sábado, 18 de março de 2017

Fire - Could You Understand Me (1973 yugoslavian, magnificent hard/fuzz/psychedelic blues-rock) Flac

Fire - Could You Understand Me CD reissue of savage 1973 heavy psychedelic hard rock with brutal distorted caveman guitars all over the place. These guys were probably big fans of Led Zeppelin, Steppenwolf, Black Sabbath and Blue Cheer! Maximum (kinda rhymes with "Eruptum") fuzz and flailing drums hammered into shape by three hairy gents from Yugoslavia displaced to The Netherlands, first issued on the private Killroy label in 1973. 

Legend, rumor and speculation surrounds many of the recording details - were they itinerant mineworkers hoping to blow off some steam, or maybe they just couldn't find a decent recording studio in their homeland? And what twisted tale does the cover art depict, so inflammatory the LP was supposedly banned upon original release? There is no mystery, however, about the trio's raw power or surprising command of the English language, prepare to bleed!

sábado, 11 de março de 2017

Cactus - Fox Theater Long Island NY, 1971 (1971 us, superb hard/boogie blues-rock) Flac

Originally cast as a super group, Cactus were the brainchild of Long Island boys Tim Bogert and Carmine Appice, two ferociously talented players who had cut their musical teeth in psychedelic heavies Vanilla Fudge with Atlantic records in the late sixties.

Addressing a small invited audience in Ultra Sonic Studios in their native Long Island, the band plunged into their past three albums delivering a blitzkrieg, pronouncing their affection for boogie with an electrifying demeanour.

This performance also signafied the closure of a chapter in the Cactus story with McCarty and Day leaving shortly after and before recording took place for the fourth album "'Ot 'N' Sweaty" in 1972.

Klondike has captured a unique facet of heavy blues-rock qith the WLIR-FM broadcast recorded at Ultra Sonic Studios In Long Island, January 1971. Exposing a robust powerhouse performance delivered from a profoundly underrated band who given their lack of reflective prose and melodic depth, held all the goodies in the bag with the amps turned up high.

sábado, 4 de março de 2017

Stonewall - Stoner (1974 us, fantastic psychedelic/hard rock - Akarma reissue) Flac

Stonewall was the house band of a recording studio owned by James (Jimmy) Goldstein, based in Long Island during the late '60s. 

Goldstein was also a part-time member of the band, occasionally playing keyboards on their sessions. He was a performer of his own, using the stage name of "Jay James". Under that alias he recorded the album "Good Times And Bad Times" that was released on the Tiger Lily label (same as Stonewall). 

Stonewall´s drummer Tony (Anthony) Assalti was the drummer on this rather weak country album by Goldstein. However, Assalti was never aware of the Stonewall album being released, and apparently became upset after learning about the Tiger Lily release in recent years. He still plays drums with drums, and is involved with the biker scene. He's not interested in the Stonewall recordings these days. 

On the other hand, the guitar player Ray Dieneman was a good friend of Jimmy Goldstein. Dieneman was not aware of the Stonewall album until he saw a copy in Goldstein´s house in New York during a visit. Ray never owned a copy of the album, but was more amused than angry about the Tiger Lily release. It appears that Dienemann is the only band member to know about the Stonewall record being released at all. 

According to Ray D, Stonewall broke up at the end of 1969, which would place the recordings heard on the album (which wasn't released until the mid-1970s) sometime in the late 1960s. The other two Stonewall band members -- vocalist Bruce Rapp and bass player Robert Demonte -- have not yet been tracked down. 

Jimmy Goldstein who produced, engineered, and played keyboards on the Stonewall album passed away in 2009. The album was recorded at Jimmy Goldstein's Studio Tower Sound, in the Ed Sullivan building in NYC. According to Dieneman the band didn't record any other music on the album, so basically the entire LP on Tiger Lily is all of their music. 

domingo, 26 de fevereiro de 2017

Audience - Audience (1969 uk, splendid psychedelic/progressive rock - Japan reissue) Flac

Studio Album, released in 1969
Audience's fifteen minutes of fame came when they released their masterpiece album, "House on the hill" on Charisma Records. They had however been around for some time before that, and this eponymous album, originally released by Polydor records, goes back to where it all started.

Deciding to adopt the name Audience, rather than persist with the laborious Lloyd Alexander Blues Band from whom they emerged, the band recorded this album in early 1969. "Audience" is a typical album by a band desperately trying to find their direction. That is not to say there is nothing of value here, there most certainly is. The unique voice of Howard Werth is not fully exploited, but songs such as the opening "Banquet" would have sounded OK on "House on the hill".

Thereafter we have the anonymous soft pop of "Poet", the upbeat folk blues of "Waverley stage coach" and the Stackridge (whom Keith Gemmell would later join) like folk parody of "River boat queen". The last of those is the most interesting, the arrangement having definite prog nuances.

"Heaven was an island" supposedly contains incisive political lyrics by Trevor Williams, but the slurred, semi-shouted vocal delivery of Werth makes them all but indecipherable. The track actually sounds rather Family like, with some jazzy improvised sax as the instrumental break. There are other early hints of the jazz rock which would come to the fore on later albums, especially through the wind instruments of Keith Gemmell.

"Maidens cry" reportedly inspired part of Led Zeppelin's "Stairway to heaven", Audience having supported the Zepsters in 1969. The song is a fine, moody piece with notable harmonies and confident sax. The final track on the original album is an early version of "House on the hill", a song the band would substantially rework when recording their third album ("House on the Hill"). The version here is totally recognisable though, and one of the highlights of the set.

The recent and somewhat overdue CD release of the album (called "Audience, the first album") has a few additional tracks from the period. "Paper round" is a lightweight Traffic pop like number which features a nice change of pace midway. "Troubles" was the first song written by Werth, when he was 15 years old. Only the backing track was recorded around the time of this album, so Werth recorded the vocals for it in the mid 1990's for this re-release.

 "The going song" is a track from the incidental music recorded by the band for a film called "Bronco bullfrog", the music never having been previously released.
Incidentally, the version of "Too late, I'm gone" included here is not that which appeared on the original album, but one which features Mike D'Abo on piano. The inclusion of this version was at the behest of Howard Werth, who assures us that the differences are otherwise minimal.

In all, a mainly pop orientated debut, but one which contains regular and transparent indications of what would follow. The quality of the songs, the performances, and the arrangements all combine to confirm that this is an ambitious band with the talent to turn those ambitions into success.
Line-up / Musicians

- Howard Werth / guitar (acoustic), banjo, guitar, vocals
- Tony Connor / percussion, piano, drums
- Keith Gemmell / saxophone, wind, woodwind
- Trevor Williams / bass, guitar (bass), keyboards, vocals

domingo, 19 de fevereiro de 2017

UFO - UFO 1 (1970 uk, superb hard/psychedelic blues-rock - 2015 Repertoire vinyl 180g reissue) Flac 24-bit


A1. Unidentified Flying Object (Pete Way, Phil Mogg, Andy Parker, Mick Bolton) – 2:19
A2. Boogie (Way, Mogg, Parker, Bolton) – 4:16
A3. C'mon Everybody (Eddie Cochran, Jerry Capehart) – 3:12
A4. Shake It About (Way, Mogg, Parker, Bolton) – 3:47
A5. (Come Away) Melinda (Fred Hellerman, Fran Minkoff) – 5:04
B1. Timothy (Way, Mogg, Parker, Bolton) – 3:28
B2. Follow You Home (Way) – 2:13
B3. Treacle People (Bolton) – 3:23
B4. Who Do You Love? (Ellas McDaniel) – 7:49
B5. Evil (Way) – 3:27

*Phil Mogg - Vocals
*Mick Bolton - Guitar
*Pete Way - Bass
*Andy Parker - Drums 

sábado, 11 de fevereiro de 2017

Mike Hart – Mike Hart Bleeds (1969 uk, superb psychedelic/folk blues-rock, japanese reissue) Flac

Hart led the respected Liverpool R&B group, the Roadrunners, before enjoying spells in less-stellar units, the Richmond Group and Henry’s Handful prior to joining the Liverpool Scene, which he abandoned in 1970. The group had been championed by influential disc jockey John Peel, who then signed this excellent singer/guitarist to his fledgling Dandelion label.

Mike Hart Bleeds took full advantage of the company’s avowed policy of artistic freedom, and the performer’s sense of irony and urgency resulted in a compulsive set. He performed with his band Business, at this time. Basher, Chalky, Pongo And Me, invoked the mock-heroism of boys’ comics and showed Hart’s customary incisiveness. Sadly, neither album was a commercial success and the artist later rejoined the Liverpool Scene for a 1974 reunion.
01. Yawny Morning Song (Mike Hart) 2:45 
02. Shelter Song (Mike Hart) 3:41 
03. The Ring Song (Mike Hart) 4:45 
04. Please Bring Back the Birch for the Milkman (Mike Hart) 2:08 
05. Arty's Wife (Mike Hart) 4:39 
06. Disbelief Blues (Mike Hart) 4:53 
07. Aberfan (Mike Hart) 2:17 
08. Dance Mr. Morning Man (Mike Hart) 5:41 
09. Almost Liverpool 8 (Mike Hart) 4:45 

sábado, 4 de fevereiro de 2017

The Outcasts - I'm In Pittsburgh And It's Raining! (1966-67 us, awesome psychedelic/garage rock) Flac

Garage Rock Band from San Antonio, TX, USA, one of the best groups to emerge from the 60's Texas Garage Band scene were The Outcasts.

This prolific group released a number of singles on the Askell label of San Angelo 1966-67. This compilation collects all their singles plus many unreleased songs.

As an added bonus tracks previously released in 1984 have been newly remixed from the original masters. Furthermore, the groups later recordings in Houston have been unearthed and are released for the first time.

sábado, 28 de janeiro de 2017

Ton Steine Scherben - Warum Geht Es Mir So Dreckig ? (1971 german, fantastic kraut/proto-punk rock) Flac

Mentors of the cliché 'agit-rock', Ton Steine Scherben (Sound Of Stones Breaking Glass) took their roots from American 1960's punk like the Velvet Underground and The Stooges, added a touch of heavy blues and a strong dose of German angst. Presenting their raw aggressive rock frequently at free festivals in the late-1960's, none of the German labels would touch them. 

Warum geht es mir so dreckig? (Why am I so miserable?) is the first album released by the German rock band Ton Steine Scherben. It includes—among other pieces—the song Macht kaputt, was euch kaputt macht ("Destroy what is destroying you"), which expressed the built-up anger and radicalization of the youth of the late 1960s and early 1970s.

In 1971, after the release of the first single "Macht kaputt, was euch kaputt macht", the band went to Klaus Freudigmann's studio in Berlin to record their first album. The setup for the recordings was not ideal, and the sound quality suffered as a result. This is not surprising, as all the band's output was self-produced. As such, the recording sessions were also not entirely satisfactory. 

In June,Agit 883 and Rote Hilfe—anarchist and leftist political organisations respectively—organised an "informational event" about the empty buildings on the Mariannenplatz in Kreuzberg. Ton Steine Scherben were invited to play, and the teach-in turned into a party which led to one of the first spontaneous squatting actions in Berlin. The recordings of the concert were used for the album's first side; the b-side consists of highlights of the studio recordings. 

The album's sound has been described as raw and energetic, but the sound quality is somewhat lacking. The fifth track, "Das Einheitsfrontlied" is not listed on the back of the album or in the booklet.

sábado, 21 de janeiro de 2017

The Remains - The Remains (1966 us, great psychedelic/garage rock - reissue with 10 bonus) Flac

American garage rock band, sometimes credited as Barry & The Remains. 

The Remains formed in 1964 at Boston University, where all four members were first-year students living in the same dorm in Kenmore Square. Singer-guitarist Barry Tashian and keyboardist Bill Briggs were from Westport, Connecticut, drummer Chip Damiani from Wolcott, Connecticut, and bassist Vern Miller from Livingston, New Jersey. They began playing r&b and rock'n'roll covers, as well as some Tashian originals, at The Rathskeller, a tavern across the square from their dorm. Soon, fans were lining up from Kenmore Square to Fenway Park to see them, and management had to clear out a disused basement to accommodate the crowds 

The band became a popular live act throughout New England, and, after signing with Epic Records, enjoyed local hits with a catchy, swinging Tashian original, "Why Do I Cry", and their hard-driving version of the Bo Diddley/Willie Dixon classic "Diddy Wah Diddy". In 1965 the Remains relocated to New York City - where they appeared on 'The Ed Sullivan Show' - and then, after about a year, moved on to California. They recorded an album, The Remains, appeared on NBC TV's 'Hullabaloo', and released the soulful, hard-rocking single "Don't Look Back".

In 1966 came the opportunity which might have broken the band nationally, but proved instead to be their last hurrah: they were offered a three-week stint as an opening act for the Beatles, on what would turn out to be the fab four's final tour. Immediately before the tour, drummer Chip Damiani quit the band, to be replaced by future Mountain drummer N.D. Smart. Said Tashian in a 2012 interview: "We had always been the four of us and we’d played hundreds and hundreds of gigs as the four of us and all of a sudden this big tour comes up and boom! We have to play it with a new drummer who didn’t have the same feel that Chip had. I mean he was a fine drummer but it wasn’t the same band. I just felt like the flame was burning down without our original drummer."

Originally released 1965 (tracks 12-15), 1966 (tracks 1-10), 1991 (tracks 11, 16-20).


quarta-feira, 18 de janeiro de 2017

Fenner, Leland & O'Brien - Somewhere, Someday, Somehow (1969 us, brilliant psychedelic/folk rock - vinyl rip) AIFF lossless

Thanks to original uploader: Anatoly Kurnikov
 Unknown LP's from 1969 (50 and 250 original LP copies, respectively): Peace In Our Time + Somewhere, Someday, Somehow. These were originally issued on the RPC Vanity label. Stunning LP's filled with that broken dreamer vibe, where youthful idealism and naivete met the cold facts of Vietnam and the government's 'true intentions'. 

The resulting sound is somewhat akin to some of Bryan MacLean's work with LOVE and Crosby's Wooden Ships, yet this music is all their own. Some excellent fuzz on a couple tracks, and hailed by all who have heard it. Original copies sell for seriously lofty amounts!

A1. Childre
A2. Uncle America
A3. Dirge
A4. You Can't Deceive The Rain
A5. High And Dry
A6. Double Image
A7. Come Hell Or High Water
B1. Song Of Love Overture
B2. Hey Mister
B3. I Cry Alone
B4. Death Of Maple Avenue
B5. Where's My Life Going
B6. Virgin
B7. And To All
B8. Epoch