domingo, 8 de abril de 2018

VVAA - Transparent Days - West Coast Nuggets [USA psychedelic 1967] 2017 Rhino Records R1 560061

Rhino's "Summer Of Love" series continues with Transparent Days - West Coast Nuggets, a thorough survey of psychedelic rock digs recorded in the '60s. The tracks are from left coast bands/artists, some making music independently in garages to others signed to labels and working in proper studios, and they have been carefully curated to represent the musical mood and vibe of the convergence of free thinking, sexual freedom, drug use, & creative expression that we've come to know as The Summer of Love. 16 tracks in all, must listens include: "Transparent Day" by The West Coast Pop Art Experimental Brand Windy - The Association, "The Race Is Run" by The Motleys," "Here's Today" by The Rosa Garden, "She's My Baby" by The Mojo Men, and "I Could Be Happy" by The Dovers.


jueves, 22 de marzo de 2018

THE BROTHERHOOD - Stavia [USA garage psychedelic 1972] 2017 Out-Sider OSRCD065

In 1972, Ohio based band THE BROTHERHOOD released their only album, “Stavia”. It was a private edition of 200 copies, pressed at the legendary Rite custom plant. This rare album is a good example of US acid-rock / hippie psych with slight soul & funk influences: fantastic playing, swirling organ, powerful vocals, top guitar shredding, flute…
“Stavia” has always been one of those shrouded in mystery albums, so rare that some collectors even doubted about its existence. Bootlegged in the ‘90s in a butchered edition that included two songs from an unrelated band, here’s the first ever legit vinyl reissue. 


viernes, 9 de marzo de 2018

QUICKSILVER MESSENGER SERVICE - Live At The Summer Of Love [USA psychedelic 1967] 2011 Bear Records FLOATD 6115

Quicksilver Messenger Service are widely regarded as one of the 1960's San Francisco acid rock scene’s lost opportunities. Although they were among the first to convene, they were sidetracked by the imprisonment of founder Dino Valente on drug charges and didn’t get around to releasing their self-titled debut album until 1968.

That said, they’ve acquired a dedicated following thanks to the signature work of guitarists John Cippolina (much-admired by such players as Ghost member and Boris associate Michio Kurihara, among others) and Gary Duncan.

Fortunately for their devotees, soundman and acid guru Owsley Stanley recorded many of their shows, allowing fans to check out their sound prior to their official (and some say best) album ‘Happy Trails’ from 1969.
The recordings on ‘Live At The Summer Of Love’ predate their debut’s May 1968 release (in the case of the latest of the three shows, by only a month) and come from the Fillmore Auditorium and the Carousel Ballroom (to be purchased and renamed the Fillmore West by Billy Graham just a few months later).

The two-disc set kicks of with QMS’s trademark workout of Bo Diddley’s ‘Mona’, which gets stretched out past the eight-minute mark, and starts off with an introduction promising a few numbers from their oft-incarcerated leader Dino Valenti and a following set from Jefferson Airplane. Then it jumps ahead in time to a ‘Walkin’ Blues’ taken from a later Carousel show before romping through a varied set of heavily reconfigured and distended blues tunes (such as the Willie Dixon penned Howlin’ Wolf tune ‘Back Door Man’, ‘ Smiley Lewis’ evergreen ‘I Hear You Knocking’ and ‘Hoochie Coochie Man’). They also play several of their own compositions, such as their instrumental mainstay ‘Gold and Silver’, ‘Dino’s Song’ and some folk tunes - the San Francisco staple ‘Codeine’ and Ann Bredon’s ‘I’m Gonna Leave You’, given later life by Joan Baez and later given its most histrionic treatment by Led Zeppelin on their 1969 debut, the trad murder ballad ‘Duncan and Brady’ and folkie Hamilton Camp’s classic ‘Pride Of Man’. There’s also at least one obscurity to tantalize the QMS fan (not that they will need much more encouragement to pick up the set), in ‘Year Of The Outrage’.

There’s more of the same on the second CD, with Cippolina and Duncan’s guitars twining and turning through another Bo Diddley stomper, ‘Who Do You Love?’ Rufus Thomas’ ‘All Night Worker’, Ben E. King’s ‘Stand By Me’ ‘Drivin’ Wheel (It’s Been Too Long)’ and ‘You Don’t Love Me’ among others.

While not the first place to stop for those unfamiliar with Quicksilver Messenger Service, ‘Live At The Summer Love’ is an excellent introduction to the group’s live output and a good window into their early years.

Live At The Summer Of Love

THE PALACE GUARDS - The Palace Guards [USA garage 1966-68] 2008 Gear Fab GF-224

What everyone remembers about this Metarie, Louisiana garage band are their 5 great 45’s released on the White Cliffs, rAe, and U-Doe labels (the first 10 songs listed). What everyone didn’t know was they also recorded 3 alternate versions of these 45s as well as 10 previously unreleased tracks from June, 1966 through April, 1969.

These alternate versions and never before heard tracks reek of fuzzed out garage sounds!!


jueves, 8 de marzo de 2018

RODNEY AND THE BLAZERS - The Complete Recordings 1960-1964 [USA r'n'r garage 1960-64] Gear Fab GF-152

This first-ever Rodney & the Blazers CD collects every surviving recording from the now-obscure Kansas rock & roll combo led by Rodney Lay, Jr.. The band was pure rock & roll mayhem, and their music serves as a great window into the shifting commercial whims of the times, when the hit record meant everything (and when "record" meant the 45 rpm single), and getting a hit record meant trying your hand at any number of styles and novelties. The band dipped its hand into numerous jars over the course of a dozen or so singles, from rock covers and Gershwin adaptations to a plethora of pretty wonderful self-penned originals. Their first single, the prom-dance ballad "Teenage Cinderella," hit number one in numerous major cities around the country, and probably should have been an even bigger national hit, while the jaunty comic-book ode "Little Orphan Annie" is a mixture of the Big Bopper, Jerry Lee Lewis, and Sam the Sham. On the novelty side, "Warpaint," naturally, is a goofy but fun Native American rock instrumental, and "Oriental Nightmare" incorporates gong crashes and dual Asian-like guitar lines. They cover two Larry Williams' classics in "Short Fat Fannie" and "Boney Maroney," but of even more historical importance, the band's take on the old Joe Jones tune, "California Sun," is virtually identical to the Top Five nationwide smash the Rivieras had with the song later in 1964. It is no coincidence. In fact, the Rivieras hit version was a direct copy of the Rodney & the Blazers version down to the exact arrangement. The Blazers also nicked bits from Buddy Holly (the old rockabilly tune, "Tell Me Baby"), Ricky Nelson ("It's All Over but the Cryin'"), the Everly Brothers ("Blue School"), and the Coasters, but there is plenty of individual charisma in their music. As early rock & roll obscurities go, Rodney & the Blazers are very much underappreciated, and as anthologies go, The Complete Recordings, 1960-1964 is a definitive representation worthy of them.


viernes, 23 de febrero de 2018

DICKEY BETTS - The Collectors #1 - Let's Get Together [USA rock 2002 - 2001] 2009 Retroworld FLOATM6039

This set essentially pairs two different Dickey Betts solo projects into a double-disc package, both previously released. The first, The Collectors #1, is a rarities set from Betts' Great Southern project. The feel is loose, and the music ranges from the Celtic "Beyond the Pale" to the loose Western swing feel on a cover of Billy Joe Shaver's "Georgia on a Fast Train," the shuffling country reading of Bob Dylan's "Tangled Up in Blue," and a B.B. King-inspired reading of "Change My Way of Livin' #2." Essentially this is the acoustic side of Great Southern, proving Betts didn't need to plug in his Les Paul to shine. The second disc in the series Let's Get Together was originally released in 2001 on his Free Falls Entertainment label. The Dickey Betts Band was formed in the aftermath of his being fired from the Allman Brothers Band in 2001. Betts wasted no time assembling a stellar unit of players who were as capable of throwing down in the studio as on the road. This set, with its amazing range of music from hard blues and jump and Gypsy swing jazz to country-rockers and rhythm & blues shuffles is crackling with energy. The most notable cuts on it are his originals "Tombstone Eyes," "One Stop Be-Bop," and "Rave On" (not the Buddy Holly tune). [A side note: this set was re-released in 2007 with the albums in reverse order, but aside from that, it's exactly the same collection.]


lunes, 12 de febrero de 2018

GRATEFUL DEAD - Cornell 5.8.77 [USA classic rock] 2017 Rhino Records 081227942557

Recorded on May 8, 1977, at Barton Hall, Cornell University, in Ithaca, New York. It was released as a three disco CD album and as a five disc vinyl album on May 5, 2017.

The Grateful Dead played more than 2,000 concerts, but none continues to spark interest and provoke discussion quite like the band’s performance at Cornell University’s Barton Hall on May 8, 1977. It is one of the most collected, traded, and debated concerts by any band ever, has topped numerous fan polls through the years, and was a favorite of the group’s longtime archivist Dick Latvala, who stated: “Enough can’t be said about this superb show.” Even Uncle Sam got into the act in 2011 when the recording was “deemed so important to the history and culture of the United States” that a copy was added to the Library of Congress’ National Recording Registry.