domingo, 30 de setembro de 2012

REPOST Tea and Symphony - An Asylum For The Musically Insane (1969 UK Psychedelic Rock)



UM TRIO INGLÊS ACID PSYCH, PROGRESSIVO, COM INFLUÊNCIAS DO BLUES E DO FOLK!! UM ALBUM EXCÊNTRICO, BARROCO, ORIGINAL, COM UM MONTE DE VIOLÕES E MISTURA DE TECLADOS!! VENENO RECOMENDADO PRA QUEM GOSTA DO ESTILO!!

This amazing thing about the Archives is that you get a fair amount of albums in all sub- genres that rank from the strange , obscure all the way to the frankly bizarre. And all genre considered , one of the more bizarre is the aptly titled debut from this trio. This record dates from 69 ( on the great progressive label Harvest) and is a perfect example (almost a textbook case) of acid-folk but with such a twist of bizarre that it must rank into the folk-prog sub-genre , which has its own share of bizarrerie. Wrapped in a superb psych drawing ( a bit in the style of Beatles 's Yellow Submarine) gatefold sleeve with a no-less superb inside artwork , this uncanny and baroque oeuvre is really a lost gem, one of those rare 24 carrat stuff that only comes so often.

The opening track is a hard to classify track meandering between a few styles (even developping for a few second into the Greensleeves theme) , but staus unfocused enough to destabilize the unwarned listener , but if experienced enough to get him ready for what comes up next. The second track delves into the frozen depths of demon worlds and chilly tales , freezing you to death, only to bring you back to reality with a barroom sing-along tune. Sometimes takes a plunge back into the bizarre and oblique world just left before , reminding the proghead of the insane world of Comus , and warning you of dangers soon to come in your affective life. Maybe my mind is another sombre affair with a voice that sometimes rings like Family's Roger Chapman and might just be the highlight of the first side. This first side ends into a blues , probably the low point on the album , but this might be up for debate because they are equally at ease into this style as well!

The second side is clearly the better one , and it is the succession of a few masterful "songs" like those that make an album a real classic. Terror In My Soul is just as scarry and terrorizing as Comus's Drip Drip , with its sinister flute underlining a superbly tense acoustic guitar strumming. Comes next is a superb adaptation of Fred Neil's Travelling Shoes , and if it was not for the vocals , you'd swear you'be on the Traffic debut album with its delightful pastoral/hippy imagery. Outstanding and astounding! The next track , aptly titled Winter returns to the chilly athmospheres with a haunting cello in the background and bizarre noises evoking stressed and chilled birds calls . The closing track starts out on a harpsichord and flute intro to diverge back into the madness we have now grown accustomed to (we had no choice unless getting locked in forever into the Musically Insane Asylum), but soon we waltz into a great swingy jazz tune to plunge into deep madness (almost free jazz) forever as they apologize for their mischief just accomplished.

Guess what , even if you are not insane , you might want to get a room into this asylum/hotel , where you might just never leave but not really want to check out either, to mis-quote our dear Maani!! Another one of those pearls that I will fight for all progheads to investigate just like I did for Comus , Spirogyra and recently Jan Dukes De Grey. Flabbergasting masterpiece even if I do not give the fifth star. - Review by Sean Trane -


- Dave Clempson ('Clem') / guitar
- Jeff Daw / flute, guitar, vocals
- Gus Dudgeon / drums
- James Langston / guitar, vocals, woodwinds
- Nigel Phillips / keyboards, vocals, percussion
- Bob Lamb / drums

1. Armchair Theatre (3:55) 
2. Feel How So Cool The Wind (3:19) 
3. Sometime (4:16)
4. Maybe My Mind (With Egg)(3:44) 
5. The Come On (4:32) 
6. Terror In My Soul (6:08) 
7. Travelling Shoes (4:27) 
8. Winter (3:19) 
9. Nothing Will Come To Nothing (6:15) 


sábado, 29 de setembro de 2012

THE SONICS - Introducing The Sonics (1966 US Garage Rock



EDIÇÃO LIMITADA DESSE QUE É O ULTIMO ALBUM PELA GRAVADORA "JERRY DENNON'S JERDEN" E CONSTA TODOS OS COMPACTOS LANÇADOS PELO SELO!! GARAGE ROCK DE ALTA (OU LATA) POTÊNCIA É O QUE A BANDA NOS OFERECE!! SE CONTARMOS O ANO DE GRAVAÇÃO, ELES REALMENTE ESTAVAM ANOS A FRENTE NA ENERGIA, POTENCIA, INSTRUMENTAL E VOCAL!! ALBUM EXTREMAMENTE RARO DESSA EXCELENTE BANDA, UMA DAS MAIORES GARAGEIRAS SEM DUVIDA!! ENERGIA GARAGEIRA PURA!! MÚSICA TOCADA E CANTADA COM O FUNDO DA ALMA!! COLOCANDO LITERALMENTE A VOZ PRA FORA!! OS CARAS USAVAM SAX, HARMÔNICA E ALMA!! UMA BASE DE GUITARRA BRUTAL 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!!

This is a limited-edition, 180-gram premium vinyl audiophile pressing of the group's final album for Jerry Dennon's Jerden label. In addition to the band's two original hits (recorded and originally issued on the Etiquette label), there are 13 sides that were cut at the band's last session in 1966. All of the material on here is the same as on Jerden's compact disc version of the same material (issued as Maintaining My Cool), save for the exclusion of a lame version of "Hanky Panky," mercifully replaced here with Gerry Roslie's original "Love Lights." This makes a more than interesting comparison for audiophiles when compared to Jerden's CD version of this, minus the track swap. This also features the original album cover art of the band captured in a blue duo-tone in their matching gaucho outfits. Hardcore fans of the band and completists will want both versions of this. ~ Cub Koda
----------------------------------------------

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...


01. The Witch 2:42
02. You Got Your Head on Backwards 2:24
03. I'm a Man 3:01
04. On the Road Again 1:47
05. Psycho 2:13
06. Love Lights 2:46
07. I'm Going Home 2:27
http://youtu.be/-VaRg2gZg90
08. High Time 2:07
09. I'm a Rolling Stone 2:24
10. Like No Other Man 2:02
11. Maintaining My Cool 1:54
12. Bama Lama Bama Loo 2:42
13. Leave My Kitten Alone 2:44
14. Dirty Old Man 2:17
15. Diddy Wah Diddy 2:26



quinta-feira, 27 de setembro de 2012

Universe - Universe (1971 Norway Hard Prog Rock)



VENENO RARO!! RARE ALBUM!!
BANDA DA NORUEGA QUE GRAVOU APENAS ESSE ALBUM E REZA A LENDA DE QUE NA VERDADE ERA UMA BANDA INGLESA QUE FOI PARA A NORUEGA E DURANTE A VIAGEM A VAN DOS CARAS ESTRAGOU EXATAMENTE NA FRENTE DA CASA DE UNS MALUCOS QUE ERAM TAMBÉM MÚSICOS!! DIANTE DISSO OS CARAS LEVARAM A BANDA PRA CASA DELES, ALIMENTADO-OS E DANDO ABRIGO PROS CARAS DORMIREM!! NO OUTRO DIA A BANDA, PRA RETRIBUIR A GENTILEZA, GRAVOU ALI MESMO UMA JAM SESSION NO ESTÚDIO IMPROVISADO DESSES MUSICOS MALUCOS E LOGICAMENTE QUE A MASTER TAPE DESSA GRAVAÇÃO FICOU COM ESSES CARAS!! ANOS DEPOIS A GRAVADORA COLOURS DESCOBRIU ESSA MASTER TAPE E REEDITOUA GRAVAÇÃO QUE TÁ AÍ AGORA PRA ESCUTAR E CURTIR!! SE ESSA LENDA É VERDADE OU NÃO POUCO IMPORTA, MAS AFINA É A UNICA INFORMAÇÃO QUE SE TEM DA BANDA!! VENENO RARÍSSIMO E RECOMENDADO!!

Rare and recommended album!! Great guitar driven prog hard rock, with some organ, and extended improv's!! A rumour states that "Universe was an English band who went to Norway. Some way along their travels their van broke down in front of a music freak's house. The guy took the band in, fed them, and gave them shelter for the night. The band recorded a jam session as a private pressing for this guy. Colours found it and reissued the recording."


01 - Twilight Winter (6:34)
02 - Cocaine (6:38)
03 - Universe (3:28)
04 - Rolling (3:49)
05 - Spanish Feeling (10:24)
06 - The Annexe (6:12)
07 - Bleak House (2:47)
08 - Trac Four (1:03)


IVORY - Ivory (1968 US West Coast Rock)



BANDA OBSCURA QUE LEMBRA UM POUCO DE JEFFEROSN AIRPLANE COM UM BELO VOCAL FEMININO DA FEMEA "CHRIS CHRISTMAN"!! A SONORIDADE É PSICODÉLICA COM PITADAS FORTES DO FOLK WEST COAST E GUITARRAS FUZZ TRIPY COM BOA INTERAÇÃO COM OS TECLADOS!! VENENO RARO E DE BOA AUDIÇÃO!!

Ivory may be the finest Jefferson Airplane album not by Jefferson Airplane themselves. It is not quite a masterpiece on a par with Surrealistic Pillow, but it easily holds its own with many of the second-tier albums from the band's prime era. Ivory -- and producers Les Brown Jr. and Al Schmitt -- definitely knew how to get the most out of their relatively minimalistic setup. It would be difficult to over-praise the abilities of Kenny Thomure and Mike McCauley, who exhibit a near-telepathic partnership on their instruments, while Chris Christman's full-bodied vocals are room-filling powerful -- all that plus a really first-rate studio drummer. Lyrically Ivory mostly dispensed with topics of amorousness, instead concentrating on far-out, cosmic concerns ranging from the stars to such nebulous ideas of the inner dimension as "infinite realms of peace" to more era-endemic principles like freedom. This does date the album, but the music is so often such a heady, enveloping thrill that it scarcely matters. The songs are mostly strong. The opening "Silver Rains" is perhaps the album's most potent track. A bit ominous and spooky, a bit chaotic and wired, it displays just how dynamic and forceful Christman's vocals could be. Nearly as stellar is the awesome garage psych of "A Thought," complete with guitars so fuzzy you could get a buzz off them and intertwining organ and piano lines that lead into a brief but scintillating rave-up with some of the boogie funk looseness of Traffic. The album's most beautiful moment, however, is the tender "Losin' Hold," a song with more than a slight resemblance to the give-and-take duets perfected by Marty Balin and Grace Slick. It is nearly up to the standards of the classic ballads on Surrealistic Pillow. There are a couple of dull spots during the album's second half, and Ivory wasn't really able to develop a distinctive personality of their own -- one can only bemoan the band's early demise and speculate how they might have gone on to develop -- but borrowed sound and style or not, the band's sole album stands up as menacing, tough-nosed psychedelia loaded with flashes of genuine brilliance. ~ Stanton Swihart


01. Silver Rains 
02. Free And Easy 
03. Losin' Hold
04. Laugh 
05. A Thought 
06. I, Of The Garden
07. All In My Mind
08. A Light
09. Last Laugh

domingo, 23 de setembro de 2012

Motherhood - Doldinger's Motherhood (1970 German Jazz Prog Fusion)



BANDA DE KLAUS DOLDINGER E DE UDI LINDENBERG QUE DEPOIS VIRIAM A FORMAR A BANDA PASSPORT!! UDO LINDENBERG, ALÉM DE FUNDADOR DA BANDA PASSPORT, PARTICIPOU AINDA DE VÁRIOS ALBUNS DE GRANDES BANDAS ALEMÃS COMO A EMERGENCY, 8 DAYS IN APRIL, ATLANTIS, KRAVETZ, ENTRE OUTRAS!! LÉM DISSO, A BANDA MOTHERHOOD TINHA AS PRESENÇAS DE PAUL VINCENT E KEITH FORSEY QUE DEPOIS FORMARIAM A BOA BANDA HALLELUJAH!! A SONORIDADE É UM BOM PROG JAZZ ROCK FUSION!!

the Crack in the Cosmic Egg:
Motherhood was the unlikely name of Klaus Doldinger's psychedelic fusion band, who eventually transmuted into the bands Passport (Doldinger, Meid and Lindenberg) and Hallelujah (Vincent and Forsey). The debut, is pretty dated and chintzy pop 'n' soul sounds done with a psychedelic jazzy flair, all instrumental and largely is covers of well-known hits alongside a couple of originals in the same vein. A step on from Doldinger's "Paul Nero" project, but not really of much interest. The second album saw three new members join, and is often comparable to British rock fusion bands like Colosseum and early Nucleus in many ways, in which Motherhood covered a wide range of styles from psychedelic pop through to jazz-rock. A nice album, and very much a product of the era, showing promise of greater things to come.


Klaus Doldinger (tenor/alto/soprano saxophones, clarinet, piano, organ, vocals)
Paul Vincent (guitar)
Lothar Meid (bass)
Udo Lindenberg (drums, vocals)
Keith Forsey (drums 4 & 6, vocals)

01 Devil don't get me 8:24
02 Song of dying 6:57
03 Circus polka 1:09
04 Men's quarrel 3:54
05 Turning around 2:52
06 Degeneration 6:49
07 Yesterday's song 4:34


sábado, 22 de setembro de 2012

STRAWBERRY PATH - When The Raven Has Come To The Earth (1971 Japanese Heavy Psych Acid Bluesy)



REPOST DA SÉRIE: PRA ETERNIZAR O VENENO!!
REPOST SERIES: THE ALBUM TO ETERNALIZE!!

A TERRA DO SOL NASCENTE É TERRA QUE TAMBÉM PRODUZ ROCK DE MUITO BOA QUALIDADE!! ESTA BANDA É UMA PROVA CABAL DISSO, POIS FAZ UM HEAVY ROCK ACID PSYCH COM PITADAS DO BLUES NUMA NÍTIDA INFLUÊNCIA EM JIMI HENDRIX E CIA.!! LANÇARAM APENAS ESSE DISCO E DEPOIS ESSA MESMA BANDA SE TRANSFORMARIA NA LENDÁRIA "FLIED EGG"!! ÓTIMO VENENO JAPA!!! O VOCALISTA DA BANDA GEORGE YANAGI PARTICIPOU DEPOIS COMO VOCALISTA DA BANDA "SHINKI CHEN & FRIENDS" ALBUM!!!

When the Raven has come to the Earth. Fantastic hard/psych rock masterpiece featuring legends such as Shigeru Narumo (guitar) and Hiro Tsunoda (drums). If you like Jacks, Flied Egg and Foodbrain, then this record is for you. Original gatefold press. Massive drums and big breaks on this record too. Fantastic.

The tracks:
1. "I Gotta See My Gypsy Woman" - LP kicks off with very Hendrix-like song full of fuzzed electric guitar & heavy Hammond floods (keep in mind that Shigeru Narumo's playing both instruments!). It it based upon rather slow, bluesy tempo which can crash you like a tank! Hiro's voice is really similar to Hendrix's and I can say that his accent is even better than Jimi's, very British! 
Guitar solo in the middle is truly spaced out, full of strange "once loud-once calm" effects. Fantastic heavy psych.

2. "Woman Called Yellow 'Z'" - slightly repetitive boogie hard rock but I truly love it. Such mix of Jimi Hendrix and Led Zeppelin, this time without any keyboards but "only" with great guitar lines. In fact all the time you can hear 2 completely different guitar lines here: one plays riffs and solos, while the other usually creates psych noises and background rhythms. Bass work (also Shigeru Narumo) is truly spectacular too.

3. "The Second Fate" - it's instrumental track completely different then 2 preceding tracks. "The Second Fate" has nothing to do with hard rock, it's a very melodic piece of music dominated by lush Hammond organ sound with additional rhythmic piano and electric guitar fills. Sounds like lost "Procol Harum" composition from their early, classic period.

4. "Five More Pennies" - the longest song of this album begins as a bouncy hard rock tune full of extremely engaging guitar and organ riffs. After that drums stop and Shigeru Narumo proceeds to slightly tiresome guitar soloing clearly influences by the most self-indulgent moments of Ritchie Blackmore. But after a while guitar is jointed by powerful drum beat again and Narumo's solos became much more interesting. Brilliant, flashy performance! And all of these noisy organ slides in the background, really great! 

5. "Maximum Speed Of Muji Bird (45 Seconds Of Schizophrenic Sabbath)" - just splendid 45 seconds of beautifully played organ melody. Hammond sounds almost like real pipe-organ here and the whole piece resemblance similarity to some church music composed by J.S.Bach.

6. "Leave Me Woman" - definitely my favorite song of Strawberry Path and maybe even my favorite track in Narumo's career at all! Highly energetic track in the tradition of Deep Purple led by totally amazing, over-driven organ chops! Hammond B-3 solo in "Leave Me Woman" is also long enough to show all breathtaking tricks & ultra speedy melodies. Jon Lord would be proud to play such solo! Definition of heavy prog for me.

7. "Mary Jane On My Mind" - ultimately atmospheric ballad with very pleasant melody and female choirs in the background. Hiro Tsunoda's voice sounds enough passionate too. Strings arrangements and lush organ sound is another highlight here. And this catharsis, tear-jerking guitar solo... Good job! When I listen to this piece I can hear clear "Procol Harum" & "Brian Auger & The Trinity" influences

8. "Spherical Illusion" - it's definitely the least interesting piece on this LP. Main guitar riff sounds like directly stolen from one of Hendrix's albums but it's not the biggest problem here. The worst thing is that 3/4 of this track is occupied by long, tiresome drum solo. Huge misstep guys!

9. "When The Raven Has Come To The Earth" - beautiful instrumental with melody very similar to song "Mocking Bird" recorded by Barclay James Harvest. Melancholic flute, delicate piano, tears inducting weeps of the guitar and lush Hammond waves. Highly recommended autumn music :-).

In general "When the Raven Has Come to the Earth" maybe isn't as compelling piece of art as LP "Dr. Siegel's Fried Egg Shooting Machine" recorded by these guys (+Masayoshi Takanaka) under Flied Egg moniker, but it's still definitely this kind of recording which you just have to check if you're fan of 70s prog/psych/art rock. Especially if you're fan of Jimi Hendrix, Procol Harum and Deep Purple, Strawberry Path can be "your thing". If you're a fan of Strawberry Path's style of rock, I can also recommend you to check other early 70s Japanese artists like: Speed, Glue & Shinki, Shinki Chen & Friends, Kuni Kawachi, The Happenings Four and - more experimental one - Food Brain.
-------ozzy_tom-------



Shigeru Narumo – lead guitar, keyboards, vocals
Hiro Tsunoda – drums, vocals

01.I Gotta See My Gypsy Woman
02.Woman Called Yellow "Z"
03.Second Fate
04.Five More Pennies
05.Maximum Speed Of Moji Bird
06.Leave Me Woman
07.Mary Janes On My Mind
08.Spherical Illusion
09.When The Raven Has Come To The Earth

https://www.mediafire.com/?gx9zxm8fqxufzu6

sexta-feira, 21 de setembro de 2012

Spann - Rough Cuts (1979 Canada Blues Rock Psych)



POWER TRIO CANADENSE CUJO NOME DA BANDA É UMA HOMENAGEM AO GRANDE BLUESEIRO OTIS SPANN E QUE FAZIA UM BOM BLUES ROCK CRU COM PITADAS DE BOOGIE E PSICODELIA!! VENENO RARO E RECOMENDADO!!

Rare and recommended album this blues rock boogie psych band!! (orig. canadian print of debut album by native trio! chock-full of smokin', earthy Boogie-flaked Blues-Rock steam bustin out on swampy seam! electric/acoustic mix w/slide, rough throated leads, squeezin' a down to the bone unadulterated moan...


Henry Paul - Bass
Ronald Veronneau - Drums
Raymond Jalbert - Vocals, Guitar

01 - On The Dole 2:52
02 - I'm Flyin' 3:05
03 - I Don't Need Your Love 4:04
04 - Jigga Down 2:46
05 - Dust My Slide 1:42
06 - Tuesday Fell So Low 3:26
07 - Give Me One Reason 2:37
08 - Long Train 2:40
09 - Triple-Decker 3:11
10 - Rough Cut Blues 2:30


quarta-feira, 19 de setembro de 2012

REPOST: Juan de La Cruz - Himig Natin (1973 Philippines Blues Rock Psych)



MAIS UM VENENO DAS FILIPINAS!!! BLUES ROCK PSYCH DE BOA QUALIDADE!!! ESTE É O PRIMEIRO ALBUM E UM POUCO DIFERENTE DO OUTRO QUE POSTEI ANTERIORMENTE QUE ERA MAIS HARD ROCK PSYCH!! ESTE É MAIS BLUES E DO BOM!!! EXCELENTE E RECOMENDADO VENENO!!!

First album from 1973 that features the classic band line-up of Wally Gonzales (guitar), Mike Hanopol (bass), and Smith (drums, acoustic guitar). It's got the aforementioned ‘I Wanna Say Yeah’, as well as ‘Take You Home’ (also recorded by Speed Glue & Shinki the song with the "down in the alley" lyrics), and the epochal ‘Shake Your Brains’, among other highlights. No-frills packaging, but still the only way to acquire some of the best stuff by these heavy rock legends. Digitally remastered official CD reissue from the Philippines!


1. Take You Home.
2. I Wanna Say Yeah.
3. Round And Round.
4. Blues Train.
5. Rock And Roll Sa Ulan.
6. Shake Your Brains.
7. Mamasyal Sa Filipinas.
8. Big Boss Man.
9. Himig Natin



sábado, 15 de setembro de 2012

CYNARA – Cynara (1970 US Psych Prog Jazz)



VENENO RARÍSSIMO!! HIGH RARITY!!
NOW WITH ALL COVERT ART!!

BANDA DO TECLADISTA "MICHAEL TSCHUDIN" EX-INTEGRANTE DA BOA BANDA LISTENING!! INCLUSIVE TEM UMA VERSÃO DA MUSICA "STONED IS" QUE ERA UMA DAS MELHORES CANÇÕES DA LISTENING E QUE NESSE ALBUM FICOU BEM LEGAL TAMBÉM!! A BANDA SURGIU NA CARONA DO QUE FAZIAM OUTRAS BANDAS DA ÉPOCA COMO "THE FLOCK", "IF" E "MANFRED MANN'S CHAPTER THREE"!! A SONORIDADE É UM INTERESSANTE JAZZ ROCK PROGRESSIVO PSICODÉLICO COM PERCUSSÃO DESTACADA, TECLADO E PITADAS SUTIS DE SOUL!! O DISCO TEM ALTOS E BAIXOS MAS ALGUNS TEMAS VALEM O ALBUM!! SUGIRO UMA AUDIÇÃO COM MAIS ATENÇÃO NAS FAIXAS "MERMAID SONG", "STONED IS" E "LIFE STORIES"!!

Psych Jazz Prog with Michael Tchudin (ex-Listening), Hammond Organ and percusion. Includes "Stone Is"
Cynara is one of those interesting jazz-rock fusion albums that appeared in the late 1960's early 1970's from bands like "The Flock" , "If", or "Manfred Mann's Chapter 3". This one focuses on the Kieth Emerson like keyboards of M. Tschudin.

The first side is song-form oriented with the blues influenced vocals of Jeffery Watson and could have been improved in several cases with stronger material but the second side really opens up and demonstrates on two songs what this band could do. "Mermaid Song" is a light jazzy tune with vibes and "Lullaby for CIA" a jazz instrumental with stunning keyboard improvisation and the great Evlin Jones on drums.


Jeffrey Watson (vocals, percussion)
Michael Tschudin (keyboards)
Cal Hill (bass)
Les Lumley (percussion)
Chip White (drums)

2. Hello You 3:56
3. Stoned Is 4:07
4. Religious Song 5:20
5. Mermaid Song 7:59
6. Lullabye for CIA 11:21



terça-feira, 11 de setembro de 2012

THE FACEDANCERS - The Facedancers (1972 US Progressive Psych Rock)



VENENO RARO E RECOMENDADO!!
RARE AND RECOMMENDED!!
ESTAMOS DIANTE DE UMA VERDADEIRA JÓIA RARA E OBSCURA DO ROCK PROGRESSIVO!! O ALBUM FOI GRAVADO EM NOVA YORQUE, MAS A ORIGEM DA BANDA É DESCONHECIDA E ESPECULA-SE QUE SEJA DO NORTE DOS ESTADOS UNIDOS!! A SONORIDADE É PROGRESSIVO COM TOQUES PSYCHO-BLUES E UMA INSTRUMENTAÇÃO MUITO LEGAL TUDO BEM REGADO A FLAUTAS, HARMONICA, ORGAN ELÉTRICO, SESSÕES RITMICAS DE PERCUSSÃO, GUITARRA PSICODÉLICA TRABALHANDO LEGAL E ALGUM EXPERIMENTALISMO SE PERCEBE!! A BANDA É ECLÉTICA NA SUA SONORIDADE E TEM BOAS HARMONIAS VOCAIS E INSTRUMENTAIS!! PRA QUEM GOSTA DE PROGRESSIVO COM TOQUES PSICODÉLICOS É PRATO CHEIO!! VALE A PENA DAR UM TÉKINHO NESSE VENENO OBSCURO!!
--------------------
Fuzz, Acid & Flowers:
"An underrated progressive rock outfit, strongly influenced by the British prog groups (a la Yes, King Crimson or Camel), with long tracks, complex time changes, fuz guitar and swirling keyboards.
--------------------
A very very obscure psychedelic gem in US underground rock scene.
When I met this album (of course never known about such an outfit), I could feel something of a fate. Even now I cannot understand this matter enough well indeed, but could not avoid purchasing this old well-used vinyl. Exactly this album recorded by The FACEDANCERS, a five-piece obscure US outfit in early 1970s, could be a brilliant gem not only for me but also for all of psychedelic progressive rock fans.

A graceful piano solo and dry-fruity chorus quietly open the curtain of the first scene "Little Waterfall". The former part is as beautiful as of some symphonic progressive rock band I always feel, and in the middle part an aggressive, percussive rhythm section plus heavy, painful guitar sounds can conquer our heart completely. Certain eclecticism should be in, especially bulky psychedelic essence. Not only plaintive but powerful like a waterfall in a storm, not little. The second track "Dreamer's Lullabye" is very poppy and catchy but at the same time very impressive with the percussion solo and crazy harmonica attacks. Do not forget what they meant to be ... as if they might say so. "Nightmare", the most avantgarde psychic war here, is never refined, with blatantly scattered voices and instrument shouts (yea I do consider they be good!). The vocalist sonorously sings for his "Jewels". 

Also the flute solo is attractive and addictive. The first song of B-side "Let The Music Set You Free", a simple blues song, is a bit boring but even the song has some overhead air I feel (bravo). And another masterpiece "Children" has three parts ... in the first and the last ones are streaming voices and floating flute solo, safe and sound keyboard raindrops. Please weep. The middle part, characteristic of this album and this band, is very massive active heavy rock one. This mixture mentioned above should be the real pure psychedelic I'm sure. And effective voice effects and loud 'n' rampant instrumental kicks are over the last "Beta". Cannot breathe without watching the face dancing from beginning to finish.


- Dale Armour - flute, guitar, keyboards, vocals
- Scats Bloom - harmonica, percussion, vocals
- Kelley Moko - guitar, vocals
- Barry Armour - bass, guitar
- Michael Loy - drums, percussion

01. Little Waterfall - 7:21
02. Dreamer's Lullabye - 5:44
03. Nightmare - 3:08
04. Jewels - 3:56
05. Let The Music Set You Free - 5:22
06. Children - 8:23
07. Beta - 6:07



segunda-feira, 10 de setembro de 2012

Getriebe - Syncron RAREST EP (1975 German Hard Rock Prog)



ALTÍSSIMA RARIDADE!!
HIGHEST RARITY!!

BANDA ALEMÃ OBSCURA QUE FOI LIDERADA POR "DETLEV SCHMIDTCHEN", FUTURO TECLADISTA DA BANDA ELOY!! A SONORIDADE É HARD ROCK COM ORGAN HAMMOND BEM LEGAL E CARACTERÍSTICO DAS BANDAS ALEMÃS DO INÍCIO DOS ANOS 70, GUITARRAS PESADAS, BAIXO E BATERIA BATENDO SOLTO!! "DETLEV SCHMIDTCHEN" FORMOU O GETRIEBE EM 1971, EM HANOVER, E EM 1975 ELES VENCERAM UMA COMPETIÇÃO DE BANDAS LOCAIS E COMO PRÊMIO GANHARAM TEMPO PARA UMA GRAVAÇÃO EM ESTÚDIO ONDE ENTÃO GRAVARAM ESSE EP QUE HOJE É EXTREMAMENTE RARO!! O IRÔNICO É QUE ALÉM DA GRAVAÇÃO EM ESTUDIO ELES GANHARAM TAMBÉM UM JANTAR COM OS MEMBROS DA BANDA ELOY E A PARTIR DAÍ É QUE "DETLEV SCHMIDTCHEN" FOI RECRUTADO PARA A ELOY E COM ISSO EXTERMINANDO DE VEZ A GETRIEBE!! VENENO RARÍSSIMO E RECOMENDADO!!

OBSCURE GERMAN BAND FORMED IN "DETLEV Schmidtchen," FUTURE ELOY KEYBOARD PLAYER! HAMMOND ORGAN WITH HARD ROCK BANDS CHARACTERISTIC OF THE EARLY GERMAN 70 GUITARS AND HEAVY! "DETLEV Schmidtchen" FORMED The GETRIEBE IN 1971, IN HANOVER, AND IN 1975 THEY WON A CONTEST FOR LOCAL BANDS AND PRIZE WON AS A RECORDING STUDIO WHERE recorded EP THIS EXTREMELY RARE! The irony is that BEYOND THE RECORDING STUDIO THEY ALSO WON A DINNER WITH THE BAND MEMBERS OF ELOY AND FROM THEN DO "DETLEV Schmidtchen" was recruited into the ELOY AND WITH THAT TIME OF exterminating GETRIEBE! POISON AND RECOMMENDED rare!


- Detlev Schmidtchen - guitar
- Olaf Schröter - guitar
- Reza René Mertens - bass
- Rob Perotti - drums
- Karl Heinz Sieling - organ
- Claus Jülich - vocals

01 - Walk Around Yourself  7:58
http://youtu.be/cBxWneZlmAo
02 - Follow Me  3:46
03 – Janis  4:22



sexta-feira, 7 de setembro de 2012

Butch Engle & the Styx - No Matter What You Say (1964-67 US Psych West Coast Garage)



Butch Engle & The Styx foi formada lá pelos meados dos anos 60 em San Francisco, Califórnia!! A banda fazia um som garageiro meio psicodélico e folk rock, mais ou menos parecido com que fazia a banda Beau Brummels!! Mas isso não é nenhuma coincidência, visto que a maior parte de suas canções e do material da banda foi escrito exatamente por Ron Elliott do Beau Brummels!! A banda Beau Brummels era um grupo muito bom com canções excelentes, e Elliott foi o grander compositor dessa banda!! Na verdade a história é a seguinte: O que a banda Butch Engle & The Styx fazia ou cantava era nada mais nada menos do que as sobras do Beu Brummels, ou seja, aquelas canções que não se adaptavam ao estilo do Beau Brummels eram transferidas pra o Butch Engle!! Em resumo era isso que acontecia!! E o material é bem legal!! Butch Engle & The Styx lançou apenas dois singles com esse nome e se separou em 1968!! O som deles é um estilo Garage rock psicodélico com algumas pitadas de flower Power!! A hippye Music!!

Garage rock and some nice flower psychedelia (with the usual ingredients of farfisa organ and loads of fuzz guitar) from the very early hippiedays by this widely unknown Californian band. Most of the songs were written by Ron Elliott of the BEAU BRUMMELS, but the band doesn´t sound "folky".


*Butch Engle – Lead Vocals
*Bob Zamora – Lead Guitar
*Mike Pardee – Organ
*Harry "Happiness" Smith – Bass
*Rich Morrison – Drums
*Larry Gerughty – Keyboards
*Barry Lewis - Drums, Percussion (1967-68)

01. Hey I"m Lost - 2:32
02. Left Hand Girl - 2:27
03. No Matter What You Say - 2:46
04. Smile Smile Smile - 1:51
05. I'm A Fool - 2:35
06. I Call Her Name - 2:45
07. She Is Love - 2:14
08. If You Believe - 2:25
09. Smile Smile Smile - 1:52
10.Going Home - 2:06
11.I Like Her - 1:55
12.Hey, I'm Lost - 2:30
13.Puppetmaster - 3:46
14.She Is Love - 1:47
15.Tell Me Please - 2:04
16.You Know All I Want - 1:54
17.Hey I'm Lost - 2:28



domingo, 2 de setembro de 2012

REPOST: WILDFIRE - Smokin (1970 US Hard Rock Psych West Coast)



VENENO RARO DESSE ÓTIMO POWER TRIO TEXANO!! O DISCO É UMA REEDIÇÃO OFICIAL A PARTIR DAS "MASTER TAPES" E GRAVADO NO TEXAS, NO ESTUDIO SONBEAT, O MESMO EM QUE A BANDA MARIANI GRAVOU SEU ALBUM!! A SONORIDADE É UM HARD ROCK PSICODÉLICO COM UM CLIMA WEST COAST MUITO RECOMENDADO!!

"O proprietário da Sonobeat, Bill Josey, que produziu e projetou este álbum demo diz que, como todos os demos da Sonobeat, ele foi lançado em um revestimento branco, liso e com números escritos à mão em etiquetas brancas. Além das poucas cópias entregues em Austin, a demo foi vendida no Sound Spectrum, uma loja de discos no sul da Califórnia que na ocasião era propriedade de Jimmy Otto. Wildfire deu apenas 100 álbuns para a loja, e eles se esgotaram em dois dias. A loja pedia mais, e som Spectrum recebeu um adicional de 100 álbuns. Eles foram vendidos em questão de horas, estabelecendo um recorde de todos os tempos na loja."
-----------------------------------
Fuzz Acid & Flowers:

From the opening echoed growl of the guitar intro to Stars In The Sky through the ten minute plus jam in Quicksand at the end of side two, this record sits toward the top of the pile of lost-in-time U.S. West Coast psychedelic hard rock privately pressed albums.
It was originally issued in a plain sleeve with a sticker on the front. Only four or five copies of the original issue, which was made for demo purposes, are known to exist. Thankfully a good quality reissue is now available so all fans of the genre can check it out. A legit CD reissue from Gear Fab is also being put together... Recommended!
----------------------------------
The 1970 Demo Album:

When Wildfire determined it was time to cut a demo album, they began in California at the Beach Boys’ studio, putting down the bass and guitar tracks.  Wildfire guitarist Randy Love is Beach Boy Mike Love’s cousin.  A Texas promoter convinced the band that Texas was the place they wanted to be and the place they wanted to record, and the boys returned to Austin, eventually ending up at Sonobeat’s Western Hills Drive studio toward the end of the year.  There they cut a demo of original music, 8 power-packed songs of timeless rock and roll.  Sonobeat owner Bill Josey, Sr. produced and engineered this demo album which, like all of Sonobeat’s classic demos, was released in a plain white jacket with hand-written numbers on white stickers.

In addition to the few copies given out in Austin, the demo was sold at Sound Spectrum, a record store in Southern California owned by Jimmy Otto at the time.  Wildfire gave only 100 albums to the store, and they were sold out in 2 days.  The store begged fore more, and Sound Spectrum was given an additional 100 albums.  They were sold out in a matter of hours, setting an all-time record albums at the store, per Jimmy Otto. The authorized demo album has a white cover with an adhesive label.  The label on the vinyl reads “Primo” and was drawn by Randy Love.  Autumn Leaves and BMI were on the label. 


"Randy Love" (guitar and vocals)
"Danny Jamison" (bass guitar and lead vocals)
"Donny Martin" (drums)

01 - Stars in The Sky 5:45
02 - Down to Earth 4:34
03 - Time Will Tell 3:11
04 - Don't Look For Me 6:28
http://youtu.be/mADiQADwxnk
05 - Free 2:59
06 - What Have I Got Now 3:22
07 - Let It Happen 3:07
08 - Quicksand 10:59



BOB DOWNES OEN MUSIC - Electric City (1970 UK Prog Psych Jazz Rock)



BOB DOWNES LIDERA A BANDA OPEN MUSIC NOS VOCAIS E TOCANDO SAX E FLAUTA MAGISTRALMENTE!! A SONORIDADE É ROCK COM FORTES INFLUÊNCIAS DO JAZZ E BATIDAS GROOVE!! O SAX E A FLAUTA PASSEIAM SOLTO E NÃO DECEPCIONAM!! RITMOS VARIADOS E VIRTUOSOS DÃO O TOM!! UM BOM E INTERESSANTE DISCO DE JAZZ ROCK QUE VALE A PENA DAR UM TÉKINHO!!

Released on the legendary Vertigo "swirl" label, Electric City was one of the wilder and more obscure issues of the famous 6360 series. But if I say wild and obscure, it is nothing compared to his later works in the mid-70's, as here the music is very accessible resembling some kind of brass rock, as the cast of guest on Bob's first album is an impressive who's who of Phillips-related musicians, pictured assembled on the inner gatefold. The outer gatefold presents a wild collage electronic devices, wild psychedelic colours and Downes in full action, the whole thing permeating a white dummy head; stunning, especially once you'll be that white faceMade of short tracks (except the closing opus), the album has splendid up-tempo rhythms, juicy horn arrangements, great virtuoso musicianship and acceptable vocals. Yup, Downes' vocals are not the main asset of this album yet, Bob's lyrics (all his except for the opening No Time like The Present, which is from poet Robert Cockburn, foreseeing their collab of Deep Down Heavy) are always interesting, but let's face it, we want his flute and sax and he doesn't disappoint. Indeed the fabulous Keep Off The Grass, Dawn Until Dawn (where Downes shows his passion for sax as well), the pedestrian Walkin' On (Bob goes nuts on the sax), the tense Crush Hour, the explosive Piccadilly Circles (waaaah, the pun) and its direct continuity into the lengthy (7-mins+) Gonna Take A Journey, which plunges into free improvs.

Other titles are more R'nB, like Don't Let Tommorrow, Go Find Time, and the bossa nova West II (the worst track of the album, even if saved by a high-flying sax solo) are less enthralling, but all remain high energy. Although we are in full brass-rock delire with this album, it never gets cheesy or pompous or bombastic as BS&T. No we're facing some of the best of the genre, right up with Brainchild, Galliard and a few more. Although Electric City is a fine album, one that epitomizes his first three efforts, it sounds NOTHING like the later works of his. But this one is definitely worth a shot and should be the introduction to Downes' world of sounds.


Bob Downes - vocals, sax, flute, production
Chris Spedding - guitars
Herbie Flowers - bass
Harry Miller - bass
Alan Rushton - drums
Clem Cattini - drums
Kenny Wheeler - trumpet
Ian Carr - trumpet, flugelhorn
Bud Parks - trumpet, flugelhorn
Harold Beckett - trumpet, flugelhorn

01. "No Time Like The Present" 3:05
02. "Keep Off The Grass" 2:46
http://youtu.be/cJPf4gknSUE
03. "Don't Let Tomorrow Get You Down" 2:56
04. "Dawn Until Dawn" 4:29
05. "Go Find Time" 2:40
06. "Walking On" 5:01
07. "Crush Hour" 3:21
08. "West II" 3:28
09. "In Your Eyes" 2:21
10. "Piccadilly Circles" 2:52
11. "Gonna Take A Journey" 7:08