VENENOS DO ROCK

ESTE É O GRANDE MESTRE BRANCO DO BLUES/JAZZ. NÃO É UM DISCO TÃO RARO, MAS A SONORIDADE SURPREENDE. MUITA FLAUTA, SAX E HARMÔNICA NUMA MISTURA PERFEITA DE BLUES/JAZZ. BELÍSSIMO DISCO! Recorded just after Mick Taylor departed for the Stones, John Mayall eliminated drums entirely on this live recording. With mostly acoustic guitars and John Almond on flutes and sax, Mayall and his band, as his typically overblown liner notes state, "explore seldom-used areas within the framework of low volume music." But it does work. The all-original material is flowing and melodic, with long jazzy grooves that don't lose sight of their bluesy underpinnings. Lyrically, Mayall stretches out a bit into social comment on "The Laws Must Change" on this fine, meditative mood album. http://w14.easy-share.com/6010371.html

Este disco da banda THE SEEDS não usa psicodelia pura como nos outros albuns, mas sim uma mistura disso com genero garage rock. É um clássico garagero por excelência com pitadas psicodélicas e que PITADAS!! Confira este disco e veja a diferença entre os outrso dois discos publicados aqui. Um blueseiro e outro totalmente psicodélico. Link http://link-protector.com/414329/

VENENASSO PSYCH, ACID, FOLK, BLUES, GARAGE, WEST COAST COM FLAUTAS E OUTROS INSTRUMENTOS!! CLÁSSICO DA PSICODELIA SESSENTISTA!! A blend of folk, blues, jazz, and Eastern psychedelia, 24 Hours is at its best on the more Eastern and experimental influenced pieces like "Pale Shades of Gray" with its eerie melody, "What's the Matter Now," and "Elaborations" with its lengthy raga-ish instrumental with some very effective flute. The album also contains some covers like "Get Out of My Life" and Eric Andersen's "Violets of Dawn" which are just adequate, but their version of "Hey Joe" is exciting. A Trippy psychedelic album with a unique sound, mixing dream improvisation with west-coast styled garage psych, it’s one of the rarest and best private pressings! *Steve DeTray - Guitar *George Galt - Bass, Harmonica, Harp, Rhythm, Vocals *Gary Rosen - Bass, Rhythm, Vocals *Mark Stein - Bass, Flute, Guitar *Jeff Williams - Drums 1. Lo...

Banda psicodélica de São Francisco, liderada pelo violinista David LaFlamme. Ele começou sua educação musical aos cinco anos, foi solista de orquestra sinfônica e no começo dos anos 60 megulhou na cena underground de Frisco, fazendo jams com Jerry Garcia (Grateful Dead) e Janis Joplin. Em meados de 1967 ele fundou a It's a Beautiful Day, juntamente com a sua mulher Linda nos teclados, a vocalista Pattie Santos, o guitarrista Hal Wagenet, o baixista Mitchell Holman e o baterista Val Fuentes. Foi esse time que realizou este álbum de estréia, auto-intitulado, em 1968. As músicas etéras não deixam de ter um toque progressivo. Destaques para "White bird", "Bombay Calling" e "Time is". http://sharebee.com/24034bb3

VENENO DO BOM VINDO DA ISLANDIA! RECOMENDADO! Hard Progressive-Psychedelic Rock from Iceland.Full of Heavy & Doomy Elements. The album was recorded in Denmark but issued in Iceland only. 01. Wandering Around (Axel Einarsson) - 3:18 02. Solution (Ómar Óskarsson) - 5:28 03. A Sad Man's Story (Ómar Óskarsson) - 2:43 04. Jesus Freaks (Axel Einarsson) - 5:33 05. 1999 (Axel Einarsson) - 4:53 06. Scared (Ómar Óskarsson) - 3:35 07. Nightmare (Axel Einarsson) - 4:46 08. The End (Axel Einarsson) - 5:30 Axel Einarsson electric & acoustic guitars, vocals Ómar Óskarsson bass, acoustic guitar, vocals Ásgeir Óskarsson drums, percussion, backing vocals https://mega.nz/file/IpshiQ4J#c9TdN_w2-UKJE5CEzGgy3zQd-cT7xJCKhwvn6nvcHN8

Excellent 1968 Californian band who with their mix of male and female vocalists and fuzz lead guitar bear comparisons with Yankee Dollar or Peanut Butter Conspiracy. If anything this band are better than those acts and their album features some excellent harmonies and nice trippy touches - in particular the Doors like keyboards and backward effects. Other than Vernon Joynson's entry in Fuzz, Acid and Flowers and his very similar summary of the album in "Flashback", used in the sleeve notes for the CD re-issue, there is very little information on this excellent band and their work. Joynson's summary from the sleeve notes was as follows "...similar to Jefferson Airplane and Peanut Butter Conspiracy...based in LA, they were probably Californian. The album contains some pleasant vocal arrangements/harmonies and nice touches of acid and fuzz guitar and is recommended". I couldn't agree more. If it's light and breezy West Coast psych inflected pop you...

P roducer Andrew Sandoval has pulled together twenty-four superb psych-pop tracks from the WEA vaults, including sides culled from master tapes of Warner, Reprise, Loma, Atco, Valiant, and Cotillion. The focus is on singles, with a few album tracks mixed in, and primarily from artists who were either unknown, or were stepping outside their regular domain for an experimental run down the psychedelic highway. Some of the best known names here are those of the session producers, including Lenny Waronker, Jerry Yester, Don & Phil Everly, Don Adrissi, Jimmy Bowen, Joey Levine, Curt Boettcher, and Richard Perry. Better known artists, like The Tokens, are represented by sides that step away from their familiar hits, and the one-off singles and rare album tracks explore lesser known sides of the commercial psych boom. Though recorded in proper studios for major labels, these tracks still temper their hit-seeking with a healthy dollop of experimental. The key years of 1966 through 1968 yiel...

Reissue of a fantastic Californian psych-based only released in 1969 as test pressing (was planned to be released on A&M label but never came out); it had this real 'west coast' guitarsound like Jefferson Airplane, Moby Grape, some folkrock passages ala Fairport Convention but also some exotic hippie atmospheres ala Traffic Sound; great alternate male/female vocals not unlike Balin/Slick but also crystal vocal passages ala Sandy Denny. Underground masterpiece from this mystic folk band out of California. Recorded in the early 70s, it's never been released & test pressings are collector's items. The singer Clara Miles had a voice similar to Grace Slick, especially on the acoustic tracks. Gatefold sleeve. 1. http://sharebee.com/9ebcad03 or 2. http://sharebee.com/ccba2d30

This group of young Californian musicians were all aged between 17 and 21 at the time of their album. They were discovered by Delaney Bramlett (from Delaney and Bonnie) who arranged for a recording deal with Prophesy and for his DelBon company to produce the LP. With Jim Gordon (the keyboard/sax player, not the drummer of Derek and The Dominos) at the controls, the result was a powerful mix of heavy/prog rock with lots of guitar/organ interplay and good vocals. Jim Gordon, Ben Benay (ex-Goldenrod) and the sax-player Jerry Jumonville provided some support. All their material was penned by the group members, with the help of J. Loppnow on two tracks and R. Lawson on one. Three cuts (Number Two, Against The Wall and Feelin' Bad) are over five minutes long and, with the opening Bad Road, are among the better moments. http://sharebee.com/67f86b6c

A very obscure band, from somewhere in the Maritimes, with an album that became more accessible in 1992 because of a counterfeit reissue.Their album is in general amateurish and suffers in the composition level from lack of inspiration. Their nadir is the awful Old Age with an inconsistent melody line and out of tune vocals in parts, but fortunately the rest of the tracks are not that bad. In fact there are some good enough compositions like the mid-tempo, organ-dominated Business, the slow and melodic The End and the more hypnotic Tomorrow Morning which is reminiscent of It's A Beautiful Day. The heavier tracks like Song For The Sea, Broke and The Politician are not so distinctive, but Long Day, which sounds similar to Bent Wind, and the psychedelic (with a garage/basement feel) Higher featuring lots of fuzz guitar leads, are satisfying. PROFESSOR FUDDLE'S FANTASTIC FAIRY TALE MACHINE (1974) - A short-lived seventies outfit from Toronto, Ontario. Paul Bradbury, who was also in...

They started out as a skiffle act from Ealing, called The Playboys and then became a R&B combo The Tomcats. John (Speedy) Keen was in them for a while. In 1966, The Tomcats went to Spain with a new line-up (the future July one). As Los Tomcats, they got in the Charts with four EPs, one of which was all in Spanish! They returned to the UK in 1968, still basing themselves in Ealing. July recorded what has become one of the most sought-after British psychedelic sixties albums. Twenty-five years on time has not been kind to all the tracks (e.g. Jolly Mary) but overall it's well worth purchasing for its eerie brand of psychedelia (on Dandelion Seeds and My Clown) and some fine psychedelic guitar work (Crying Is For Writers). More accessible are the Bam-Caruso reissue, which was put out in a different sleeve, and the Aftermath CD reissue. Both also include the second 45, which wasn't on the first album. Duhig and Field went on to be in Jade Warrior and Tom Newman later released s...

The South London-based Killing Floor was originally a pop duo formed by lead guitarist Mick Clarke and vocalist/harmonica player Bill Thorndycraft. During the British blues boom of 1968-1969, they decided to form a "straight blues" group, recruiting prospective members from the classified pages of Melody Maker. Joining them were piano player Lou Martin, bassist Stuart MacDonald, and drummer Bazz Smith. Taking their name from Howlin' Wolf's "Killing Floor" (Wolf's cover was itself a version of Robert Johnson's "The Lemon Song"), the band played just one gig before ex-Radio Caroline DJ and ardent blues fanatic John Edward offered to manage them. Edward's connection with the Southern Music publishing company led to them signing with Southern's Spark Records imprint. The band was booked into Pye Recording Studios and with Edward aboard as "producer," they recorded their self-titled debut in 12 days' time. Most of the mat...

Hincks and Lamb, left over from Locomotive after Norman Haines had left, formed this interesting outfit which is very much a progressive rock outfit playing short songs. The album opens mellowly with Goodbye Country, featuring a nice melody, but gets heavier on the somewhat prototypical The Monkey And The Sailor. This track has an unexpected middle 8, though. Lovely Lady sounds like The Honeybus and Sound Of Thunder again lives from an odd juxtaposition between verse and chorus, a recipe which is some kind of trademark on this album. Someone Somewhere should have been sung by Ringo and boasts a horrible guitar solo which should have been played by George. A Snapshop Of Rex sounds like Joe Cocker but suffers from the absence of Joe Cocker, while Mr. Sunshine clearly tries to be Traffic. Tin Soldier is not the Small Faces' song, but is an agreeable tune, albeit with embarrassing lyrics. The concluding Reptile Man has, predictably enough, doctored vocals above a repeated jungle riff a...

Personnel: HARLEY BAKER ABILL COMBEST AJOE KRASOMIL ABOB WALL A One and only album by this Houston, USA outfit. Some excellent hard rocking stuff here with some beautiful psychedelic touches. Originally released on Imperial records in 1969.Taken from Fuzz, Acid & Flowers by Vernon Joynson.Excellent US Heavy Psych! Thanks to Mellow.  Full Artwork included. Download links: https://mega.co.nz/#!58dTjDQa https://www.mediafire.com/?5p69bea70znu6mz

In the crowded underbrush of the late sixties British psych/blues scene Jasper was definitely at the head of its class. The quintet's personalized blues style, with Steve Radford's excellent lead-guitar lighting the way (punctuated also by their keen use of flute and harpsichord) is well expressed in the inspired version of 'Baby Please Don't Go' and 'Ain't no Peace'. Unfortunately soon after the release of their rare l969 debut album Liberation the group disbanded and disappeared from the scene. Miniature LP sleeve. Strings (courtesy of Henry Lowther and at times disturbingly out of key), dissonant flutes, half-competent guitars and a confusing array of mostly blues-based styles are the ingredients on this one-off album for Spark. Where the blues come out on top, there is nothing very special to attract the ear, apart from the fact that blues are often used not to express a blue state of mind, but rather to attempt to reflect some lost region of childl...