grupo folk com alguns amigos, Shen tocou com seu brothero Keibun Hayashi em uma banda no estilo dos Beatles, e mais tarde aventurou-se em um conjunto na linha dos Ventures. Mas Shinki, um aficcionado pelos Kinks e pelos Yardbirds, queria fazer um som na linha do que estava sendo produzido na Inglaterra na segunda metade dos anos 1960, ou seja, rock influenciadíssimo pelo blues americano.

A paixão era tanta que em 1966 aceitou largar a guitarra e assumir a bateria na Midnight Express Blues Band, onde conheceu e logo se aproximou do guitarrista Masayoshi Kabe, que mais tarde seria seu companheiro no Foodbrain e no Speed, Glue & Shinki. Kabe deixou o grupo em dezembro de 66, e Shen assumiu o seu lugar na guitarra. Após algumas mudanças de formação e também de nome, a Midnight Express Blues Band agora se chamava The Bebes. A banda fez várias apresentações em clubes e discotecas, e o visual de Shinki e do vocalista Eiji “Chibo” Takamura, com longos cabelos inspirados em seus ídolos ingleses, começou a causar alguns problemas para o grupo, ao mesmo tempo em que chamava a atenção do público. A Toshiba Records não perdeu tempo e ofereceu um contrato para os Bebes, que lançaram um raríssimo single com uma versão mais lenta de “Back in the USSR” dos Beatles.

A influência dos artistas ingleses continuava a fazer a cabeça de Shen e sua turma, e, após a entrada de George Yanagi no baixo, a banda mudou novamente de nome e passou a se chamar Powerhouse. O material do grupo era baseado em covers de sucessos que estavam virando a terra da rainha de cabeça para baixo, como “Good Morning Schoolgirl” dos Yardbirds e “Spoonful”, eternizada pelo Cream. O Powerhouse gravou um álbum em 1969, “A New Kind Of Blues”, só com releituras de composições de outros artistas, e se dissolveu por problemas internos.

Shinki passou a atuar como músico de estúdio e conseguiu entrar na banda montada para a versão japonesa do musical “Hair”, onde conheceu o vocalista Joe Yamanaka (que mais tarde faria parte da Flower Travellin´ Band) e o tecladista Hiro Yanagida (Apryl Fool). Ao lado de Hiro, Shinki forma o Food Brain, que logo chamou a atenção pela grande quantidade de improvisações entre os músicos em seus shows.

Esssa liberdade criativa inspirou Shinki Shen, que resolveu reunir alguns amigos das antigas e gravar um álbum com a sua leitura de toda aquela cena, tendo, é claro, a sua guitarra como elemento principal. Assim surgiu “Shinki Shen & His Friends”, lançado em 15 de janeiro de 1971 pela Polydor japonesa. Ao lado de Shinki estavam o vocalista e baixista George Yanagi (Strawberry Path, Flied Egg), o brother Hiro Yanagida nos teclados e o baterista Shinichi Nogi. As sete faixas do álbum trazem um som psicodélico ao extremo, banhado em LSD, lisergia levada a cabo por ótimos músicos.

“The Dark Sea Dream” introduz o trabalho com um emaranhado de sons, abrindo as portas para “Requiem of Confusion”. Totalmente hendrixiana, a faixa traz os vocais de Yanagi repletos de efeitos, embalados por uma estrutura que é filha direta dos clássicos hard blues setentistas. “Freedom Of A Mad Paper Lantern” traz um andamento psicótico que se assemelha a uma jam embebida em ácido. A melancólica balada “Gloomy Reflections” é a faixa mais convencional do disco, enquanto que “It Was Only Yesterday” nos transporta para dentro de uma trip lisérgica, onde o grande destaque é o teclado de Yanagida. O álbum fecha com “Farewell to Hypocrites”, a minha preferida, uma odisséia sensorial com quase treze minutos e um grande solo de Chen.

“Shinki Chen & His Friends” não é um álbum fácil de ouvir. As loucuras do maluco quarteto nipônico capitaneado por Shinki Chen tem uma mixagem com agudos excessivos e poucos graves, resultando em um som com pouco peso e momentos que exigem uma atenção quase que exclusiva do ouvinte para perceber detalhes e aspectos dos arranjos das músicas. Ouvidos não tão acostumados com o estilo certamente serão incomodados, afinal não é o tipo de música para ser colocada na sala animando um alegre papo entre amigos, mas sim um som que pega o corpo de quem por ele se aventura e o leva por caminhos ainda inexplorados.

Raríssima, a edição original do álbum, lançada pela Polydor japonesa, frequentemente atinge valores acima dos mil dólares em sites de colecionadores, o que só atesta a procura e o fascínio pela obra desse mítico músico japonês.

Shinki Chen – guitar, bass, drum, piano

George Yanagi – vocals, bass (Strawberry Path, Flied Egg)

Hiro Yanagida – keyboards (Apryl Fool, Love Live Life +1, Foodbrain)

Shinichi Nogi - drums

Faixas:

1. The Dark Sea Dream

2. Requiem of Confusion

3. Freedom of a Mad Paper Lantern

4. Gloomy Reflections

5. It Was Only Yesterday

6. Corpse

7. Farewell to Hypocrites

http://rapidshare.com/files/143639376/Shinki_Venenos.rar

Steamhammer - Junior's Wailing (UK Blues Rock Prog)

MAIS UMA POSTAGEM DE UMA DAS GRANDES BANDAS DE BLUES ROCK QUE MESCLAVA BLUES ROCK COM PSICODELIA E PROGRESSIVO SEMPRE COM MAESTRIA E COMPETÊNCIA!! OS CARAS ERAM BONS MESMO!! ESTE ALBUM É UMA RARA COMPILAÇÃO EDITADA PELO FAMOSO SELO ALEMÃO "REPERTOIRE" E QUE FOI MUITO BEM SELECIONADA!! VALE A PENA CONHECER UM POUCO MAIS DO TRABALHO DOS CARAS POR ESTA COLETÂNEA!! POSTERIORMENTE MAIS ALGUNS ALBUNS DA DISCOGRAFIA ORIGINAL DA BANDA AOS AMIGOS ENVENENADOS!! EXCELENTE VENENO ALTAMENTE RECOMENDADO!!

Reissued 1999 compilation. Hard hitting and musically adventurous British blues band, especially popular in Germany, where they had a big hit with title track 'Junior's Wailing' that was also recorded by Status Quo. Martin Pugh plays lead guitar ... Full Description joined by martin Quittenton on rhythm, who later left the band to work with Rod Stewart. These 1969-70 cuts include an exciting ten-minute 'Live' performance of 'Riding On The L&N.'

The extraordinary blues-rock band Steamhammer was formed at the end of 1968 in Worthing. Martin Quittenton (g) and Kieran White (voc., g, harm.) came out of the British folk circuit. Quittenton had worked together with the Liverpool Scene and, like the other members Martin Pugh (g), Steve Davy (b) and Michael Rushton (dr), had played with numerous R&B groups. Blues hero Freddie King ordered Steamhammer as his backing band on tour through Great Britain. Come Spring time, 1969, they signed a record contract with CBS. The first album, "Steamhammer", was a mixture of classic blues by B.B.King and Eddie Boyd and modern blues written by White and Quittenton with the help of Pugh. At the end of the British blues boom, only a few hardcore fans took interest on the finest lyrical blues-rock statement of the century.

Not selling as many records as they'd hoped to, Steamhammer nevertheless became a top European open-air attraction, mainly due to their brilliant live performance. For over two hours each night they would indulge in wide excursions in instrumental improvisations, embodied by the impressive guitar riffage of Martin Pugh and the sensitive harmonica of Kieran White. In the Summer of 1969, Quittenton left the band, followed by drummer Michael Rushton. They were replaced by Steve Jollife (sax, fl.) and Mick Bradley.

Jollife's feel for precise arrangements and jazz influences especially inspired the recording of Steamhammer's second, "Mk II", album. Overstepping the boundaries of traditional blues forms, they unleashed their own musical creativity and imagination without resorting to any technical trickery. These highly professional and creative musicians performed many live shows at various festivals in Scandinavia, West Germany and the Netherlands. On the continent, it turned out, they had become more popular than in England.

In the Summer of 1970, Steamhammer recorded their "definitive album" (rock session), called "Mountains", as a quartet. White, Pugh, Davy and Bradley were really working as a team and offering electrified white urban blues of highest quality. The live cut, "Riding On The L&N", is one of the highlights of the "Mountains" album, which contains straight-ahead blues numbers with a healthy dose of rock'n'roll. It was only with the release of this album that Steamhammer began to be noticed by the rock world. After the Altamont and Fehmarn fiascos, the era of open-air events of such calibre was ended at least for quite a while.

In the late Summer of that same year, Steamhammer toured for the last time in Germany and the Benelux. The following Autumn, the line-up changed again. Only Pugh and Bradley stayed together and engaged ex-Renaissance member Louis Cennamo (b) for the recording of one more album. "Speech" was recorded in the Winter of 1971 and released in the beginning of 1972. By that time, Steamhammer had ceased to exsist. "Speech" was a disappointing, partly chaotic album, and the negative reception of the record led to the end of the group's popularity. Mick Bradley died in February 1972 of leukemia. Kieran White released a solo LP, "Open Door", in 1975 and Martin Pugh and Louis Cennamo put together a cult band Armageddon (with Keith Relf on vocals), which released only one album.

Track Listings

1. Water Part One

2. Junior's Wailing

3. Riding On The L & N

4. Hold That Train

5. Passing Through

6. Autumn Song

7. When All Your Friends Are Gone

8. Lost You Too

9. Supposed To Be Free

10. Johnny Carl Morton

11. Even The Clock

12. Contemporary Chick Con Song

13. Junior's Wailing Single Version

14. Windmill

15. I Wouldn't Have Thought

16. Mountains

Total Time: 75:08

Line-up/Musicians

- Mick Bradley / drums

- Steve Davey / bass, vocals

- Martin Pugh / guitar, vocals

- Kieran White / guitar, vocals

http://rapidshare.com/files/142881210/SteamJuniors_Venenos.rar

Blues Creation - Blues Creation (1969 Japan Blues Rock Psych)

EXCELENTE BANDA JAPONESA DE BLUES ROCK COM INFLUÊNCIAS PSICODÉLICAS E PROGRESSIVAS!! A BLUES CREATION ERA DO PERÍODO ENTRE 1969 E 1972 E DEPOIS DE TRÊS ANOS RETORNARAM COM O NOME "THE CREATION"!! ESTE PRIMEIRO DISCO DA BANDA É BASICAMENTE EXCELENTES RELEITURAS DE FERAS DO BLUES AMERICANO COMO SONNY BOY WILLIAMSON, MEMPHIS SLIM, CHESTER BURNETT, OTIS RUSH E WILLIE DIXON!! MAIS UM VENENO NIPÔNICO DE ALTA QUALIDADE!! BLUES COM SOTAQUE JAPONÊS E DO BOM!! OS JAPAS ERAM PIRADÉX!!

Japanese 70's hard/blues rock band with some psychedelic and progressive influences, debuted in 1969.

Biography

Blues Creation was the brainchild of guitarist/singer Kazuo Takeda. They were known as Blues Creation from 1969-1972 and after a three year hiatus returned as just Creation in 1975, not to be confused with the mid-60's British Blues Pop band known as The Creation.

In 1969 Blues Creation made a self-titled album of American blues covers, featuring songs written by Sonny Boy Williamson, Memphis Slim, Chester Burnett, J. Mayall-E. Clapton, Blind Willie Johnson, Willie Dixon and Otis Rush. In August 1971 they released the all original Demon & Eleven Children. This album was heavily influenced by Cream, Deep Purple and Black Sabbath and oddly enough; released the same day as Carmen Maki & Blues Creation, which had the band fronted by young female pop star Carmen Maki. Each Blues Creation album other than their debut features songs written by Takeda and consists of a constantly shifting lineup. In late 1971 Blues Creation released their final album, Blues Creation Live. In 2000 and 2001 Germany's Black Rose Records reissued all 4 Blues Creation albums on CD.

Next was the 1975 self-titled Creation, featuring a new stable lineup and a cover photo of a dozen nude boys full-frontal peeing. Creation toured Japan with American hard rock band Mountain. Mountain broke up soon after their Japanese tour, and partly due to hearing loss from playing so loud, bassist Felix Pappalardi focused on producing other bands.

Pappalardi decided to help Creation work on their next album and invited the band to his Nantucket, Massachusetts home for two months of rehearsals. Over that time the project transformed into a musical collaboration with songs being written mostly by Pappalardi, his wife Gail Collins Pappalardi and Takeda. The album recorded at at New York’s Bearsville Studios was released in April 1976 as Creation with Felix Pappalardi. Creation released a final live album Pure Electric Soul in 1977, once again featuring a cover with nude boys at the front of a bus.

Kazuo Takeda has released more than 20 solo albums including 1978's Super Rock in the Highest Voltage. He now works as a session guitarist in Los Angeles. Takeda attributes his further musical development to his friendship with Pappalardi who encouraged him to branch out into Jazz and other styles. He occasionally still plays live in Asia with former Creation drummer Masayuki Higuchi, and most recently produced Hong Kong's premier bluesman Tommy Chung's album Play My Blues (2006).

Track List:
01 - Checking' Up On My Baby

02 - Steppin' Out

03 - Smoke Stack Lightning

04 - Double Crossing Time

05 - I Can't Keep From Crying

06 - Spoonful

07 - Rollin' And Tumblin'

08 - All Your Love

http://rapidshare.com/files/143197253/BCreation1_Venenos.rar

The Helpful Soul - First Album (1969 Japan Psychedelic Blues Rock)

UMA DAS MELHORES BANDAS JAPONESAS DE BLUES ROCK ACID!! UM DISCASSO ALTAMENTE RECOMENDADO!! UMA PAULADA!! VENENO NIPÔNICO DA MELHOR SAFRA!!

Reissue of super rare and phenomenal 1969 Japanese psychedelic acid blues rock guitar insanity.The 10+ minute track "Peace for Fools" is a mega monster....and it's not the only one!See the 14+ minute "Spoonful" for more madness.Holy shit! I've had this thing for 10 years and never realized how much it totally kills!-rockadrome.com

The career of the Helpful Soul was a real case of wrong place, wrong time - for they hit their blues stride just as heavy blues was becoming hard rock, and graduated to heavy rock too late to capitalise on even that brief fad. However, they recorded one outstanding track, the ten-minutes-plus of "Peace For Fools", which appeared on their otherwise bog-standard blues dirge debut LP. This track in itself separates them from all Japanese blues bands for it is a Kim Fowleyan masterpiece of Jim Morrison mystical doggerel/truly possessed nihilist genius. Unfortunately, leader Junio Nakahara was so inspired by witnessing a performance by Blues Creation, when his band supported them at the Too Much Festival, that he was soon after driven to change his own name to Tstomu Ogawa while his band became known as ... Too Much. Julian Cope

Junio Nakahara – lead vocalist and slide guitar

Gene Shoji – lead guitar

Charles Che - bass

Eiichi Tsukasa – drums

Track Listing:
1. Blues for my Baby 8:06

2. Fire 2:42

3. Peace for Fools 10:33

4. You Got Me Floatin' 3:14

5. Spoonful 14:48

6. Kansas City 3:42

7. Crossroads 5:13

Bonus tracks:

8. Little Wing (previously unreleased) 3:50

9. Aladin's Theme 2:35

http://rapidshare.com/files/142957228/Helpful_Venenos.rar

Steamhammer - Reflection (1969 UK Rock Blues Prog Psych)

UMA DAS GRANDES BANDAS DE BLUES ROCK QUE AO LONGO DE SUA DISCOGRAFIA SE CARACTERIZOU POR MESCLAR BLUES ROCK COM PSICODELIA E PROGRESSIVO, SEMPRE COM MAESTRIA E COMPETÊNCIA!! EXCELENTE VENENO E ALTAMENTE RECOMENDADO!! EFEITO GARANTIDO!!

The band's first album, Reflection, was released in 1969. It included covers of "You'll Never Know" by B. B. King and "Twenty Four Hours" by Eddie Boyd as well as original songs by White, Quittenton, and Pugh. Session musicians Harold McNair (flute) and ete Sears (piano) also played on the album.

The extraordinary blues-rock band Steamhammer was formed at the end of 1968 in Worthing. Martin Quittenton (g) and Kieran White (voc., g, harm.) came out of the British folk circuit. Quittenton had worked together with the Liverpool Scene and, like the other members Martin Pugh (g), Steve Davy (b) and Michael Rushton (dr), had played with numerous R&B groups.

Blues hero Freddie King ordered Steamhammer as his backing band on tour through Great Britain. Come Spring time, 1969, they signed a record contract with CBS. The first album, "Steamhammer", was a mixture of classic blues by B.B.King and Eddie Boyd and modern blues written by White and Quittenton with the help of Pugh. At the end of the British blues boom, only a few hardcore fans took interest on the finest lyrical blues-rock statement of the century.

Not selling as many records as they'd hoped to, Steamhammer nevertheless became a top European open-air attraction, mainly due to their brilliant live performance. For over two hours each night they would indulge in wide excursions in instrumental improvisations, embodied by the impressive guitar riffage of Martin Pugh and the sensitive harmonica of Kieran White. In the Summer of 1969, Quittenton left the band, followed by drummer Michael Rushton. They were replaced by Steve Jollife (sax, fl.) and Mick Bradley.

Jollife's feel for precise arrangements and jazz influences especially inspired the recording of Steamhammer's second, "Mk II", album. Overstepping the boundaries of traditional blues forms, they unleashed their own musical creativity and imagination without resorting to any technical trickery. These highly professional and creative musicians performed many live shows at various festivals in Scandinavia, West Germany and the Netherlands. On the continent, it turned out, they had become more popular than in England.

In the Summer of 1970, Steamhammer recorded their "definitive album" (rock session), called "Mountains", as a quartet. White, Pugh, Davy and Bradley were really working as a team and offering electrified white urban blues of highest quality. The live cut, "Riding On The L&N", is one of the highlights of the "Mountains" album, which contains straight-ahead blues numbers with a healthy dose of rock'n'roll. It was only with the release of this album that Steamhammer began to be noticed by the rock world. After the Altamont and Fehmarn fiascos, the era of open-air events of such calibre was ended at least for quite a while.

In the late Summer of that same year, Steamhammer toured for the last time in Germany and the Benelux. The following Autumn, the line-up changed again. Only Pugh and Bradley stayed together and engaged ex-Renaissance member Louis Cennamo (b) for the recording of one more album. "Speech" was recorded in the Winter of 1971 and released in the beginning of 1972. By that time, Steamhammer had ceased to exsist. "Speech" was a disappointing, partly chaotic album, and the negative reception of the record led to the end of the group's popularity. Mick Bradley died in February 1972 of leukemia. Kieran White released a solo LP, "Open Door", in 1975 and Martin Pugh and Louis Cennamo put together a cult band Armageddon (with Keith Steve Davey / bass- Michael Rushton / drums.

Track Listings

1. Water, Pt. 1 (0:52)

2. Junior's Wailing(3:18)

3. Lost You Too (3:28)

4. She Is the Fire (3:10)

5. You'll Never Know (3:27)

6. Even the Clock (3:49)

7. Down the Highway (4:28)

8. On Your Road (2:43)

9. Twenty-Four Hours (7:28)

10. When All Your Friends Are Gone (3:49)

11. Water, Pt. 2 (1:44)

Line-up/Musicians

- Kieran White / vocals, harmonica, acoustic guitar

- Martin Pugh / lead guitar

- Martin Quittenton / guitar

- Steve Davey / bass

- Michael Rushton / drums

http://rapidshare.com/files/142974003/STEAMReflec_Venenos.rar

Gandalf - Gandalf (1969 US Classic Psychedelia)

UMA OBRA PRIMA DA PSICODELIA!! MELODIAS FANTÁSTICAS!! O MELHOR DO RAMO!! A CAPA DESSE DISCO INSPIROU O MEU BLOG E É O PORTAL, LÁ EM CIMA NA PARTE SUPERIOR DO BLOG!! GRANDE VENENO!! TUDO É BOM, MAS SÓ VEJAM O QUE FOI FEITO NA FAIXA 2, UM COVER DA CLÁSSICA MUSICA DE TIM HARDIN!! É MÁGICO!! É MELODIA EM ESTADO PURO!! UM CLÁSSICO DA PSICODELIA E UM DOS PRIMEIROS DISCO QUE COMPREI AINDA NA FASE DOS "GARIMPOS"!! PRA MIM É DISCOTECA BÁSICA!! ALTAMENTE RECOMENDADO!!

Gandalf is one of the more sought after pieces of late-60's vinyl. This album itself is prime 1967 psychedelia, but as you may note from the date above, a almost-two year delay (by which time the band had long since dissolved!) relagated Gandalf to obscurity. It probably didn't help that the band's name was somewhat of a misnomer anyway as the group spent 98 percent of their existence as the somewhat unfortunately named Rahgoos.

Still, the name Gandalf easily conjures up images of wizardry and songs about elves and gnomes. Strangely enough, we find none of that here. Instead, the band resembles an American version of the Zombies trapped in an acoustically superior well with a predilection towards showtunes about women's accessories ("Golden Earrings," "Scarlet Ribbons," "Tiffany Rings"). Much of the psychedelia on these cover songs involve an amazing amount of echoey reverb on the vocals. Another lynchpin of Gandalf's sound is some extensive use of the Hammond B3 organ. How much you like that particular instrument will likely influence your opinion of Gandalf.

The strange thing about Gandalf, especially for late-1967 (the recording date), is their lack of original tunes. The two present here, "Can You Travel In The Dark Alone" and "I Watch The Moon," are by no means lacking in songwriting chops. In fact they are some of the best songs here, sporting a great west coast-style (even though they were from Jersey) psych-pop structure as opposed to relying on production tricks alone for an altered sound. Apparently, the band simply didn't have enough original material.

It's too bad they couldn't have spent 1968 writing and recording more instead of just waiting for the existing album to be released. Still, Gandalf's cover selections are outstanding, and even the choices that look questionable on paper end up sounding great. Peggy Lee's hit "Golden Earrings" and "Nature Boy" from the interminably strange Eden Ahbez are transformed from what could easily be novelty numbers into dreamy, floating meditations. "Golden Earrings" in particular ended up being Gandalf's single and is probably their signature number. The band also seems to have outsourced three songs from a fellow named Tim Hardin. In fact, the lurching rhythm of "Hang On To A Dream" is an early highlight of the album. "Tiffany Rings" is the only track her which really doesn't do it for me. On this one the group seems to cross the line from mysterious into twee, which for me disturbs the flow of the album.

The album ends with a pair of deeply psychedelic rock songs. Gandalf was not really a showcase for instrumental prowess, but they were able to lock into a great groove which they take time to draw out a little more on "Me About You," and "I Watch The Moon." "I Watch The Moon" in particular is a goldmine for lovers of the Hammond B3 organ, which on the track is matched with some blazing fuzz guitar.

Also of note is the flamboyantly insane cover art. It seems to depict some kind of tripped-out butterfly god or something. The cover alone catapulted Gandalf to the top of my shopping list. The emotionless expression and yellow eyes actually scare me a little bit. The music isn't really wacked out enough to match this prime display of pop art, but it certainly catches one's attention.

Gandalf is far from the top of the 60's rock pile, but it deserves to be heard. The band managed to carve out a sound similar to the Zombies, but with enough of their own touches to keep from sounding like a knockoff. As a side note, Gandalf 2 saw release from Sundazed early this year. Apparently, it's a collection of demos, live tracks and such, but it interestingly contains far more original songs. I'd be curious to know how the sound quality holds up on the new disc.

Peter Sando- Guitar, Electric Sitar, Vocals
Bob Muller- Bass, Vocals
Frank Hubach- Keyboards, Vibes
Dave Bauer, Drums
Bryan Post, Drums

http://rapidshare.com/files/142657345/Gandalf_Venenos.rar

Supertramp - Supertramp (1970 Early Years First Album)

MEUS AMIGOS CONSUMIDORES DE VENENOS: ESTA É REALMENTE A PRIMEIRA FORMAÇÃO DO SUPERTRAMP E O PRIMEIRÍSSIMO DISCO DELES QUE FOI COMPLETAMENTE ESQUECIDO PELA MÍDIA (O QUE JÁ É SINAL DE UM SOM MALUCO E BOM)!! A MAIORIA CONHECE COMO PRIMEIRO DISCO DO SUPERTRAMP AQUELE EM QUE A CAPA TEM UM MINA TODA TATUADA CHAMADO "INDELIBLY STAMPED"!! NÃO, A BANDA EXISTIA ANTES DISSO E PRODUZIU ESTE VENENO PROGRESSIVO QUE É DE SAIR DO PLANETA!! MUITO BOM DISCO E MOSTRA UM OUTRO LADO DOS CARAS, NUMA MISTURA DE PIANO, GUITARRA ACÚSTICA, ENFIM, VENENO DO BOM E RARO MEUS IRMÃOS!! OLHA SÓ OS INSTRUMENTOS QUE OS CARAS USAVAM E VERÃO QUE ESTA MISTURA SÓ PODE DAR BOA COISA!! VENENASSO PRA QUEM TEM PESCOÇO GRANDE E DE QUEM GOSTA DE VIAJAR NO COSMOS E SABE QUE PRA ISSO NÃO PRECISA GASOILINA!! SÓ DE VENENO DO BOM!!

1 Surely 0:31

2 It's a Long Road 5:33

3 Aubade and I Am Not Like the Other Birds of Prey 5:17

4 Words Unspoken 3:59

5 Mayber I'm a Beggar 6:44

6 Home Again 1:15

7 Nothing to Show 4:53

8 Shadow Song 4:23

9 Try Again - 12:02

10 Surely

Rick Davies - vocals, piano, harmonica, keyboards

Roger Hodgson - vocals, piano, guitars, bass, keyboards, cello

Richard Palmer - vocals, electric guitar, acoustic guitar, balalaika

Robert Millar - percussion, harmonica

http://rapidshare.com/files/61814035/Supertramp.rar

The Sonics - Here Are The Sonics (1965 US Garage Rock)

PRIMEIRO ALBUM DESTA EXCELENTE BANDA, UMA DAS MAIORES GARAGEIRAS!! ENERGIA GARAGEIRA PURA!! VOCAL POTENTÍSSIMO E UMA ENERGIA CONTAGIANTE!! MÚSICA TOCADA E CANTADA COM O FUNDO DA ALMA!! COLOCANDO LITERALMENTE A VOZ PRA FORA!! OS CARAS USAVAM SAX, HARMÔNICA E ALMA!! UM VENENASSO GARAGEIRO QUE CONSIDERO UM DOS MELHORES DE TODOS OS TEMPOS!! UMA BASE DE GUITARRA BRUTRAL E A ÁSPERA VOZ DO VOCALISTA PODEM NOS LEVAR A CRER QUE NESSA ÉPOCA ESTAVA NASCENDO UMA PEQUENA SEMENTE DO QUE VIRIA DEPOIS A SER O PUNK A DÉCADA DE 70!! MAS É APENAS UMA SEMENTE, NÃO PENSEM QUE ESTE É UM ALBUM PUNK, MAS SIM UMA PEQUENA SEMENTE DO ESTILO!! ESCUTEM E TIREM SUAS PRÓPRIAS CONCLUSÕES!! VENENO ALTAMENTE RECOMENDADO E DISCOTECA BÁSICA PRA AMANTES E PESQUISADORES DO ROCK N'ROLL SESSENTISTA!!

Um dos grandes diferenciais da banda era o vocalista Gerry Roslie. Sua postura de palco intimidante e seu vocal gritado e berrado - bastante influenciado pela soul music de Little Richard -, assustava inclusive o público mais jovem". "O LP "Here Are the Sonics", de 65, segundo a lenda, foi toscamente gravado com somente um microfone atrás da bateria inteira, sendo que para alcançar a distorção que queria, a banda só se dava por satisfeita quando os amplificadores estavam sobrecarregados."

The Sonics foi umas dessas poucas e célebres bandas que nasceram prematuramente - sua inovação só iria surtir efeito em uma ou duas gerações posteriores. Eram largamente influenciados pelo estilo característico do The Kinks, da Inglaterra, além do rock clássico norte-americano dos anos 50 e o blues renegado e marginal da mesma época. O grupo surgiu em Washington, em 1963, da cena que tinha The Kingsmen (criadores de um dos maiores hits rockers de todos os tempos, "Louie Louie"), Paul Revere and the Raiders e The Wailers (banda que descobriu o The Sonics). Porém, entre todas, o Sonics foi o grupo que mais incorporou ao seu som o espírito experimentalista, agressivo e selvagem, que os tornaria ao mesmo tempo revolucionários e destinados ao fracasso comercial.

The Sonics em Tacoma, 1964. Um dos grandes diferenciais da banda era o vocalista Gerry Roslie. Sua postura de palco intimidante e seu vocal gritado e berrado - bastante influenciado pela soul music de Little Richard -, assustava inclusive o público mais jovem e arruaceiro dos teddy boys. Esquerda p/ direita: Bob Bennett (bateria), Larry Parypa (baixo), Andy Parypa (guitarra), Rob Lind (orgão e saxofone) e Gerry Roslie (vocal). No final de 1964, eles entram em estúdio para gravar o primeiro single, "The Witch" / "Keep A Knockin'" (cover de Little Richards), pelo selo Etiquette records, dos Wailers. A intenção era deixar tudo o mais barulhento possível, até porque o nome da banda teria vindo de uma fábrica de turbinas para Boeings de Seattle! Os recursos para se turbinar o som eram escassos na época, o que não impedia que os Sonics inventassem parafernálias eletrônicas para potencializar e distorcer seus instrumentos.

Os irmãos Larry e Andy Parypa eram "especialistas" em eletrônica, que mexiam (e destruiam!) nos amplificadores e microfones. Larry, o mais insano, chegava a congelar fios e auto-falantes, aumentar as resistências dos circuitos até queimar, para dar à banda a sonoridade necessária que chegasse aonde eles queriam. A música "The Witch" chegou a atingir o primeiro lugar nas paradas de rádio local, embora só fosse permitido pela lei ser tocada após as 10 horas da noite - temiam que muitas crianças ouvissem a música. E não era para menos: a música começa com a tradicional e característica rufada seca na caixa da bateria, seguida de riffs pesados, teclados sinistros e o vocal agressivo de Gerry Roslie. Depois, entra o que pode ser caracterizado como o primeiro hardcore da história! No entanto, o disquinho vendeu não mais que 25 cópias em Seattle...

No início de 1965 eles entram em estúdio para gravar o primeiro disco pela mesma Etiquette Records, que, apesar de ser um selo pequeno e de pouca estrutura (para a gravação do disco só foi usado dois microfones!), dava à banda toda a liberdade sonora necessária. Depois de várias caixas estouradas, eles conseguiram terminar as 12 canções do primeiro disco, "Here Are The Sonics": entre covers de Little Richard ("Do You Love Me?") e Chuck Berry ("Roll Over Beethoven"), haviam as canções próprias da banda, que deram toda a notoriedade ao grupo, como "(She's) The Witch" - na mesma versão do single -, "Boss Hoss", "Psycho" e "Strychnine" ("Alguns gostam de água / Outros gostam de vinho / Já eu prefiro o gosto / Puro de estricnina! ... Vinho é vermelho / Veneno é azul / Estricnina é bom / Para quem enche o teu saco!")

Em fevereiro de 1966, eles começariam a gravar o segundo disco, "Boom!" Numa tentativa de dar mais aspecto de sonoridade ao vivo ao disco, eles arrancariam todas as caixas de ovos coladas à parede do estúdio usadas como isolamento de som!

The Sonics alcançaria certa notoriedade após abrirem shows dos Beach Boys, Herman's Hermit, Mammas & The Pappas, Byrds e Kinks. No final do mesmo ano, seriam contratados pela Jerden Records, uma gravadora relativamente grande, e iriam para Hollywood gravar o terceiro disco. Teriam agora um produtor, Larry Levine, que trataria de dar uma polida no som. O mediano "Introducing To The Sonics" seria definido pelos próprios membros da banda como "lixo total"! A banda terminaria suas atividades em 1967, sem alcançar nenhum sucesso além do regional.

Em 1972, porém, sairia a clássica coletânea em duplo Lp chamada "Nuggets: Original Artyfacts From The First Psychedelic Era (1965-1968)". The Sonics, definida no encarte original como "a banda mais selvagem de uma geração", e nas prensagens posteriores em Cd, seria elevada ao "elo definitivo entre o garage rock do início dos anos 60 com o punk dos anos 70". Eles participariam com duas canções do primeiro disco, "Strychnine" e "Psycho", e seu som extravagante e sua história obscura seriam finalmente divulgados para todo o mundo...

The Sonics foi uma das bandas mais importantes para a história e consagração do rock marginal, e seu debut, "Here Are The Sonics", foi essencial e inspirador para que pudessem surgir a safra das bandas violentas e agressivas de Detroit do final dos anos 60 (MC5 e The Stooges), e todo o posterior rock genuinamente de garagem, o punk, e até o grunge, da mesma fria e nebulosa Seattle...

XXXXXXXXXXXXXX

The Sonics are an American garage rock band that were part of the Pacific Northwest American garage rock scene in the early and mid-1960s, pioneered by The Kingsmen and The Wailers . Among The Sonics' other contemporaries were The Drastics, The Dynamics, The Regents, and Paul Revere & the Raiders. This movement is credited with founding Seattle's well-known music scene which survives to the present.

Gerry Roslie — organ, piano, lead vocals

Andy Parypa — bass guitar

Larry Parypa — lead guitar, vocals

Rob Lind — saxophone, vocals, harmonica

Bob Bennett — drums

01 - The Witch

02 - Do You Love Me

03 - Roll Over Beethoven

04 - Boss Hoss

05 - Dirty Robber

06 - Have Love Will Travel

07 - Psycho

08 - Money

09 - Walkin' The Dog

10 - Night Time Is The Right Time

11 - Strychnine

12 - Good Golly Miss Molly

http://rapidshare.com/files/142644310/SONICS_Venenos.rar

Omnibus - Omnibus (1970 USA Westcoast Psychedelic)

POUCO OU QUASE NADA DE INFORMAÇÃO SOBRE ESTA BOA BANDA AMERICANA!! SEI QUE FOI RADICADA E FORMADA EM BOSTON E FAZIA UM SOM MUITO LEGAL!! UMA BOA COMBINAÇÃO DO ESTILO DAS BANDAS WESTCOAST COM BASE EM ORGAN E GUITARRAS PSICODÉLICAS!! VENENO RARO E RECOMENDADO!!

Omnibus was Boston based band combining moody westcoast style organ sound with fuzzy psych guitar. The album was recorded in New York and produced by Steve and Eric Nathanson.

01. The Man Song - 3.26

02. It´s All In Your Heart - 6.03

03. Shake It Off - 3.58

04. Understand - 3.52

05. Above Me - 2.45

06. Den Of Sin - 2.10

07. Boogus Black And Blues - 5.08

08. Spring - 3.02

09. Winding Thru Your Heart - 2.30

10. Harmony - 2.32

11. Big Daddy Slave - 2.37

12. Tired Of Screaming - 2.45

http://rapidshare.com/files/142152129/OMNIBUS_Venenos.rar

One Way Ticket - Time is Right (1968 UK Psychedelia)

MEUS AMIGOS ENVENENADOS: ESTE É UM VENENO RARO E ALTAMENTE PSICODÉLICO!! SOMENTE 50 CÓPIAS DESTA GRAVAÇÃO FORAM PRODUZIDAS EM 1968!! OS CARAS FAZIAM UM SOM HEAVY PSICODÉLICO QUE EM CERTOS MOMENTOS LEMBRAM "CHOCOLATE WATCH BAND", ORA "STATUS QUO" E OUTRAS BANDAS HEAVY PSYCH DO GÊNERO!! O SOM É MUITO LOUCO, MUITO BOM!! ESTE ALBUM FOI SOMENTE RELANÇADO EM 1978, MAS FOI GRAVADO ORIGINALMENTE EM 1968!! ALTAMENTE RECOMENDADO!!

Only 50 copies made and originally recorded in UK 1968 like the Things to Come scenario. Heavy psych in the best Chocolate Soup mold covering 3 songs by the legendary "Five Day Rain". The first release of this album was 1978 but all recordings is from 1968.

The 1960's in London were probably the most exciting years in the history of music as groups and singers from all over the country headed for the Capital to lay down their works of art in some of the best studios in the world. Recording engineers started to play an important part in the "new" sounds that had started with a stranger’s idea.

The next band they got involved with was FIVE DAY RAIN, this time producing an album that has stood the test of time and is still selling to this day. During the making of the album Damon and Brian discovered that could write songs with each other and as Damon was a multi musician (playing drums, bass, lead guitar and keyboards), it was not long before they were laying down tracks of their own. Although busy working late into the night with their various clients they eventually had written enough songs to approach a leading music publisher. This was to be Acuff Rose, who published the great songs of The EVERLY BROTHERS and ROY ORBISON.

When they got the chance Damon and Brian would be in the studios recording their latest composition but this could take a long time as there were only the two of them. Starting with a basic acoustic guitar each instrument was added or mixed together by bouncing across to another track, that is until better multi track came along and made life a little easier. Another time saver was the use of the Mellotron which allowed them to be able to add strings and brass. As Brian Carroll remembers, "Our days were pretty hectic with Damon working through the night in one studio on the "TOMMY" sessions or with STATUS QUO and me working in another cutting records, so it was quite hard to get together. Damon was one of those people who could have made music from any instrument and I'm sure that if he had not spent so much of his life making other people's music sound good he could have gone on to bigger things. Whenever we had the spare time I would go and stay at his house in Woking (a town in southern England) where he had a spare bedroom turned into a mini demo studio. We would just kick a few ideas around until we came up with something, put it down on tape and then we went back to IBC to lay down the master tracks".

In the seventies an album was released called "TIME IS RIGHT" on the PRESIDENT label by a band named "ONE WAY TICKET". This was in fact a mixture of various bands that they have been involved with producing through HOMEGROWN, plus some of their own tracks. The original idea was for it to be an album of just their own material, but even the sleeve notes had to be made up to conceal their identities because of their contract with their publishing company.

Years later they were able to put together the album that should have been released with tracks from the Acuff Rose vaults plus some of the demos that were never finished which was released on a record label in Japan.

1. Time Is Right

2. Sing Along

3. Take A Ride

4. Reason Why

5. Everybody's Been

6. Fall Out

7. Lusty Eyes

8. (Go To Get Some) Money

9. Right Or Wrong

10. Outroduction (Lay Me Down)

http://rapidshare.com/files/140783064/TICKET_VenenosdoRock.rar

Lula Côrtes & Zé Ramalho - Paêbirú (1975 Brazil Psychedelia)

A PEDIDO DE MINHA AMIGA CAMILA LÁ DA CIDADE DE PASSO FUNDO/RS, PARA A QUAL DEDICO ESTA MAGNÍFICA POSTAGEM!! UM ABRAÇO CAMILA!!

THE BIGGEST POISON PSYCHEDELIC THAT BRAZIL PRODUCED!!

O MAIOR VENENO QUE O BRASIL PRODUZIU EM MATÉRIA DE PSICODELIA!! EXTREMAMENTE RARO! ZÉ RAMALHO EM FASE MUCHO LOCA!!! LEIAM ATENTAMENTE TODA A HISTÓRIA DESTE VENENASSO QUE ESTÁ CONTADA ABAIXO COM TODOS OS DETALHES QUE O VENENO MERECE!!

Paêbirú is an obscure Brazilian psych concept album about the four elements (earth, air, fire, water) which got ruined in a warehouse fire back in 1974, causing it to become a massively sought-after (lost) classic, which fetched up to $1500 for vinyl copies.

This recording of the collaboration between Brazilian artists Lula Côrtes and Zé Ramalho is a wonderfully off-kilter record, full of fantastic hooky and strange tunes that range all over the place, from full-on freakouts to quiet pastoral. The entire range of 1970s hippie Brazilian musician culture is displayed in this record.

It's experimental, but it's relentlessly driven towards fun. If you like good music, you will like this legendary album untouched by time. Côrtes, who composes and plays on many of the tracks, seemingly appears only when talking about obscure Brazilian psych reissues, Ramalho, on the other hand, has built a solid career as a Brazilian pop singer and takes on most vocal duties.

The sung atmospheric blend, and chanted vocals are no more or less important than any of the other elements, which include classical acoustic and fuzzy electric guitar, piano, organ, flute, sax and a range of percussion. It's free and psychedelic, but just reigned in enough to keep it tense and exciting. The closest comparison might be to combine Amon Düül with Sunburned Hand of the Man and perhaps Double Leopards, if they lived on a commune together in Brazil and recorded while indulging in mass quantities of narcotics.

################################

A primeira vez que o Brasil ouviu Zé Ramalho da Paraíba foi na voz de Vanusa, que gravou a canção Avohay em seu disco "Vanusa - 30 Anos", em 1977, pela Som Livre. Um ano após, já sem o 'Paraíba", Zé Ramalho ganhou as paradas nacionais com sua enigmática e encantadora mistura sonora. Antes disso, noi entanto, tão fantástica quanto suas letras, a história de Zé Ramalho registra a gravação de um disco que ficou perdido nos escaninhos do tempo.

Trata-se do raríssimo álbum duplo "Paêbirú", creditado a Lula Cortês e Zé Ramalho, gravado entre os meses de outubro e dezembro de 1974, na gravadora Rozemblit, em Recife (PE). Com eles, estão Paulo Rafael, Robertinho de Recife, Geraldo Azevedo e Alceu Valença, entre outros. Na época, Lula Cortês tinha em seu currículo o álbum "Satwa" (1973), que trazia canções com título como "Alegro Piradíssimo", "Blues do Cachorro Louco" e "Valsa dos Cogumelos". Zé Ramalho, já tocando com Alceu Valença, tinha em sua bagagem a experiência de grupos de Jovem Guarda e beatlemania, como Os Quatro Loucos, o mais importante de todo o Nordeste. Clássico do pós-tropicalismo, com (over)doses de psicodelia, o álbum trazia seus quatro lados dedicados aos elementos "água, terra, fogo e ar". Nesse clima, rolam canções como o medley "Trilha de Sumé/Culto à Terra/Bailado das Muscarias", com seus13 minutos de violas, flautas, baixão pesado, guitarras, rabecas, pianos, sopros, chocalhos e vocais "árabes", ou a curta e ultra-psicodélica "Raga dos Raios", com uma fuzz-guitar ensandecida. E, destaque do álbum, a obra-prima "Nas Paredes da Pedra Encantada, Os segredos Talhados Por Sumé" (regravada por Jorge Cabeleira, com participação de Zé Ramalho), com seu baixo sacado de Goin' Home dos Rolling Stones sustentando os mais pirados 7 minutos do que se pode chamar de psicodelia brasileira.

O disco por si só é uma lenda, mas ficou mais interessante ainda pelas situações que envolveram a sua gravação. A gravadora Rozenblit ficava na beira do rio Capiberibe, e o disco, depois de gravado, foi levado por uma das enchentes que assolavam a região. Conta a lenda que sobraram apenas umas trezentas cópias do disco, hoje nas mãos de poucos e felizardos colecionadores, muitas das quais no exterior, onde foram parar a preço de ouro. Contando com a co-produção do grupo multimídia Abrakadabra, o disco trazia um rico encarte, que também sucumbiu ao aguaceiro.

Hoje "top 10" das paradas de CDr no país e ítem valioso no mercado internacional de raridades psicodélicas, o álbum segue misteriosamente inédito no mundo digital. Com isso, a indústria dicográfica brasileira perde uma boa oportunidade de provar que se preocupa um pouco mais do que com o tilintar da caixa-registradora. "Paêbirú", que quer dizer "o caminho do sol" (para os incas), poderia ser o primeiro de uma série de raridades a ganhar a luz do dia, para ocupar uma fatia de mercado que, se pequena comercialmente, é fundamental para a preservação da cultura musical brasileira.

Vale explicar que “o caminho do sol” (Paêbirú) está relacionado às lendas em torno de Sumé, entidade mitológica daqueles povos. Ele teria aberto uma trilha que levaria ao Paraguai e depois, ao Peru. Traços de sua presença estariam registrados no sitio arqueológico de Ingá do Bacamarte, na Paraíba, onde está abrigada a Pedra do Ingá de supostos poderes mágicos. Quando Zé Ramalho encontrou Lula Côrtes em meados de 1974, os dois foram contagiados pelo fascínio pela região de um amigo em comum, o artista Raul Córdula, cujo pai era ligado à sociedade Arqueológica da Paraíba. Eles resolveram fazer um disco conceitual ligado ao tema. Lançado em 1975 como um LP duplo instrumental, Paêbirú. Teve quase toda sua tiragem destroçada pela cheia daquele ano. Sobraram 300 cópias, vendidas como diamantes raros nos sebos, apesar dos relançamentos em CDs por selos estrangeiros.

Udigrudi - Lula Côrtes e Zé Ramalho pesquisaram os ritmos indígenas e as lendas da região. “Nós demos uma roupa nova a essa coisa de lenda, trazendo sempre a carga instrumental da variedade pernambucana de ritmos”. Afirmou nosso anfitrião. Eles resolveram também transformar o disco numa espécie de quem é quem no Udigrudi pernambucano da época numa trip coletiva, também de acordo com a ética hippie. “Zé Ramalho foi de uma importância fundamental, por que ele tinha uma experiência muito grande com bandas. Então ele, era uma pessoa que tinha certa disciplina em conduzir os ensaios.”

O senso de disciplina de Zé Ramalho era fundamental ainda por outro motivo: uma larga fatia dos músicos do projeto estava envolvida com experimentações lisérgicas da contra ventura. Lula Côrtes conta que “a gente ia até a Paraíba e no caminho, parava, comia cogumelo, era uma coisa astral”. A droga possuía um conceito diferente não tinha o banditismo reinante de hoje. Era voltada para te sensibilizar não para te tornar uma pessoa grosseira e estúpida”. Durante as sessões de gravação, os músicos tomaram apenas pequenos fragmentos de LSD para que, como lembra Lula, “ficassem pelo menos em condições de trazer todos os instrumentos afinados e criar uma harmonia entre nós.

Paêbirú, no entanto, não virou uma lenda apenas por ser um disco “chapado”. Seus quatro lados, dedicados aos elementos básicos Terra, Fogo, Água e Ar, misturam percussão tribal, guitarras elétricas e experimentações de estúdio que ainda hoje, espantam pela radicalidade.

#######################################

OLHA ESTA REPORTAGEM DO JORNAL "FOLHA DE SÃO PAULO:
Álbum feito por Lula Côrtes e Zé Ramalho, "Paêbirú" é, atualmente, o vinil mais valioso da música brasileira, superando "Louco por Você", o primeiro de Roberto Carlos Não é bossa nova, não é tropicália, não é jovem guarda nem samba. O disco mais valioso da música brasileira é "Paêbirú", feito por Lula Côrtes e Zé Ramalho. O álbum, principal expoente do gênero conhecido por psicodelia nordestina, chega a valer hoje, em seu formato original em vinil, R$ 4.000.

Relativamente desconhecido, "Paêbirú" alcançou preço mais alto do que "Louco por Você", o primeiro de Roberto Carlos, que por anos conservara o título de mais caro do país. Segundo lojistas, donos de sebos, especialistas e colecionadores ouvidos pela Folha, o que inflacionou o valor de "Paêbirú" nos últimos meses foi o grande interesse de compradores estrangeiros pela psicodelia nordestina. "No Sub Reino dos Metazoários", do pernambucano Marconi Notaro, que tocou com Zé Ramalho e Lula Côrtes, também teve a sua cotação alavancada.

xxxxx

"Não recebo um centavo por isso" Lula Côrtes, que tem seu "Paêbirú" cotado em R$ 4 mil, diz que reimpressão por selo alemão em 2004 não foi autorizada Donos de lojas confirmam preferência por vinis de rock psicodélico nordestino aos de bossa nova, os mais procurados há dois anos.

DA REPORTAGEM LOCAL
"A única coisa chata é que ele é um dos discos mais raros e caros do mundo, mas não recebo um centavo por isso." A frase é de Lula Côrtes, que gravou "Paêbirú" com Zé Ramalho. Devido a desentendimentos entre os dois músicos, o álbum de 1975 nunca foi relançado no Brasil. Em 2004, ganhou uma edição inglesa, em vinil e em CD, obra do selo alemão Shadoks. Mas, segundo Côrtes, isso foi feito sem autorização. "Esse selo é ilegal. Não fizeram contato comigo nem com Zé Ramalho, pois ele é uma pessoa muito honesta e teria me informado sobre isso", afirmou Côrtes, 57, à Folha. Contatado, Zé Ramalho preferiu não dar entrevista sobre o disco.

A ficha técnica de "Paêbirú" traz mais de 20 participantes. Cada lado do discos é dividido como uma suíte (Terra, Água, Fogo, Ar). A música traz influências de canções indígenas, timbres orientais e é classificada como folk psicodélico.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Faixas:

01. Trilha de Sumé/Culto à Terra/ Bailado das Muscarias

02. Harpa dos Ares

03. Não Existe Molhado Igual ao Pranto

04. O M M

05. Raga dos Raios

06. Nas Paredes da Pedra Encantada

07. Marácas de Fogo

08. Louvação a Iemanjá

09. Regato da Montanha

10. Beira Mar

11. Pedra Templo Animal

http://rapidshare.com/files/142293380/Paebiru_Venenos.rar

Flaviola e o Bando do Sol - Flaviola e o Bando do Sol ( 1974 Psych Folk Rock Brazil)

VENENASSO NACIONAL RARO E BOM PRA CARAMBA QUE REPOSTO A PEDIDO DE MINHA AMIGA CAMILA LÁ DA CIDADE DE PASSO FUNDO/RS, PARA A QUAL DEDICO ESTA POSTAGEM E A PRÓXIMA DO DISCO PAEBIRU!! UM ABRAÇO CAMILA!!

FLAVÍOLA E O BANDO DO SOL ERA DA MESMA GERAÇÃO NORDESTINA PSICODÉLICA PÓS-TROPICALISMO E QUE TEVE EM PAEBIRU DE LULA CÔRTES E ZÈ RAMALHO A SUA EXPRESSÃO MAIS RADICAL!! ESTE PERNAMBUCANO GRAVOU SÓ ESTE DISCO QUE É UMA PÉROLA RARA E BRILHANTE NUM RARO MIX ENTRE FOLK ROCK E PSICODELIA!!INSTRUMENTAL MUITO LOUCO, NA BASE DE VIOLÕES, VIOLAS, GUITARRAS, FLAUTAS E PERCUSSÃO!! UM VENENASSO!!

"Another great example of Brasilian 'psicodelia' from the collective of underground musicians in Recife, featuring Flávio Lira in the lead role, along with Lula Côrtes, Pablo Raphael, Robertinho of Recife, and Zé of the Flute. Of the crazy albums from this period, the Flaviola record Flaviola E O Banda Do Sol (Flaviola and the Flock of the Sun) is one of the rarest jewels. Although it was recorded the same year (1974) as Lula Côrtes and Zé Ramalho's Paêbiru album, and with most of the same musicians, this is mainly an acoustic album, rife with poetic language and regional instruments, but also demonstrating the abundant energy of people involved in making something fresh and new. The cauldron of influence in Recife resulted in some very intriguing music, and the Flaviola album is no exception -- it's more intimate a trip than Paêbirú, and more accessible an experience than Satwa; this is a brilliant album, full of strange moments (cellophane crinkled into the microphone as percussion), some deft acoustic guitar, and some of the prettiest songs this side of Vashti Bunyan.

Participam do disco Flávio Lira (o Flaviola), Lula Côrtes, Pablo Raphael, Robertinho of Recife e Zé da Flauta.

Faixas:

01. Canto Fúnebre

02. O Tempo

03. Noite

04. Desespero

05. Canção do Outono

06. Do Amigo

07. Brilhante Estrela

08. Como os Bois

09. Palavras

10. Balalaica

11. Olhos

12. Romance da Lua

13. Asas

http://rapidshare.com/files/142284088/FLAVIOLA_Venenos.rar

REPOST: Gravy Train - Gravy Train (1970 UK Rock Hard Prog)

PRIMEIRO DISCO DESTA EXCELENTE BANDA INGLESA QUE TINHA UMA SONORIDADE QUE LEMBRAVA MUITO O JETHRO TULL EM SEUS PRIMEIROS DISCOS, PRINCIPALMENTE PELO BOM USO DA FLAUTA E OS RIFFS DE GUITARRA PESADOS!! EXCELENTE DISCO COM HARD ROCK PROGRESSIVO CONSISTENTE E DE PRIMEIRÍSSIMA LINHA!! VENENO ALTAMENTE RECOMENDADO!!

Starting like your typical Vertigo act, Gravy Train's first album sounds faintly like early Jethro Tull, mainly due to similar flute lines, but without a dominating personality like Ian Anderson. Hard-rock riffing is alternated with more quiet and melodic moments and the flute is high in the mix throughout. The tracks are not at all "folky" as some dealers' lists describe them. Some of the music sounds like any old power trio. A nice track is "Dedication To Syd" (Barrett), a quiet but highly atmospheric experimental piece.

Much better is the surprisingly rare second album for Vertigo. The solos are tighter and more controlled and the compositions are better. It is also less bluesy, very crisply produced and features good multi-part singing, greatly enriching their textures. They also try a track with a hook, the lovable "Home Again". Lack of commercial success drove them away from Vertigo and into the arms of Dawn, while gigging all over the country to create a following. The result, "Second Birth", is not very satisfying and actually sounds like a step backwards. Although more diversely arranged than either Vertigo album, the songs lack distinction and verve, making this sound like an attempt to please too many people simultaneously.

Their swansong, housed in a Roger Dean cover and with a revised line-up, starts with the very best cut they made, "Starbright Starlight", a blistering piece of melodious hard-rock, that sets the standard for similarly inclined music (though not many may have heard it, of course). The rest of the album isn't up to the same standard, but the title track with its Bach-derived intro and an unexpected foray into Greek folk, is good too. All in all, a band that plays well, but has too few original ideas to be of more than passing interest.

Wonderful debut by this British band. Gravy Train isn't exactly the most progressive band out there, this here is more of a hard rock album, a Tull meets Sabbath hybrid, with heavy guitar riffs from Norman Barrett, and Ian Anderson-like flutes from J.D. Hughes. This is a more aggressive offering than their next album, (A Ballad Of A) Peaceful Man, and no orchestrations either. And there's no "Alone in Georgia" here, which is a plus for me. "The New One" has a rather strong Tull-sound, with some "Living in the Past" type of guitar rhythms to go with it. "Dedication to Sid" (often in reference to Syd Barrett) is a rather odd piece that gets more experimental at the end. "Coast Road" is a blues piece, a bit like This Was-era Tull, based on blues riffs and flute. "Enterprise" features some really killer guitar riffs. "Earl of Pocket Nook" is a very extended number that includes lots of guitar solos.

Norman Barrett - vocals, guitar

Barry Davenport - drums

J.D. Hughes - woodwind, keyboards, vocals

Les Williams - bass, vocals

Russell Cordwell - drums

Jim Frank - drums

George Lynon - guitar

Pete Solley - synth

Mary Zinovieff - synth, violin

1 The New One 5:15

2 Dedication to Sid 7:17

3 Coast Road 6:46

4 Enterprise 6:20

5 Think of Life 5:10

6 Earl of Pocket Nook 16:11

http://rapidshare.com/files/140755626/GRAVY_TRAIN_VenenosdoRock.rar

Truth - of Them & Other Tales (1969 US Psychedelia Ex.THEM)

BEAUTILFUL ALBUM!! GOOD PSYCHEDELIA!! RARITY POISON!! A MAGNIFICENT ALBUM!! A DIRECT ONE IN THE VEIN!!

EXCELENTE DISCO!! CONSIDERO ESTE UM DOS MELHORES DA MINHA COLEÇÃO PESSOAL!! EXTREMAMENTE RECOMENDADO PARA TODOS QUE GOSTAM DE PSICODELIA DE PRIMEIRA LINHA E DE UM BOM E RARO VENENO!! SÍTARA, FLAUTAS E EFEITOS EXÓTICOS DE ESTÚDIO INCREMENTAM AS FAIXAS E FAZEM DESTE ALBUM UM DOS MELHORES DA ÁREA!! A FAIXA "SONIC SITAR" É UMA VIAGEM ORIENTAL!! OS CARAS ERAM OS MESMOS QUE HAVIAM FORMADO A BOA BANDA AMERICANA "THEM" (NÃO A DO VAN MORRISON) E APÓS ISSO VIRIAM A FORMAR ESTA EXCELENTE BANDA TRUTH PARA NOS BRINDAR COM ESTE ALBUM QUE EU CLASSIFICARIA DE UMA OBRA MAGNÍFICA!! UMA PÉROLA OBSCURA!! UMA DIRETA NA VEIA!!

Truth, Of Them and Other Tales (Epilogue). Although Truth never released an LP while they were together, in 1995 this 68-minute CD was salvaged from 1969-70 recordings. Most of them were made for a soundtrack of an obscure film, with three other tracks coming from a Chicago studio session during the brief time in which Ray Elliott was in the band. Perhaps to the surprise of some listeners aware of Truth's Them connections, there's not much of a hard R&B-blues-British Invasion influence. It's far more reminiscent of late-'60s California guitar psychedelia, along the lines of some of the more economic and harmony-driven bands in that style, like Moby Grape and (more distantly) Love.

In this respect, Truth recall Fat Mattress (Noel Redding's group), another act with heavy British Isles roots that took major cues from West Coast harmonized psych, though Truth and Fat Mattress aren't extremely similar. Truth play late-'60s psychedelic rock with a breezy lightness, yet with some guts, anchored by extremely versatile guitar lines by the underrated Jim Armstrong. The songs might not be classic, but they're very pleasant go-with-the-flow period sequences of images, with one vocal (on "Blackboard Words") closely approximating the sound of late-'60s Roger McGuinn. On "Sonic Sitar," the group expands upon the raga-rock explored in the post-Van Morrison Them's best cut, "Square Room," and in fact "Archimed's Pad (Squared Room)" is an impressive instrumental remake of "Square Room" that's an underrated highlight of the whole raga-rock genre, with its hypnotic drawn-out interplay of drones and Indian-influenced guitar melodies. The three songs recorded with Ray Elliott on flute and piano go into jazzier grooves with good effect, adding nice icing to a record that's on the whole better (and certainly more consistent) than either of the late-'60s Them albums on which some of the Truth musicians played.

I was surprised to learn that this magnificent CD, one of the best retrospective releases of the mid-1990s, is still in print. Apparently a second run was made for a licensing deal which then fell through, leaving the good people at Epilogue with a big stack of CDs for a release that had already run its course on the home market. The good news is that 8 years down the line a new generation of heads have an equal opportunity to jump into this exhilarating roller coaster ride of west coast-style guitarpsych at its finest.

TRUTH is one of the more obscure twigs on the amazingly vast tree that grew out of a 1964 Belfast hoodlum r'n'b act first (and last) known as Them. You've heard the great Van-era recordings, the even greater Belfast Gypsies recordings, the inconsistent but occasionally brilliant Texas-era recordings -- but prior to this CD you're unlikely to have heard this Chicago-based franchise, featuring guitarist Jim Armstrong and vocalist Kenny McDowell from the Belfast/Texas incarnations of the band, lured back to the US by a music biz impresario circa 1969. The ex-Themers teamed up with two local musicians and Truth was born, rehearsing like crazy and playing local Windy City gigs with some success. I'll refer to John Berg's very detailed liner notes for the full story and move on to the music.

The bulk of the 14 songs contained on the CD are 1969 recordings made for a movie titled "College For Fun And Profit" in which the band can actually be spotted in one scene. The remaining tunes come from a 3-track acetate recorded for a prospective Epic LP that never happened. According to Jim Armstrong "Truth was the best band I ever played in. There was no pulling in different directions". It's not hard to believe him, because that's what Truth sounds like -- skillful musicians delivering music that radiates warmth, harmony and synchronization. If this sounds a bit like vintage Grateful Dead then all the better, because there is a distinct similarity between the Dead of, say, "China cat sunflower", and the airy, good-natured guitarpsych of Truth. Not much is said about the band's influences in the liner notes but if I were to define them in terms of a pin placed on a wall-map of the USA, the spot would be Highway 1 halfway between LA and the Bay Area. There is already a pin there, marked Stalk-Forrest Group, and apart from the Dead that's one band that Truth remind me of.

Impressive credentials for sure, but Truth needn't be embarrassed in this company, because their music is faultless and at its best outright stunning. So very few bands manage to play music that allows space for the members full range of versatility without degrading into prog or fusion; Truth manage to do so and still deliver melodic, open-ended music. The opening "Music is life" is a program declaration as good as any; complex rhythms and bold chord shifts, yet as inviting as a Byrds 45 with McDowell's joyful vocals setting the tone for all that follows. "6 O'Clock Alarm" is your standard white-collar grind lament except with a 5-minute Garcia/Lesh-style jam in the middle, before the vocals pull you back to planet Earth.

I have to refrain myself from describing every track in detail but all of it progresses along the superb '69 Dead/Stalk-Forrest axis described above; an exquisite sitar track adds a foreign flavor, while the 10-minute revisit to the Texan Them's "Square room" shows just how good raga rock can be if done with serious intentions -- like a sequel to "East-West" by the Butterfields 3 years earlier. There is another great track called simply "HIGH!" which is how you feel when hearing it, and a take on "Circle round the sun" that suits the band very well. The CD closes with the 3 tracks off the aforementioned acetate, and they're just as swell, bringing in organ and flute and a slight British influence (think Traffic) to produce one of the very best tracks on the entire CD, the powerful "Castles in the sand" that is likely to blow anyone's head off. There is some very minor surface noise on the acetate tracks while the earlier recordings are crystal clear and can be played loud as fuck!

Most of the unreleased 1960s-70s stuff that appears is disappointing and shows mainly why it wasn't released in the first place, but this Truth CD is the perfect antithesis of that cynicism -- just like Stalk-Forrest Group it's better than almost anything that WAS released at the time.

01 - Music Is Life (4'13")

02 - 6 O'Clock Alarm (9'14")

03 - Mysterios (1'21")

04 - Music From Big Puce (4'27")

05 - Country Funk (0'39")

06 - Blackboard Words (2'47")

07 - Sonic Sitar (3'18")

08 - High! (6'35")

09 - Archimed's Pad (Square Room) (11'4")

10 - Getting Better (5'27")

11 - Circle 'Round The Sun (5'19")

12 - Ride The Wind (6'37")

13 - Castles In The Sand (7'18")

14 - October ´68 (The Tears That You Cry) (5'23")

http://rapidshare.com/files/140677691/Truth_Venenos.rar

Hillow Hammet - Hammer (1969 US Hard Rock Fuzzion)

HIGHT RARITY!! ALTÍSSIMA RARIDADE!! EXCELENTE VENENO!! HARD ROCK FEITO COM COMPETÊNCIA, RIFFS DE GUITARRAS MARCANTES E RECHEADO COM PIANO E ORGAN!!DARIA PRA COMPARAR COM "CAPTAIN BEYOND"!! UMA CURIOSIDADE MUSICAL ESTÁ NA ÚLTIMA FAIXA "OH HAPPY DAY" ONDE OS CARAS TRANSFORMARAM NUMA BALADA MEIO PSICODÉLICA ESTA CANÇÃO ALTAMENTE POPULAR!! FICOU PARECIDO COM A CANÇÃO QUE JOE COKER FEZ PARA "WITH A LITTLE HELP FROM MY FRIENDS", ATÉ MESMO PELO VOCAL!! VENENO DE EFEITO GARANTIDO E ALTAMENTE RARO NO MERCADO!!

Decent hard rock with heavy guitar riffs occasionally augmented by piano/organ. Some similarity to say Captain Beyond or others exist, though this isn't the best hard rock one could hear. The opener is a solid, driving piece of hard rock with great guitars and vocals that work rather well. "Trouble" is another good rocker, with some piano thrown in also. "Fever" incorporates some great organ work. The cover of "Nobody But You" is pretty good also. "Oh Happy Day" is an interesting choice of covers, but somewhat captures the gospel feel.

01 - Slip Away

02 - Trouble

03 - Fever

04 - Home

05 - Brown Eyed Woman

06 - Nobody But You

07 - Come With Me

08 - We Want To Be Free

09 - Oh Happy Day

http://rapidshare.com/files/141916232/Hillow_Venenos.rar

REPOST: Zior - Every Inch a Man (1972 UK Hard Rock Prog)

SEGUNDO ALBUM DESTA ÓTIMA BANDA BRITÂNICA QUE FAZIA UM HARD ROCK PROGRESSIVO QUE LEMBRAVA ATOMIC ROOSTER, CACTUS E STEPPENWOLF!!! EXCELENTE SOM!! BELO VENENO!! OS CARAS USAVAM FLAUTA, HARMÔNICA E KEYBOARDS!!

Zior's 1971 debut album got immediate attention when it was released because the band used the same artist that Black Sabbath had used on their first album (an artist called Keef).Their first album was a knockout of fantastic heavy rock (Originally released on Nepentha records). Zior was a 4 piece band but,on both albums,the 4th member is missing in the photos... Weird!The band then switched to Intercord for the release of 1972's masterpiece Every Inch A Man." This album,mainly recorded in 1971,contains the solid heavy rock - with fine lead guitar - that the band have become known for. On Certain songs Zior used organs,harps & flutes making a variety of progressive/psychedelic which become really noticeable on the 6 minute epic 'Angel of the Highway'.Well known for their interest in black magic and the occult,their wild live performances helped them grow a strong fans base,especially in Germany where this second album was originally released.

Track Listings

1. Entrance Of The Devil

2. Chicago Spine

3. Have You Heard The Wind Spear

4. Time Is The Reason

5. She'll Take You Down

6. Dudi Judy

7. Strange Kind Of Magic

8. Ride Me Baby

9. Evolution

10. Every Inch A Man

11. Cat's Eyes

12. Suspended Animation

13. Angel Of The Highway

http://rapidshare.com/files/141123066/Zior72_Venenos.rar

REPOST: Salem Mass - Witch Burning (1971 US Psychedelic Rock)

RIFFS DE GUITARRA ACIDAS, PULSANTES E VIAJANTES!! A VIAGEM JÁ COMEÇA NA PRIMEIRA FAIXA COM 10 MINUTOS DE PURO VENENO!! NÃO SE APAVOREM COM O VOCAL DO CARA NESTA PRIMEIRA FAIXA QUE POR VEZES PODE PARECER UM POUCO IRRITANTE!! ESCUTEM E TIREM SUAS CONCLUSÕES!! MAS É SÓ O VOCAL E É SÓ NA PRIMEIRA FAIXA QUE SE TEM ESTA IMPRESSÃO!! ALI PELA FAIXA 3 E 4 O SOM COMEÇA A LEMBRAR UM POUCO A FASE DO GRAND FUNK RAILLROAD NO SEU DISCO PHOENIX!! TEM PRECIOSIDADES COMO FAIXA 5, FAIXA 6 (uma viagem)... E OUTRAS AÍ NO MEIO!! PROCUREM!! BOM VENENO!!

You would assume the group Salem Mass is from Massachusetts right? Wrong. In 1971 four young men from Sun Valley Idaho; Jim Klahr (keyboards), Mike Snead (lead guitar and vocals), Steve Towery (drums and vocals), and Matt Wilson (bass and vocals) decided that would be a good name for a group. I was attracted to them because of their name. I am from New York and I have a fascination with the time period in history when the persecution of innocent victims took place. I also happen to really enjoy most music that was made in the seventies. Psychedelic rock wasn't one genre I really knew anything about, as my time for really listening to music of my own choice was from the 60s,70s,80s and early 90s. In 1972, there was a shift to heavy metal and psychedelic rock was becoming a memory. All of this wonderful music has been a revelation of discovery for me every time I sit and listen to another group.

The album starts off with the title track "Witch Burning." The lead vocals are high pitched and stunning, yet the music is powerful and subsequently sweeps that negative factor right under the table. I am not sure who handles vocals on what track because it's not indicated on the album liner notes or cover. That is the only song that lacks vocally, the rest of the album has strong vocals to match the far-reaching and authoritative music. "My Sweet Jane" follows and it put any doubt that I was feeling to rest quickly. I found it to be the best track on the entire album. This music sounds fresh even today. I noticed that the sound quality on a few tracks needed to be cleaned up some, as its muddied and uncharacteristically unclear for an Akarma reissue. This doesn't deter from the overall experience however. I felt that each song had merit and above all the music itself is imposing. Gear Fab Records and Akarma Records team up and do a fine job of reissuing this previously unheard of music.

Why didn't this band release more albums. This band had SO MUCH talent at such a young age. They really knew how to play their instruments.

Track Listing:

1.Witch Burning

2.My Sweet Jane

3.Why

4.You Can't Run My Life

5.You're Just A Dream

6.Bare Tree

7.The Drifter

Musicians:

Jim Klahr - keyboards

Mike Snead - lead guitar and vocals

Steve Towery - drums and vocals

Matt Wilson - bass and vocals

http://rapidshare.com/files/140439173/Salem_Venenos.rar

Aum - Bluesvibes (1969 US Blues Rock Psych)

BLUES COM PITADAS PSICODÉLICAS DA MELHOR SAFRA!! O VENENO JÁ COMEÇA LETAL NA PRIMEIRA FAIXA "TOBACCO ROAD"!! WAYNE CEBALLOS ERA "O CARA" DA BANDA!! VENENASSO LETAL E ALTAMENTE RECOMENDADO!!

Led by singer multi-instrumentalist Wayne Ceballos with drummer Larry Martin and bassist Ken Newell rounding out the trio the group's initial reputation stemmed from their jam-oriented concerts. As one would expect from the title the group's 1969's album found them working in a distinctively blues-vein. Reflecting the band's live act this Richard Gotthrer-produced debut features a series of seven extended jams (the shortest song clocking in at 4 minutes). Ceballos proved a decent singer injecting considerable energy into his performances and the band really soars in many occasions. Truly interesting.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

AUM Bluesvibes (2007 UK limited edition 7-track LP pressed on 180gram VIRGIN VINYL, originally released in 1969; led by multi-instrumentalist Wayne Ceballas, Aum excelled at jam-based blues rock and this Richard Gottehrer-produced debut showcases Ceballos' singing and guitar work, injecting considerable energy into his performances! Presented in sealed & stickered picture sleeve) **Limited to 500 Copies**.

XXXXXXXXXXXXXXXXXXXXXX

Led by singer/multi-instrumentalist Wayne Ceballos, the little know Aum stand as also-rans in the lexicon of sixties San Francisco bands. With drummer Larry Martin and bassist Ken Newell rounding out the trio, the group's initial reputation stemmed from their jam-oriented concerts.

Initially signed by the London-affiliated Sire label, as one would expect from the title, the group's 1969's Bluesvibes found them working in a distinctively blues-vein. Reflecting the band's live act, the Richard Gotthrer produced debut featured a series of seven extended jams, (the shortest song clocking in at four minutes). With Ceballos writing the majority of the material, in spite of period excesses (e.g. aimless soloing), originals such as Mississippi Mud and Chilli Woman weren't half bad. Moreover, Ceballos proved a decent singer, injecting considerable energy into his performances. Among the few short-comings, the band's ponderous cover of John Loudermilk's Tobacco Road would've been suitable for Vanilla Fudge.

Musicians:

Wayne Ceballos: Guitar, Harmonica, Keyboards, Vocals

Larry Martin: Drums, Vocals

Ken Newell: Bass, Vocals

1. Tobacco Road

2. Mississippi Mud

3. My Bridge Blues

4. Chili Woman

5. Little Help from You

6. Movin' Man

7. You Can't Hide

http://rapidshare.com/files/141067950/Aum_Venenos.rar