lunes, 16 de marzo de 2015
Very cool period piece that beautifully captures the era of college students just starting to look inward, grow their hair and get into "reefer." Very talented guy doing folk and folk-rock, some tracks acoustic and some with sparse electric backing. Would have been right at home on Vanguard and really does deliver the goods. Rare private pressing in great shape.
Dig the liner notes:
"Dan Casamajor is a sensitive, twenty year old college student from the quiet Northern California community of Chico. His message is so pure and right you just might take a closer look at your own life. Dan has a way of putting into words all the frustrations and restlessness of the inquiring youth of today - - - the youth that no one seems to be able to figure out."
Publicado por Woody en 22:48
Of the many British Invasion acts that stormed the charts in the wake of the Beatles, Chad & Jeremy possessed a subtlety and sophistication unmatched among their contemporaries, essentially creating the template for the kind of lush, sensitive folk-pop embraced by followers from Nick Drake to Belle & Sebastian. Chad Stuart (born in Windemere, England, on December 10, 1941) and Jeremy Clyde(born March 22, 1941, in Buckinghamshire, England) met while attending London's Central School of Speech and Drama.
Publicado por Woody en 22:30
martes, 10 de marzo de 2015
Released by the Mainstream label, “Ellie Pop” offered little information on the band in terms of liner notes or performance credits. Here’s what you can tell: 1.) judging by the album cover they were a quartet (or an eight piece if they employed the four pigeons), and 2.) brothers S. and R. Dunn were responsible for penning all 12 tracks. Whoever these guys were, they definitely had a thing for Anglo-pop, tracks such as ‘Some Time Ago’ and ‘Caught In the Rain’ literally dripping with Beatles influences.
To many folks that’s probably the kiss of death and in many cases they’d probably be right, but not in this time around. Exemplified by material such as ‘Seven North Frederick’, ‘Seems I’ve Changed’ and ‘Watcha Gonna Do’ (love the “yeah, yeah, yeahs”), the Dunns avoided the usual clichés turning in a wonderful set that was catchy and commercial, but retained an innovative edge that made ever selection worth hearing. One of the few albums we’ve given a five star rating too.
One word of warning; while the set’s occasionally been billed as psychedelic, in spite of isolated distorted guitars and a few oddball time signatures, to our ears it’s simply too mainstream to be considered anything other than pop. Naturally the album vanished without a trace, followed in short order by the band.
VVAA - Shapes and Shadows - Psychedelic Pop and Other rare flavours from the chapter one vaults 1968-1972 [UK psychedelic 68-72] Grapefruit Records
The psychedelic era, short-lived as it was, produced some of the most memorable tunes of the late Sixties and early Seventies. It also spewed forth a lot of crap. Basically, if you had a flange or wah-wah pedal on your cheap electric guitar, and some decent harmonies from the bassist and keyboard player, you could churn out a great psychedelic song in about half an hour. The lyrics didn’t have to make sense. As long as you were blowing someone’s mind, or singing about blowing someone’s mind, you were set.
Quality psychedelic music, as seen backwards through the beer goggles of time, is hard to find. Some of the good stuff, largely unheard in the States, can be find on the Cherry Red/Grapefruit compilation album, Shapes & Shadows: Psychedelic Pop and Other Rare Flavours from the Chapter One Vaults 1968 – 1972.
The Chapter One label, started by songwriter Les Reed in 1968, was the home for many psychedelic bands, and a lot of the tracks on this album have been highly-sought by collectors of music from that era. To be sure, there are some standout tracks available here.
Publicado por Woody en 21:54
jueves, 5 de marzo de 2015
‘Melanie & Me’ was a promotional tool used for a movie shot by director Chris Fitchett in Australia in 1975. Pressed in an edition of 100 copies, it was handed out to people who partook in the film, and who attended the only screening to date in Sydney. Used as the background music for the entire movie, this was actually the second version of the soundtrack, recorded last minute by Simon Jones as Chris wasn’t happy with the original. The result had become one of the most sought after releases from the Aussie scene, and one of the most obscure records from the region as well. Beautiful psychedelic folk rock with a combination of male and female vocals, fuzz guitars and organ solos, this won’t disappoint.
lunes, 2 de marzo de 2015
Neither really punks nor mods, The Head (1979-82) were “local heroes” not blessed with masses of ability and natural talent. That said, their combination of droll humour and two-fingered Farfisa organ hooks on songs about their hometown, how their girlfriends fancied Billy Idol and how drugs were uncool have a certain amateurish charm. If you remember that Vaultage ’78 sound or Leamington Spa’s The Shapes, then this may appeal. Detour is a fine label, full of love and dedication to its roster of bands from yesteryear, but sadly this is not on a par with previous releases.
martes, 24 de febrero de 2015
VVAA - Take the Brain Train to the Third Eye - Bud Mathi's Sunset Trip 1963 - 1967 [USA garage] 2000 Bacchus Archives
Bud Mathis was an all-round mover and shaker on the Sunset Strip throughout the '60s, and in a manner not unlike Kim Fowley, he used his knowledge of what was "hip" and "in" to manage bands, write songs, and even attempt performing himself. Bud Mathis Sunset Strip features 14 cuts recorded between 1963 and 1967 and is a solid compilation of garage, folk-rock, and psychedelia. The Brain Train, later to become Clear Light, open the album with both sides of their September 1967 45: "Me" is a pounding psych-punk effort that blends a mystical lyric and quasi-religious backing vocals with some fine Jeff Beck-inspired guitar rave-ups. The flip "Black Roses" is the very same song the band re-recorded as Clear Light for their debut 45; this earlier version has even more power and a nice West Coast feel supplied by the female backing vocalist. Also of notable quality are the three Joint Effort tracks which exemplify the feel of the "Free Love," flowers, and beads era of the Strip in 1967 with harmony vocals, jangling folk-rock guitars, and fuzzed-out solos working together in unison. The earlier garage-punk/frat efforts by Bud Mathis & the Fairviews, the Fairviews, the 5th Dimension, and Mike Mathis aren't as strong by any means, but are integral to a study of the development of Mathis as a writer and Svengali. Even though the cruder material sits somewhat uncomfortably alongside the folk-rock and psychedelia, this is a varied and enjoyable set.
Publicado por Woody en 23:47