sábado, 29 de junho de 2013

Toe Fat - Toe Fat (With Ken Hensley) [1970 uk heavy/hard rock with country touches], Repertoire reissue - Flac

Como grande fã de Ken Hensley (toque de Midas) eu sou suspeito, mas esse é um grande álbum! Desfrutem!

Toe Fat were formed in June 1969 by ex-Rebel Rousers vocalist Cliff Bennett following the dissolution of his Cliff Bennett Band which had briefly included ex-Gods guitarist Ken Hensley. With his newly-grown beard and long hair, Bennett together with Hensley formed the heavy progressive outfit Toe Fat with other ex-Gods members Lee Kerslake (drums), and John Konas (Bass).

Armed with a batch of Hensley-penned songs the band secured an American deal with Rare Earth Records, Tamla Motown’s ‘progressive’ label, and recorded their self-titled debut LP (Rare Earth RS511) in 1970. In the UK, the album was released by Parlophone (PCS 7097) who also released the single ‘Working Nights’/'Bad Side Of The Moon’ (R 5829), the B-side being an early Elton John composition.

However, despite two American tours, one supporting Derek and The Dominos, shortly after the LP’s release both Hensley and Kerslake left, Hensley going on to form Uriah Heep and Kerslake joining the National Head Band before himself joining Uriah Heep.

Another ex-Gods member John Glasscock had already by this time replaced Konas (who now runs a music shop in Ontario) and another ex-Gods member Brian Glasscok was drafted in to replace Kerslake (who ironically had replaced him in The Gods!) and guitarist Alan Kendall came in to replace Hensley.

This revamped Toe Fat line up cut “Toe Fat 2″ (Rare Earth RS 525/Regal Zonophone SLRZ 1015) the LP being produced by DJ John Peel (Toe Fat having recorded BBC sessions for the likes of Dave Cash, Mike Harding and Terry Wogan!).

They also released the single ‘Brand New Band’/'Can’t Live Without You’ (Chapter One CH 175) but following another, more financially successful, U.S. tour the band broke up when their management and record company said they could no longer fund the group.

Cliff Bennett then formed Rebellion, releasing one self-titled LP on CBS, before joining Mick Green in Shanghai in 1974 and then retiring from the music industry before returning for Sixties revival shows with the Rebel Rousers.

John Glasscock joined Carmen in 1976 as well as working with the likes of Maddy Prior and Richard Digence whilst Brian Glasscock worked with the Bee Gees (along with Kendall) before becoming a founder member of The Motels. (greenowl2)

Rich Mountain Tower - same (1971, US, lite harmony rocker w/ southern feel, Ovation vinylrip, single wav + cue + splitter, DR13, artwork)

 *** Reviewed by great fellow Adamus67 ***

Hard to pin down, this Tennessee band mixes country-rock musings (in the style of the Dead or Mountain Bus) with progressive experiments that occasionally recall a better-tutored Majic Ship, or even Elton John. Side one flies out of the traps with scorching opener ‘Uncle Bob White’, with furiously strummed acoustic guitars, tambourine and the best harmonica playing this side of Stevie Wonder. ‘Thank You, Maggie’ ain’t bad either, with its considered melody and subtle electronics. ‘Our Passage Home’, which closes the side, is also noteworthy, mining a truly progressive seam with its McCartney-style bass lines, time-changes, acid guitar and strings. The album is less interesting on the generic country-rock numbers, and I’d like to have heard more of the electronica that graces ‘Song Of The Sea’, for instance, but this is certainly a grower. Perhaps the strangest thing about the record is the fact it features a male lead singer called Dana; one can only imagine the ribbing he got in the playground.  
Thank you so much Adam for that effort

Rich Mountain Tower was a band from Tennessee. They put out three album, this one being their debut. Released in 1971, this is Southern Rock avant la lettre, really. The album has more similarities with Crosby, Stills & Nash than any Allman Brothers album. People that enjoy The Ozark Mountain Daredevils may very well enjoy this too. Some great harmonies and, if you can look past the hippie sensibilities of this album, some wonderful songs, that are sure to grow on you.

Dana said...
    This note comes from Dana Paul, one of the original members of RMT. While it has been over 30 years since Rich Mountain Tower played music throughout the Southeast, it's very gratifying that the band and its music are remembered on this site. Thank you for keeping our music out there. Regrettably, our lead guitar player,David Carr, and our drummer, Bob Tucillo, have passed away. Randy Haspel, Sandy Garrett, Doug Moisson and I are still around, though scattered across the Southeast. I've stayed in touch with Randy and Sandy but have lost touch with Red Buddy and hope that Lucille might let him know I send my best.

Side one:
Uncle Bob White (Paul) 5:11
Circle Sky Moon Mix (Haspel, McNamee) 4:19
Thank You Maggie (Paul) 3:48
If You Dont Look Back (Haspel) 3:16
Our Passage Home (Paul) 3:40
Side two:
He Ain't Got No Color, Boys (Carr, Paul, Tuccillo, Garrett) 4:09
Song of the Sea (Paul) 2:55
The Same Thing Applies to Me That Applies to You (Paul) 3:50
One Last Farewell (Paul) 2:42
Marie (Paul) 2:36

Rich Mountain Tower - He Ain't Got No Color, Boys (1971)

Rich Mountain Tower:
David Carr - Lead /Rhythm Guitar
Sandy Garrett - Bass/Acoustic Guitar, Lead & Backing Vocals
Doug "Red Buddy" Moisson - Lead Guitar, Pedal Steel, Acoustic Guitar, Banjo, Vocals
Dana Paul - Lead Vocals 12 Str Guitar, Mandolin , Keyboards, Harmonica
Bob Tucillo - Drums, Percussion
Randy Haspel - Guitars, Vocals
Lamonte "skip" Ousley - Conga, Persussion
Charlie McCoy - Harmonica
Weldon Myrick - Peal Steel Guitar
Don Tweedy - Moog on "Maggie"
Sonny Pittman - Bass on "Maggie & the Sea"
John 'Hoffy" Hoffman - Banjo

[Rip and Scans by gigic2255]

Link:   258 mb/file


terça-feira, 25 de junho de 2013

Bango - same (1968, Brazil, fuzzpsychrock, Shadoks CDrip, single wav + cue, log, artwork)

*** Reviewed by great fellow Adamus67 ***

One of the places where psychedelic music flourished in the late 1960s was Brazil. The most popular Brazilian band were Os Mutantes, but there were also a host of others there putting a Brazilian spin on the far-out sounds coming from British and American acts like The Beatles, The Rolling Stones, Jefferson Airplane, and Jimi Hendrix. One of those acts was Bango, who released this impressive self-titled album of psychedelic hard rock in 1970 (making its’ debut here on CD) which sounds like Led Zeppelin, if their debut was released in 1967, and they were Brazilian. It features a ton of heavy fuzzed-out guitars, wild organ and wailing vocals, which are sometimes in English and sometimes Portuguese. There are also a few lighter songs, similar in nature to the psychedelic tropicalia of Os Mutantes. It’s one of the better re-issues of its sort, and hard-psych fans should snatch it up. My only complaint is that the booklet doesn’t tell you much about the band. This group was short-lived and leave only this record, but is highly rated by the followers of psychedelia. They are compared or associated with the group of Brazilian bands that appeared in the vicinity of Os Mutantes, premium band psychedelia of Brazil, but the truth is that I think Bango has its own personality and tremendous sound of garage.

The group "Bango" was, in fact, another name, used just for this album, adopted by the band "Os Canibais" (The Canibals). "Os Canibais" were in the 60's (in fact, still are) a light-pop band, but according to their own words, they decided to record an album which would reflect the influences of the time (late 60's), more heavy, with more instrumental passages, etc. and with more adequated gear (Fenders, Ludwig drums, etc.). I suppose that they did not used the "Canibais" name on this album in order to not cause some kind of shock to their fans, used to the traditional light-pop sound they were associated. The last time I listened to this album...well, may be 10 years ago, but I will download it for memory-refreshing purposes and try to make some additional comments.

Originally released in 1970,(MUSIDISC HI-FI 2236 Mono 1970 Original BRASIL Press.) this is extra-heavy Brazilian psych, with killer guitars and well-crafted original songs. This is one of the most sought-after albums from Brazil in the realm of hard psych, and you may already know one track from the Love Peace & Poetry: Brazilian Psychedelic Music album which is quite a standout. Every track is a winner. For many underground collectors this is the ultimate psych album, so it needed a good reissue.

"Bango The group recorded just one album, in the early seventies, to then dissolve. Integrated the Bango musicians Fernandinho (lead guitar), Elydio (bass), Roosevelt (piano and organ), Max (drums) and Aramis (guitar, guitar and vocals), graduates of the Cannibals. Bango's album was originally released by Brazilian label Musidisc.O band's sound is a mix of Os Mutantes, hard rock and progressive, with a strong presence of fuzz-guitars, keyboards (organ, especially) and vocals in Portuguese and English. With international quality, the disc contains a varied repertoire, with heavy rock, country rock a la '2001 ', the aforementioned mutants, and pop.Os songs are the highlights of the disc tracks ‘Inferno no Mundo’ (fuzz-guitars on the stalk), ‘Rolling Like a Boat’ (one rock & boogie with tecladinhos garageiros),‘Motor Maravilha’(the strongest influences of Baptista brothers) and 'Rock Dream' ( hard heavy, with treble and vocal berrados.) The last track, 'Ode To Billy', a drum solo takes a long time music. Unheard  CD in Brazil, the album was re-releasing on vinyl in Germany by Shadocks label based in Berlin. "

Bango is allegedly a much-sought-after rarity on the psych collector's market; presumably Brazilian psych-rock records didn't have as wide a distribution as, say, the Quicksilver Messenger Service, whose records provide one with a very similar sonic experience. The collector's aura and the international pedigree of this album shouldn't mislead anyone into thinking it's anything other than a run-of-the-mill psych record, however. Give the band credit for some creepy cover art -- four bleeding heads on a platter resting on the wings of an enormous vulture -- and for having mastered some rudimentary English, which they brandish on the  knock off "Rolling like a Boat." But don't expect anything revolutionary or surprising: Bango fulfills any expectations one has of the psychedelic-rock genre without ever transcending them. Os Mutantes this is not. That groundbreaking Brazilian band presented a dazzling mélange of stylistic influences held together by an irreverent and unpredictable sense of humor, impeccable and inventive musicianship, and memorable melodies. Whereas Bango's album consists of spirited but slightly inept recastings of familiar songs like Los Bravos' "Black Is Black" or the Outsiders' "Time Won't Let Me" into a different idiom. If you prefer "Motor Maravilha" to "Black Is Black," it's only because you've heard "Black Is Black" ten thousand times.

Aside from the humble pleasures of genre listening, of hearing unknowns execute a cherished musical formula, the only pleasures owning a disc like this can provide stem from it's rarity (you might impress other collectors with having found something like this out) and its exoticness (you might convince yourself something profound is happening because you can't really understand what it is). Both these pleasures are threatened by the eventual re-release of everything and the capacity the Internet furnishes to distribute everything everywhere. Collectors have their vinyl fetish to cling to but they can no longer pretend that it's the quality of the music that licenses their madness. With once-rare music like Bango demystified, those interested in music for the sake of music and not the sake of amassing artifacts will perhaps be less tempted to waste their time trying to imagine what some impossibly obscure curio sounds like and will put more effort into appreciating the brilliant music that is in plain view.

A cruise through samba, Hendrix, tropicalia, the Beatles, garage rock, even—gasp!—indigenous music, with an afternoon-long stop at each site. With everything already discovered, you, the listener, are free to sit back and enjoy the sunshine...Originally released in 1970, Bango does capture the playful exuberance of some of that era’s best music. In fact, it is archetypal, the essence of Brazilian psych rock, so perfectly distilled it might as well be available in pill form. From heavy guitar riffs and organ trills of “Inferno No Mundo” to the confused Americanisms of “Only,” Bango presents a calculated synthesis of a fundamentally uncalculated musical movement—it’s this sort of calculation that transforms musical experiments into genres.

That said, Bango isn’t a bad genre record, and certainly succeeds at sounding like Brazilian psych rock. Though the chorus of “Rolling Like a Boat” recalls the more stellar “Inferno no Mundo,” (only without the panache of Tina Turner’s original or the rough-hewn despair of Creedence Clearwater Revival’s cover), the frenzied vocal squalls on “Rock Dream” make amusing counterpoint (and a passable impersonation of Mick Jagger after a handful of speed). If you’ve read about Brazil in the guidebooks, this trip probably offers everything you might expect. Then again, Music is structured around that same quality, eliminating the surprises to create a product so refined it becomes part of the environment. This group was short-lived and leave only this record, but is highly rated by the followers of psychedelia. They are compared or associated with the group of Brazilian bands that appeared in the vicinity of Os Mutantes, premium band psychedelia of Brazil, but the truth is that I think Bango has its own personality and tremendous sound of garage. 
Thank you so much Adam for that effort

The few things I had heard regarding the Brazilian band Bangos 1970 s/t album went something like this “killer fuzz, swirling organs, heavy-psych, blah, blah.” Anybody who has ever read a review of some obscure psychedelic rock reissue is almost guaranteed to encounter these adjectives as they are so loosely used when talking about any music that falls under the large umbrella of psychedelia.

The first track on this album Inferno no Mundo (Hell in the World) had previously been included on the Love, Peace & Poetry: Brazilian Psychedelic Music compilation and does in fact live up to those aforementioned descriptions. The track opens up with a short intro of voices played at half-speed tape and then just explodes into this ascending bass line with some truly sick guitar soloing conjuring the perfect images to match the songs title.

As far as the heavy-psych tag goes though, there are only three other songs on the ten track album ( Rock Dream, Only,and Ode to Billy) that could be construed as being killer, or fuzz riddled. What I find amazing about Bango is their ability to interpret a really eclectic range of American and British influences in English and Portuguese lyrics resulting in an album that while only twenty-nine minutes long, displays a diversity of styles that runs the gamut from the Los Bravos Black is Black and the Stones Under my Thumb influenced Motor Maravilha to the C.C.R. Travelin Band and Ike and Tina's Rolling on the River overt influence on Rolling Like A Boat.

By 1970, psychedelic musics heyday was essentially over in the States but in other places those sounds inevitably took longer to make their way down to places like Brazil, remember no Internet, no downloading. A band like Bango allowed those influences to percolate through them and then had a go at it. Mas Senti (But I Felt) starts off with a gently strummed acoustic guitar and builds with organ, electric guitar, and some pretty sugary harmonies. Aside from the lyrics in Portuguese, the song wouldnt sound out of place on a west coast psyche compilation alongside bands like Quicksilver Messenger Service, and Its a Beautiful Day.

For me though Bango sound their best when they dont sound like anybody else. Its on tracks like Marta, Zeca, The Priest, The Mayor, The Doctor and Me where they really take those outside influences, mix it with more indigenous sounds and convert it into something highly original much in the same way as Tropicalia contemporaries Os Mutantes did. Highly recommended!

01.Inferno No Mundo
02.Mas Senti
03.Rolling Like A Boat
04.Motor Maravilha
05.Marta, Zéca, O Padre, O Prefeito O Doutor E Eu
06.Rock Dream
09.Vou Caminhar
10.Ode To Billy


Fernandinho (guitar)
Elydio (bass)
Roosevelt (keyboards)
Max (drums)
Aramis (guitar, violin, vocals)

[Rip and Scans by gigic2255]

Link:   297 mb/file

domingo, 23 de junho de 2013

Jane: Live At Home (1976) (2008 Remaster + Bonus Tracks) [FLAC]

Artist: Jane

Album: Live At Home

Genre: Space Rock, Symphonic Progressive Rock

Year: 1976
Country: Germany
Label/Catalog: Revisited Records / SPV 42712 CD

Format: FLAC (image+cue+log)

"Double album of the same great German prog from one of the most influential founders of Germany's progressive 70's rock scene. Like many of the Brain label recordings this carries a heavy underground Kraut rock aspect to it with heavy drooling organ wisps, driving electric guitar and great bass/drum interplay. This album also carries a great live feel to it with nice open concert hall sound throughout. JANE's music is always moving... melting aspects of classic and space rock into some wonderful sound definitions. I have always loved the jam portions on this live album... meaty little album... oh yes also was recorded by Conrad Plank!" (loserboy @ ProgArchives)

01 All My Friends (4:58)
02 Lady (3:38)
03 Rest Of My Life (4:42)
04 Expectation (5:32)
05 River (3:51)
06 Out In The Rain (6:22)
07 Hangman (11:55)
08 Fire, Water, Earth & Air (4:00)
09 Another Way (5:41)
10 Daytime (9:41)
11 Hightime For Crusaders (5:07)
01 Windows (19:20)
02 Lady (3:29)
03 Fire, Water, Earth & Air (3:37)
04 Another Way (5:07)
05 River (4:02)
06 Out In The Rain (5:46)
07 Hangman (14:06)
08 Windows (23:03)

Klaus Hess - lead guitar, vocals, Taurus bass pedals
Martin Hesse - bass, vocals
Peter Panka - drums, vocals
Manfred Wieczorke - keyboards, vocals

Tracks 1-01 to 2-01 recorded live at Niedersachsenhallen, Hannover, Germany, on August 13th, 1976 and originally released as BRAIN 80.001-2.
Tracks 2-02 to 2-08 recorded live at Grosser Sendesaal des WDR, Cologne, Germany, on January 8th 1977 for WDR's 'Nachtmusik' programme.


Fanny Adams - Fanny Adams (1971 tremendous Australian hard blues-rock - 2005 digipack edition - FLAC)

Um clássico do underground rock. Grande álbum; desfrutem!

If Milesago had a section called "Best Laid Plans" this group would surely get a guernsey. On paper, it looked like a dream team, with four of Australasia's best musicians combining in a 'supergroup' and intent on conquering the world. Given the talent involved, this should have been a great group who did grand things, but, as so often happened in OzRock, the reality proved to be drastically different.

Vince Maloney, Johnny Dick, Teddy Toi and Doug Parkinson were veterans of some of Australia and New Zealand's top bands of the 1960s:

Vince Melouney (sometimes spelled Maloney) had been in the original 1963-65 lineup of The Aztecs, but quit in '65 (along with the rest of the band) after a financial dispute. He and fellow Aztec Tony Barber then formed a shortlived duo, followed by a stint with Tony Worsley & The Fabulous Blue Jays. Vince then formed his own band The Vince Maloney Sect, which became the house band on the mid-'60s pop show Kommotion. Moving to England, he spent several years as lead guitarist in the late-60s UK lineup of The Bee Gees with drummer Colin Petersen

Johnny Dick had joined Max Merritt & The Meteors in 1963 in New Zealand and came to Australia with them in '65, alongside Teddy Toi. After the original Aztecs split from Thorpe, he and Teddy jumped ship and joined the "new" Aztecs, which lasted until 1966. He later teamed up with 'Parko' in the highly-regarded Doug Parkinson In Focus

Teddy Toi was a highly respected bassist, already a rock'n'roll veteran whose CV went back to New Zealand in the late '50s with Sonny Day & the Sundowners and included a stint in the second lineup of The Aztecs in 1965-66.

Doug Parkinson was (and still is) one of Australia's finest male singers. He started his career in a high-school band The A Sound, followed Newcastle pop outfit The Questions, which evolved into Doug Parkinson In Focus with Johnny, Duncan McGuire and Billy Green, scoring a Top 20 hit in '68 with their superb rendition of The Beatles' "Dear Prudence" and winning the Hoadley's Battle Of The Sounds in '69.

After three-odd years with The Bee Gees in the UK, Vince quit the band over the inevitable "musical differences" and had a short spell with Ashton, Gardner & Dyke (of "Resurrection Shuffle" fame) before landing a solo deal with MCA. He decided to put together a hard rock supergroup in the Led Zeppelin mould, in order to record the album. The first offer went out to Teddy Toi, an old friend and colleague who was doing session work in London at the time. In June 1970, he invited Johnny and Doug to join him in the UK, a trip made possible by the In Focus win in the Hoadley's Battle of the Sounds -- the first prize was a trip to England.

They put together a set of strong original material, and cut the album in London, although it was not evenutally released until 1971, just after they had split. They returned to Australia in December 1970 amid a welter of hype. Boasting that they would become the biggest band in the world immediately, the band encountered resistance from a sceptical public, a situation not alleviated by Doug's boast to Go-Set that "In three weeks Fanny Adams will be the best band that ever trod this earth". Perhaps it was simply a case of being an idea before its time (although other groups like The Dave Miller Set were treading this path successfully). In the event, their brand of heavy, blues-prog rock was (so we're told) upstaged by their support bands at the time, apaprently making a mockery of the group's claims.

According to Ian McFarlane, tensions within the band ran high, as one might expect of such an all-star outing. They made some notable appearances, including the Myponga Festival in January 1971, and early in the year MCA released one single from the album, "Got To Get A Message To You" (which was a group original, not the Bee Gees song of the name) backed by "They're All Losers, Honey". But within months of arriving back, the band had self-destructed. The straw that evidently broke the camel's back was a fire at Sydney's Caesar's Palace discotheque, which destroyed all their equipment. Parkinson left under a cloud, and MCA were sufficiently cheesed off with Doug that they effectively banned him from recording for the next two years.

Doug evenutally assembled a new version of In Focus, and later pursued a successful solo career on the rock and club circuit, on TV and on stage. Throughout the 1970s, Melouney worked with a succession of bands, including The Cleves, Flite, Levi Smith's Clefs, the Jeff St John Band, John Paul Young and the All Stars and Rockwell T. James and the Rhythm Aces. In 1999 he was reunited with The Bee Gees for their "One Night Only" concert in Australia -- the first time they had played together since Vince left the band thirty years earlier.

Teddy Toi and Johnny Dick played on Lobby Loyde's solo album Plays with George Guitar, and then joined Loyde in a new version of The Wild Cherries. Teddy moved on to a stint in Sydney supergroup Duck in 1972-73, followed by a couple of years in the final version of The Aztecs, and Johnny enjoyed a long and successful stint as the drummer in The All-Stars, backing Stevie Wright and then John Paul.Young.

The Fanny Adams LP, which is a very fine piece of work, is now a sought-after collector's item, but it has recently been reissued on CD (albeit as a bootleg) by a German label, and if you can find it you won't be disappointed. The thundering "Ain't No Loving Left" is also included on Raven's superb Golden Miles collection (Milesago.com).

sábado, 15 de junho de 2013

Bubble Puppy - A Gathering Of Promises (1969 US fabulous psychedelic rock, 2011 reissue with 08 bonus tracks) Flac

Se você gosta de rock psicodélico esse é o álbum; em minha opinião este está tranquilamente entre os dez mais na categoria de álbuns de rock psicodélico. Sublime! Desfrutem!

The group was formed in 1966 in San Antonio, Texas by Rod Prince and Roy Cox. Looking to form a "top gun rock band" based on the concept of dual lead guitars, Prince and Cox recruited Todd Potter; a gymnast, saxophone player and guitarist.

With the addition of Danny Segovia, the original line up of Bubble Puppy was complete. The name "Bubble Puppy" was taken from "Centrifugal Bumble-Puppy", a fictitious children's game in Aldous Huxley's Brave New World. Bubble Puppy's live debut was as the opening act for The Who in San Antonio.

After several line-up changes, the final roster for Bubble Puppy settled at Rod Prince and Todd Potter on lead guitars, Roy Cox on bass guitar and David "Fuzzy" Fore on drums. In 1967, Bubble Puppy moved to Austin, Texas and signed a recording contract with Houston-based International Artists, home to the 13th Floor Elevators and the Red Krayola.

Bubble Puppy scored a Top-20 U.S. hit in 1969 with their single, "Hot Smoke & Sassafras". The name was a misheard line lifted from an episode of "The Beverly Hillbillies". The single peaked at number 14 on the Billboard 100. The song was also covered internationally, by The Mooche in the UK.

In 1969, Bubble Puppy released their only full-length album, A Gathering of Promises. However, despite Bubble Puppy's early success with the "Hot Smoke & Sassafras" single, they experienced numerous conflicts with International Artists, and parted ways with the label in 1970.

Bubble Puppy to have been heavily influenced by West Coast contemporaries like Moby Grape, mixing three-part harmonies and solid songcraft with a tasty dash of fuzz-guitar frenzy and this was one of the first dual lead guitar bands in the history of rock (the other two that come to mind were The Yardbirds and Wishbone Ash.)

Many great Texas bands of the late 1960's and early 70's did not get quality recordings and this is one. But the music is so good it hardly matters. By the way, Bubble Puppy went to L. A. and recorded another lp under the name of Demian .

sexta-feira, 14 de junho de 2013

Os Brazoes - same (1969, Bra, fuzzpsychtropicana, RGE CDrip (TAU analyz => mpeg), single flac + cue + splitter, log, artwork)

 *** Reviewed by great fellow Adamus67 ***

In full phase of Brazilian psychedelia,"Os Brazões"not fled to the rule. Miguel de Deus was a composer, arranger, guitarist and singer. Born in ,Ilhéus Bahia. But it was in Rio de Janeiro, in 1969, formed the band ''Os Brazões'' with guitarist Roberto,(lead guitar) Taco bassist, drummer Eduardo "Edu" Rocha, occasionally percussionists Mandrake and Gastão,but also passed through the band musicians Bandeyra Sérgio (guitar and vocals, formerly of Albatross band that played Lulu early career), Augusto Paulinho (guitar, who played in the Band), Roberto (organ), Luís Carlos (drums and percussion), Francis (drums and percussion),Clarita (backing vocals) and Walkíria (backing vocals) the backing band for various singers, including Gal Costa and Tom Zé. Cultivated a style immersed in tropical with high doses of psychedelia, fuzz guitar evidenced by Roberto and the wah-wah guitar of Miguel .

The group was a mix of psychedelic rock, Brazilian and African music, resulting in an alchemy between heavy syncopated sounds as ringtone Candomblé and guitar with distortion. Besides exploring african-Brazilian influences and tribal in style of dress and dance. Single record released by the band, "Os Brazões" was shown ahead of its time. Just like the legendary Paêbirú, the disc features a great mix of rhythms. Rock, Samba, regional rhythms and much experimentalism mark the personality of the band and the disc, where the rich percussion work, the lyrics in Portuguese and recurrent use of regional rhythms, complete the formula of sound. For the first time on vinyl again since original 1969 RGE release with a new cover, hand-silk-screen printed with a very special red feather inserted in each sleeve. Original copies are long time impossible to find, even in Brazil. All tracks have been remastered. A very special red feather is inserted in each sleeve. Anyone who smokes marijuana must own this album.

Two groups that I consider part of tropicalism, released their debut albums in 1969, "Os Brazões" is one of them. The inclusion of this group in the movement is consolidated when they saw backing band of Gal Costa's muse during the season at the famous Disco Junk in early 1969 (exactly one in which was recorded the compact Caetano & Os Mutantes) and later followed Tom Zé . Before that appeared tapping the IV Festival of Record with Tom Zé then in defense of ", São Paulo" and participating in their first album, which on the last track,"Sabor De Burrice", quotes the entire gang who participated in the recordings. Another important role was as a band Jards Macalé defending "Gotham City" in IV Festival Internacional da Canção (FIC)

With a life ephemeral recording, according to the Dictionary Cravo Albin, the group has only two records, one from 1969 and another from 1970, this never seen, even thought they had only 69. Biographical data about the group hardly meets. They ended up going pro group of obscure bands of the 60/70. The integral most "famous" of the group is Miguel de Deus, who later recorded solo albums and assembled other groups, all so obscure as this.

The album as a whole is pretty nice, the repertoire is divided between copyright songs and re-readings or recurring themes tropicalistas 1969.

The chosen track to open the album was "Pega a Voga Cabeludo" by Gilberto Gil, an arrangement that shows all the verve of the group and stands now face the elements that make the whole special treatment throughout the disc, such as percussion and guitars . The vocal part is interesting, but sometimes plate too. The second theme of the album is signed by Guilherme Dias Gomes and Luciano Bastos, "Canasta Real" has a vein through Wes Montgomery at the beginning that is pretty cool, this composition competed in the IV FIC, below is a text about the composition and the episode :

"Canasta Real" was composed by Guilherme Dias Gomes and Luciano Bastos, luxurious treatment she received to enter the IV International Song Festival with his right foot. With orchestra conducted by Rogério Duprat (conductor Tropicália) and the band Os Brazões, accompanying the tour Gal Costa, the song was seen as a possible surprise of the competition. On the day of presentation,Os Brazões also defended "Gotham City", composition and Jards Macalé Capinan whose experimentalism was not well received by the public. " Gotham City "was buried by boos and the band was marked. When the musicians returned to play" Real Canasta ", the public would not hear of a second chance. To the dismay of William massacrantes were boos from beginning to end of the song."

The third track on the album is more a composition by the duo signed Macalé / Capinan,"Módulo Lunar" , which I believe, if he had participated in the festival, it was so booed as "Gotham City", ,because it takes the same line experimentalism, I think that even more exotic "Gotham ...". Following we have another Gilberto Gil, "Volks Volkswagen Blue", a well arrajo economical but accurate, liked the arrangement. Still on Side A have "Tão Longe De Mim" composition written by Lais Marques that reminded me a bit of "Paralamas Do Sucesso"! Should be the opposite, no?. This is a song that would fit well in 80 good ... With respect to the composer, perhaps best known work is the trail Lais Marques novel "A Idade Do Lobo" 1972. Closing the A side we have, Jorge Ben and Toquinho, "Carolina Carol Bela", which won a brilliant introduction with a "vibe" and samba-rock.

The B side opens with a composition of Tom Zé called "Feitiço", this track was also recorded by Tom Zé in the same year but released only on compact. Then we have another of Lais Marques, "Planador", followed by "Espiral", the only song in fact signed by the band members, the authors are: Miguel de Deus and Sergio Luiz, they should have signed more bands it is one of best on the album, the arrangement is excellent, by the way, speaking arrangement, the whole album was arranged by the group itself, it further enhances their merit, without tropicalistas Duprat! hehe. The following is the ultra-rumored "Gotham City".

Closing the album we have two more, the instrumental "Moment B / 8" signed by Rogerio Duprat and Brasilian Octopus, one-Acid Jazz genius, and "Que Maravilha", which won a treatment and "thighs", is like continuing of "Carol, Carolina Bela" but without any novelty, they made use of the same rhythmic base and added a rifizinho Jaguara well, totally unnecessary, they should have completed the album with "Moment B / 8". Taking this detail, I think a hard fuck as well, I have enjoyed every heard more.  
Thank you so much Adam for that effort

Here is an obscure slice of late-’60s killer Brazilian psychedelia! Little is known about Os Brazoes except that they formed in Rio De Janeiro late in 1969 and that their main claim to fame was being picked by Gal Costa as her backing band when she was making her early, and hugely, influential forays into Tropicalia – her best and most psychedelic effort being the "Tuareg" song. It turns out her sidemen had a pretty great album in them as well; they created a synthesis of North American rock & roll and native Brazilian styles, with results similar to those being explored by Tropicalia ringleaders Os Mutantes, Gilberto Gil, Jorge Ben, whom the band cover on this record.

Buzzing fuzz guitars, pop vocals, space-out effects and exotic percussions: the band blend ethnic rhythms with some jazzy, western-influenced pop-rock before launching into weird euphoric space trips!

Os Brazoes is Miguel de Deus (vocals, rhythm guitar & arrangements), Roberto (vocals, lead guitar & arrangements), Taco (vocals, bass & arrangements), Eduardo (drums & arrangements) and Mandrake (percussion).

Tropicália is a genre that has been begging me to explore it further for years. For whatever reason I've mostly stuck to the amazing Os Mutantes and Caetano Veloso, but there is of course much more to be had. Os Brazoes is one of the rank of tropicália bands that emerged in the late 60s in Brazil, which in a simplistic sense is a mixture of North American psychedelic rock with native Brazilian styles. Their career would have been notable if only has the popular Brazilian singer Gal Costa's backing band, but they also produced this self-titled album. Os Brazoes do sound like Os Munantes, especially their early albums, but don't seem as eccentric and sensational, more smooth for the most part. In addition, it is worth noting that there are covers of each Gilberto Gil and Jorge Ben to be found on this album. Hope you like this one because it has inspired me to listen to more artists in the genre from that era and some will more than likely end up on here as well.

01. Pega A Voga Cabeludo
02. Canastra Real
03. Modulo Lunar
04. Volksvolksvagen Blue
05. Tao Longe De Mim
06. Carolina, Carol Bela
07. Feitico
08. Planador
09. Espiral
10. Gotham City
11. Momento B/8
12. Que Maravilha

Os Brazões - Tão longe de Mim

Os Brazoes:
Miguel de Deus (vocals, rhythm guitar & arrangements)
Roberto (vocals, lead guitar & arrangements)
Taco (vocals, bass & arrangements)
Eduardo (drums & arrangements)
Mandrake (percussion)

[Rip and Scans by gigic2255



terça-feira, 11 de junho de 2013

Cargoe - same (1972, US, ruralrock w/southern feel, Ardent vinylrip, single wav + cue, DR11, artwork)

 *** Reviewed by great fellow Adamus67 ***

Cargoe have the distinction of not only releasing one fantastic power pop album in 1972 but also being label mates with Big Star and making an impression on Eric Burdon. Unfortunately, bad luck and other negative factors brought them to an early end and made them stop. But now they have a reformed and released a new album with songs that they've kept on the back burner from the seventies and eighties. In this interview, bass player and singer Max Wisley talks about drugs, great concerts, memories of living in Memphis, playing together again and recording finally a follow up to their debut.

Cargoe is an American Band from Tulsa, Oklahoma, originally formed in the late 1960s as Rubbery Cargoe, whose lone studio album, engineered by phonon Terry Manning, was released on Memphis Tennessee’s legendary Ardent Records in 1972. They moved to Memphis, TN in 1970 with the help of legendary Radio Personalities Robert W. Walker and the infamous Jim Peters, to begin their recording career with legendary producer Dan Penn of the Box Tops fame. They later signed with Ardent Records where they recorded alongside cult icon Big Star in the original National Street Ardent Studios location, as well as the new studio built on Madison Avenue in 1971.

Keyboardist/guitarist/vocalist/songwriter Bill Phillips and guitarist/bassist/vocalist/songwriter Max Wisley formed the pop/rock quartet Rubbery Cargoe in the mid 1960s. The Tulsa based group went through various incarnations, eventually choosing drummer /vocalist/songwriter Tim Benton and lead guitarist /vocalist/songwriter Tom Richard and later changed the name to Cargoe.

Cargoe were first-rate musicians who epitomized that funky Tulsa Sound every bit as well as Leon Russell or The Dwight Twilley Band, to name two acts with which they share musical heritage. Their peers in Tulsa went on to back artists like Eric Clapton, Delaney & Bonnie and Friends, Bob Seger, Kris Kristofferson, and Moon Martin. The legendary status of Ardent Studios in Memphis has continued to grow year-by-year, as dedicated fans of power pop cult heroes Big Star have sought out more information about the organization that originally released their albums.

The group eventually ended up re-recording the entire album at Ardent Studios due to a technical problem with the tapes from Penn's studio, and it was finally released in early 1972. Ardent has remained to this day ahead of the curve technically, and that tip-top sound quality comes through as always on Cargoe's lone album. It doesn't matter how good a recording sounds if the songs aren't there, and Cargoe more than delivers the goods on that count.

Even though it was released on the Anglo pop-obsessed Ardent label, this isn't a power pop album, it's really more a hybrid of Southern rock and progressive rock. However, the group's songs are very tightly constructed, and stay away from the jammy nature of many of their contemporaries. Along with "Feel Alright," there are a few more real barnburners on the album, including "Time" and "Thousand Peoples Song." But the group also created some great mellower material, including the beautiful "I Love You Anyway," which was released as their second Ardent single in late 1972.

The story of Cargoe's records commercially is much the same as what befell Big Star. The label worked hard to promote the album, and the second single release of "Feel Alright" again gained some radio action. But the distribution problems of Stax (which handled Ardent releases) made the records hard to find for those who wanted to buy them. It's often estimated that only a few thousand of each of Big Star's albums made it out the door, and these days Cargoe's album seems to be even less common than those are. After a brief tour for the album's release, the band returned to Memphis and broke up shortly after.

While Big Star has enjoyed a remarkable second act years after the original band's breakup, their equally worthy labelmate unfortunately hasn't been as lucky. Cargoe was available briefly as a Japanese import CD, and the only domestic re-release of their music was an excellent live CD released by producer Terry Manning's Lucky Seven label. It appears that disc, too, has already been discontinued... so track one down while you can!
Thank you so much Adam for that effort

In light of the exulted position currently retro-occupied by Big Star, it’s hard to imagine a time when any other group on the Ardent Records roster might have been considered the band most likely to. But when Feel Alright became a medium-sized radio hit across the U.S. in 1972, Cargoe certainly looked like the next-big-thing that producer Terry Manning and label boss John Fry desperately needed to boost Ardent’s ailing fortunes. Sadly, the same financial and distribution problems which thwarted Big Star’s initial shot at success also put paid to their Tulsa-formed label mates, but while the former have become oft-cited legends since their demise, Cargoe have slipped into an almost complete obscurity. Their self-titled debut album, still only available on CD as a horrendously expensive Japanese import, is a gorgeous slice of late ’60s/early ’70s country-tinged rock. Often lumped into Big Star’s early-powerpop basket, in reality Cargoe’s sound was much closer to the rock/soul of Delaney and Bonnie or the country strut of The Allman Brothers, replete with exquisite four-part harmonies and musicianship, in particular Tommy Richards’ magical lead guitar and Bill Phillips’ artful keyboards. All four members of the band contributed songs, ranging from the triumphant pop/rock of Feel Alright and Scenes, to the slow and wistful I Love You Anyway, or the funky bounce of Things We Dream Today and Time. To this day Terry Manning mentions this album as one of his favourite musical projects; we look forward to a time when people can hear this neglected Ardent gem without having their credit cards spontaneously combust. 

I'm not going to run through all the arguments, but you can make a solid case that Cargoe was the most important band on the Ardent label at the time.  The Tulsa transplants' lone album was Ardent's best seller, and their single was a serious contender.  This article does a superb job with the band's story, so I will gloss over most of it.

Cargoe did an admirable job blending power-pop melodicism with various contemporary sounds - late Beatles, post-CS&N and Traffic soft/folk rock, blues lead guitar and some country sounds.  Listening to Cargoe, it sounds like they just a bunch of Southern boys who loved the Beatles and others, and went in a different direction.  Southern rock were their brethren, (you can hear it on the vocals, the acoustic guitar bedrock and the blues-rock guitar leads), but instead of founding a new tribe, Cargoe became a curious attempt.  Had they become more popular, they might have been the American Badfinger, but even better.  You can sit down and figure out a Badfinger song relatively easily - Cargoe's songs are more complex and have excellent arrangements, probably the result of years of live playing and recording an earlier version of this album.

The mixture is pretty adventurous, and probably would have been the "smartest" mainstream album at the time, avoiding repeating their playing from verse to verse, such that songs go in unexpected places ("Feeling Mighty Poorly".  The album's single "Feel Alright" is a great example: it sounds like a late 60s country-rock band recording a power-pop single - good vocal harmonies, bluesy lead guitar, a great syncopated chorus.  The band had good verve - "Thousand Peoples Song" is built on a great riff, and introduces some saxophone, and "Come Down" has similar tendencies.  Their harmonies, quieter sections and acoustic reliance strongly echo CS&N ("Horses and Silver Things" "Heal Me", "Feeling Mighty Poorly"), but not in a purely derivative manner.  Their ballads are also a bit different: such as "I Love You Anyway", a harmony number with a gentle swinging 6/8 beat, but also synthesizer or mellotron in the background.

The public liked "Feel Alright" as well, the problem was Ardent's failed distribution stranded it.  A album with many ideas and good playing, Cargoe became orphaned; a signpost for sounds unrecorded. 

... read more  ==>  "The Story Of Cargoe"

side one:
A1. Come Down
A2. Feel Alright
A3. Horses And Silver Things
A4. Scenes
A5. Things We Dream Today
A6. Time
side two:
B1. Introduction (This Is Real) Feelin' Mighty Poorly
B2. Thousand Peoples Song
B3. Heal Me
B4. I Love You Anyway
B5. Leave Today

Cargoe (1972) - Feel Alright

BILL PHILLIPS - rhythm guitarist/keyboardist/vocalist/writer
MAX WISLEY - bassist/vocalist/writer
TIM BENTON - drummer/vocalist/writer
TOMMY RICHARD - lead guitarist/vocalist/writer

[Rip and Scans by gigic2255]

Link:   454 mb/file

plus CUE-repaired

segunda-feira, 10 de junho de 2013

Flowerpot Men - Peace Album / Past Imperfect (1969-70, UK, great psychrockpop, Repertoire CDrip, single flac, cue, log, artwork)

*** Reviewed by great fellow Adamus67 ***

British Group was founded in 1967 by songwriters John Carter and Ken Lewis (Carter-Lewis and the Southerners and The Ivy League, which had three UK Top 20 hits previously).  Carter And Lewis, who wanted to take advantage of the popularity of being fully develop hippie trend to promote peace and love, whose symbol was a flower. Representatives of this trend called child-flowers. When their first single "Let's Go To San Francisco" reached fifth place in the charts, quartet singers session, Tony Burrows, Robin Shaw, Pete Nelson, Neil Landon, became the Flowerpot Men and recorded some good songs, notably "A Walk In The Sky ". The instrumental section, which included Ged Peck (guitar), Jon Lord (organ), Nick Simper (bass) and Carlo Little (drums), the band was accompanied during his tour, but fell apart when the Lord and Simper formed Deep Purple. Burrows returned later to a recording session, London appeared at some time in the band Fat Mattress, while Shaw and Nelson and his team Copyright Carter-Lewis founded by a group of White Plains.

The name was derived from the children's show Flower Pot Men, with the obvious psychedelic era puns on flower power and "pot" (cannabis). This British group was an outgrowth of mid-'60s pop group The Ivy League. Songwriting partners John Carter and Ken Lewis wrote, produced and performed "Let's Go to San Francisco" and licensed it out to Deram, who had an international hit with it as the Summer of Love was just winding down. The pair released four more singles, including one under the moniker Friends.

The duo licensed the recording to Deram Records which suddenly found itself with a full-fledged hit, but with no group to promote it. Carter and Lewis, having no interest in going on the road to promote the record, created the group from a hand-picked collective of recording studio session musicians and vocalists. They continued to write, record and produce all the subsequent recordings for the next three years until the project ended in 1970.

Two previously unreleased albums are available for the first time on one CD from the 60s band that shot to fame with ‘Let’s Go To San Francisco’. The music reflects the moods and styles of the psychedelic late 60s and the early 70s ’concept album’ years. This is essential listening for collectors and lovers of the 60s, as the music draws you back to that distant golden era of Love & Peace.

Peace Album sessions begin in London in 1969. John and Ken sing, record guitars and keyboards (with the help of Peter Barnfather), allying John Ford on bass and Richard Hudson on drums, members of Velvet Opera and Strawbs.

The Peace Album opens Prologue, a remarkable entry into material which has the theme of the album (as the title suggests, peace), developed in eight chapters (songs). Violins, brass and drum rolls intermingle causing the listener to a classical guitar arpeggio, support beautiful vocal harmonies.

These abrupt chaining with Heavy Times, song about the Vietnam War, sustained blows riff guitar / bass, drums and tambourine.

Mythological Sunday is the centerpiece of this album play. It begins with the sound of waves and seagulls. En route to a pop and progressive anthology piece. Everything is there: mellotron, piano, harpsichord, acoustic guitar, ethereal voice with reverb and effect leslie thoroughly, choirs refined to perfection, bearing the battery, words evoking a soothing paradise, mythical and unattainable. The sumptuous title ends with a bombardment, a warrior drum and singing soldiers, while the mellotron takes the introductory sentence. Ultimate!

Difficult to bounce back from such a height. The recovery Donovan Colours remains friendly, nothing more. By the admission of John Carter, in hindsight, it has really why Lewis and incorporated it as such at the Peace Album, apart perhaps from the fact that the song was in the pacifist air.

Blow Away evokes the Byrds, both guitar Micky Keen (a former collaborator of Carter and Lewis invited on this piece) by the vocal arrangement. The words want to "take as far as the sound of gunfire." Definitely another highlight of this disc!

Cooks of Cake & Kindness eyeing the Who level influences. For some, one might think that this is a unique album of the Sell Out.

The sitar is invited to Gotta Be Free, title oriented acid folk with acoustic guitar and tambourine. Simplistic lyrics are indicative of silly charm of the era: "You've gotta be free to live like a bird flying up in the sky" (You have to be free to live like a bird flying in the sky).

Heaven Knows When the song was designed as a miniature rock opera featuring an ordinary guy. In order to raise money to marry his girlfriend, it becomes an assassin during a robbery gone wrong. There is an obvious gap between the light and fragmented pop and heavy lyrics. The influences are many recycling arrangements picking folk to pop symphony Pentangle and the Beatles / Beach Boys.

White Dove, dove, symbol inevitable (cliché, some would say) Peace takes us gently towards the end of Peace Album. Bells ringing for an organ gives a melancholy flavor in this respect. The three and a half minutes could be the single of this album, he had seen the day, as they epitomize the air with sweet melodies which had been secret, during the late sixties.

Epilogue concludes the Peace Album by arpeggio and the song that started it. Brass and violins take their bow, leaving the amateur kind of stuck.

While work on the Peace Album is almost finished, Carter and Lewis learn that Deram not willing to distribute disk: this, according to the box, does not have commercial potential. Prefer the label to sign the musicians who participated in the live version of the Flowerpot Men to launch under a new name, The White Plains. John Carter thinks a moment canvass with another label with the Peace Album, but Ken Lewis into a deep dark depression from which he never recovered, leaving the cutthroat world of music. John Carter continues the adventure alone Flowerpot Men, registering a successor stillborn Peace Album he called Past Imperfect, but eventually give up, relegating the latter bands and the previous project in a drawer to pursue writing music for commercials (you have to pay the bills!). It's all over ... almost.

It was not until the 90s to witness the rebirth of a part of the Peace Album. The Repertoire label contact John Carter to get a best of Flowerpot Men who continue to delight compilations of 60's psychedelic pop. For the occasion, the composer plunges into its archives and provides for the first time some tracks in the album Peace to the public. In 2000, motivated by the best of sales, Carter out all of this forgotten album and its successor Past Imperfect (admittedly less successful), revealing these lost works, evidence of a bygone era where we thought we could change the world with the sole motto of "peace and love". 
Thank you so much Adam for that effort
I didn't realise this fictitious Flowerpot Men release had been out since 2000 on the Repertoire label but I'm glad it's here!
I have been a fan of John Carter since the "Ivy League" and really got into it when I purchased the "Measure For Measure" double cd overview of his writing, producing career in the 60's.
The Flowerpot Men intrested me the most at first because of the "Beach Boys" influence and obtained the cds "Listen To The Flowers Grow" and "Let's Go To San Francisco" When I heard about the "Peace Album: Past Imperfect" I thought they were two rare albums that were released in the late 60's on one cd and had to get it. Great material, more in the psych later "Beatles" vein than "Beach Boys"
Some of these tracks are scattered on the previous cds I mentioned but are in a concept order. Stand out songs include "Blow away (great 12 string guitar)"These Heavy Times", "Now & Then", "White Dove", "Mythological Sunday", "Brave New World" (last 3 tracks are from previous releases)"Say Goodbye To Yesterday" and "Memories of Tomorrow" (shades of "E.L.O.")
If you like this kind of approach to your music, get this cd!
(~amazon)  By Frank Mersey

Magical 60's psychedelia
These two albums recorded in 1969 and 1970 contain a wonderful diversity of psychedelic folk, pop, and progressive rock music. Using a wide variety of instruments (including guitars, sitars, mellotron, organ, piano, various percussion, as well as richly layered melodic vocal harmonies)the Flowerpot Men have created a unique blend of music reminiscent of the Beatles, Moody Blues, Turtles, Byrds and Saggitarius. I highly recommend this double album set for anyone who enjoys the magical, mystical psychedelic music of the late 60's. By a reviewer (Camp Verde, AZ)

Great 2 on 1
this was a decent hippie san fransisco sounding band from the uk wich featured jon lord ( deep purple) in there line up for a brief time if you are into buffalo springfeild or the strawberry alarm clock then check this out its a cross in there somwhere. By SAXONMAN (hicksville new york)

-Peace Album-
01. Prologue             1:58
02. These Heavy Times         2:42
03. Mythological Sunday     5:44
04. Colours            2:44
05. Blow Away             5:52
06. Cooks Of Cake & Kindness     2:56
07. Gotta Be Free         3:30
08. Heaven Knows When         3:39
09. White Dove             4:09
10. Epilogue             1:38
-Past Imperfect-
11. Now And Then         3:55
12. Say Goodbye To Yesterday     3:02
13. Memories Of Tomorrow     2:35
14. Autumn Love         2:33
15. Morning Prayer         2:41
16. Blues             1:32
17. I Am Me             3:46
18. Journey's End         4:25
19. All You Have Is You     3:01
20. Brave New World         3:14
21. Children Of Tomorrow     7:02

The Flowerpot Men - These Heavy Times

Flowerpot Men:
Arranged By [Strings] – Alan Hawkshaw (tracks: 11 to 21)
Backing Vocals – Ken Lewis (3) (tracks: 11 to 21), Peter Barnfather (tracks: 11 to 21)
Bass – John Ford (2)
Drums, Percussion – Richard Hudson
Engineer – Paul Holland
Guitar – Micky Keen
Producer – Carter (tracks: 1 to 10), John Carter (2) (tracks: 11 to 21), Lewis (tracks: 1 to 10)
Remastered By – Eroc
Vocals, Acoustic Guitar, Electric Guitar – John Carter (2)
Vocals, Guitar, Piano – Peter Barnfather (tracks: 1 to 10)
Vocals, Piano, Organ – Ken Lewis (3) (tracks: 1 to 10)
Washboard, Sitar – Richard Hudson (tracks: 1 to 10)
Written-By – Shakespeare (tracks: 11, 13, 15, 18 to 20), Carter (tracks: 1 to 3, 5 to 21),
Lewis (tracks: 1, 2, 5, 9, 10), Barnfather (tracks: 7, 8), Alquist (tracks: 2, 3, 6, 12, 14, 21)

[Rip and Scans by gigic2255]

Link:   454 mb/file


sábado, 8 de junho de 2013

Chicken Shack - Imagination Lady (1972 uk, superb hard blues-rock, 2012 Esoteric reissue with 2 bonus tracks) Flac

Esse álbum já foi publicado aqui pelo nosso amigo PV (puta véia), mas essa edição que estou a postar é do ano de 2012, da gravadora Esoteric, e é remasterizada incluindo 2 bônus tracks. Para quem gosta de blues-rock (como eu) esse álbum é totalmente sem restrições; estupidamente fantástico especialmente porquê o nosso camarada Stan Webb resolveu adentrar "no campo do hard rock" e isso ficou muito bom, inclusive os bônus. Desfrutem!

Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack. Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members, including: John Almond (tenor/alto sax), Hughie Flint (drums), and Christine Perfect (keyboards/vocals). For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums).

quarta-feira, 5 de junho de 2013

V.A. - 30 Seconds Before The Calico Wall! (US 60`s garagepsychrock, Arf!Arf! CDrip, flac, log, artwork)

This compilation was designed by the people at Arf!Arf! as a companion and predecessor volume of Voxx Record's "Beyond the Calico Wall". In fact, Erik Lindgren elaborates on this in the liners, where he states his intent to "carry you...across familiar territory...towards an uncharted destination - the Calico Wall".
This is just the impression you get when you hear this album (if you've heard "Beyond..." beforehand) - good stuff. There's many a thing of beauty buried in this CD, although it lacks the sheer weirdness of its sister volume. In other words - this is a compilation you can play to people you don't want to scare away from this kind of music. Some of the tunes are a little bit spaced out musically, but there's nothing as drastic as, say, "Too much to dream", or "Changes", which you find on "Beyond...".
Overall, I would say the music is neither strictly garage nor strictly psychedelic, you will find rather much music of both categories here. The CD comes with a 16-page booklet containing some bit of info or trivia on each of the tracks. Considering the fact that almost all of the bands here are virtually unknown, Arf!Arf! did a good job finding information.
Like many compilations featuring extremely rare stuff, there is one drawback to note: Only two of the tracks have been taken from master tapes, one other track comes from a "barely surviving acetate" while the rest has been taken from original 45s. If you fear that the sound quality is unbearable, I can assure you that the guys at Arf!Arf! have used singles in (near) mint condition. Thinking again of the rarity of the singles in here, I think they (or others) couldn't have made it much better!
This album a good buy for all of those folks who have heard their share of garage style music before - this album surely is an aquired taste, but it is one of the best currently available for all those who have loved the Pebbles series, or any other such compilation.
You will also be surprised by the great number of tracks that have not been on other samplers before. Although I have access to more than 100 compilations, I have found only five of the 28 tracks elsewhere. Please take a look into the track listing provided below, I'm certain you won't find many familiar tunes! 
~  By Matthias Bock 1996 - www.arfarfrecords.com

In the ongoing chronicling of obscure '60s garage band singles, Arf Arf delves into the super psychedelic side of the equation with 28 utterly amazing 45s culled from the late '60s. Best future Trivial Pursuit rock & roll question is served up on "I Want to Hold Your Hand" by the Moving Sidewalks, featuring a young Billy Gibbons from ZZ Top on guitar. Other highlights include "Speed" by Ron Wray, "Once Upon a Taste" by the Omen, and "Steamshovel" by Marshmellow Steamshovel. This is one trippy little flashback that truly delivers the goods.
 ~ Cub Koda

1. Trip On Out - Haymarket Riot
2. What Good Is Up - The Inexpensive Handmade Look
3. Visions - The Looking Glasses
4. Me - The Brain Train
5. Apothecary Dream - The Sound Sandwich
6. I Want To Hold Your Hand - The Moving Sidewalks
7. The Black Door - The Loose Enz
8. Speed - Ron Wray Light Show
9. Of Dreams (45 Version) - Morgan
10. Semi-Psychedelic (It Is) - Pepper & The Shakers
11. Love In - Noah's Ark
12. Don't Miss The Turn - The Trees
13. The Face Of Time - Plague
14. Desert Maiden - The Shaprels
15. The Third Eye - The Dovers
16. Flight Patterns - Dennis & The Times
17. Once Upon A Taste - The Omen
18. Death Bells At Dawn - The Lords
19. The Glass Candle - Glass Candle
20. Six Feet Under Theme - Six Feet Under
21. Lost - Tyde
22. 99th Floor - TNT
23. Reference Man Part I - The Chateaux
24. He's Comin' Part II - Magic Swirling Ship
25. High Towers - The Legends
26. Blue Shoes - The News
27. Steamshovel - Marshmellow Steamshovel
28. Young Heartbeat - The Lords

Haymarket Riot - Trip On Out

Tyde - Lost

 Magic Swirling Ship - He's Coming Part II

The Lords - Young Heartbeat

[Rip and Scans by gigic2255]