domingo, 14 de septiembre de 2014
The Barracudas are an English based Anglo-Canadian band formed in the late 1970s. The band's original lineup consisted of: Jeremy Gluck (vocals), Robin Wills (guitar & vocals), David Buckley (bass & vocals) and Nick Turner (drums). They are notable for their summer 1980 hit Summer Fun, which started with an excerpt from a spoof 1960s advertisement for the Plymouth Barracuda, in which one of the announcers has difficulty pronouncing the word barracuda. The single reached number 37 in the UK singles chart. The original LP was Released Coyote Records in 1984 and is a very scarce item.
sábado, 6 de septiembre de 2014
Lyres are a Boston-area garage rock band led by Jeff Conolly, founded in 1979 following the breakup of DMZ. The original lineup of the band featured Conolly, Rick Coraccio (bass), Ricky Carmel (guitar), and Paul Murphy (drums).
Former DMZ members Coraccio, Murphy, and Peter Greenberg all rejoined Connolly in Lyres at some point from 1979 to the early 2000s.
Lyres were less active in 1989, due to Conolly living in California for a brief period. After a renewed period of activity in the early 1990s, the band went through a dormant period until 1999. The band has been playing regularly during the last two years. Conolly is the one member who has been in every lineup during the large number of Lyres personnel changes.
jueves, 4 de septiembre de 2014
Longhaired Jesus-rocking male foursome from Baton Rouge, Louisiana scores big with this homemade 500-press item. Keyboards are well represented (organ, piano, synthesizer, clavinet, orchestron) combining with some good lead electric guitar for a nice exuberant middle-ground progressive FM rock sound, not unlike the first couple DeGarmo & Key albums in that respect. Especially noteworthy is the classic six-minute hard-edged upbeat ‘Stumble Bumble’. ‘Cool Breeze’ glides along with a melodic folkrock groove. Balanced with some quieter material, like the moody acoustic ballad ‘Grandeur’. ‘Thank You’ states “we hope that you have found the WHOOSH!! that Jesus Christ can bring”. Cool custom-looking eagle cover. (The Archivist, 4th Edition by Ken Scott).
This Swedish group have raged through the garage punk scene since their formation in 1999, but for Monkey Time, their fourth album, they've aptly added a fourth member, organist Jens Lagergren, whose Farfisa organ washes their sound in a newfound psychedelia. Although the Maggots wiggled into a niche in the garage scene, their influences are more varied than that, ranging from classic R&B -- check out singer/guitarist Mans P. Mansson's homage to Chuck Berry on the storming covers of "Go Away" and "Tomato Juice," through British Invasion (best examples the Zombies tinged "You Don't Want Me"), and on to British punk, the Cramps, and in the case of "Make Me Fly" a bow to Roy Orbison's "Pretty Woman," while their jubilant anthem "Ain't Nothing But a Maggot" will get everyone in earshot wriggling.
Lagergren's arrival allows the band's psych side to run wild, particularly on the Seed-ish "Now I Have to Go," the down and dirty "Temptation," and the aforementioned "Maggot." Even so, the organist is never going to upstage Mansson, whose blazing solos brilliantly flare up all over this set. Amazingly versatile, the guitarist is lithely capable of subtly switching styles on a dime. On "Go Away" he drags the song through Velvet Underground and Stooges territory, windmills it Chuck Berry style, and still runs straight into the Spencer Davis Group. There again, such feats are only possible because Mansson is supported by one of the best rhythm sections on the scene. If the guitarist is the band's fire, bassist Tomas Holm and drummer Jonas Lundberg are the fuel, with "Want Me" and the swampy R&B styled "The Sideshow" just a couple of their hottest numbers. A rip-roaring album, the excitement never lets up 'til Monkey Time's last note is played, but there's no monkeying around here, for the Maggots are too busy worming their way up to the top of the garage heap.
A cross between the Ramones and the Beach Boys, the Hawaii Mud Bombers are a Swedish band that play fun, energetic, surfy rock and roll. “Mondo Primo is simply a great pop record, unafraid to be overtly commercial, but achieved with a real passion for catchy melodies, a very impressive album.” - sohostrut.co.uk
lunes, 16 de junio de 2014
Ken LaBrie has one of those rich smooth voices, but at least he can alter it to suit the mood. Lost & Found has some very traditional material (such as ‘My Tribute’ and a hymns medley), but there are also a few notable light-rock singer/songwriter moods, like the organ-backed title track, the soft acoustic ballad ‘Jesus Died’ or the folky ‘I’ve Got Something’. ‘The Medicine Bottle God’ talks about our tendency to use God only when we need him, after which we put him back on the shelf. One cut in particular really stands out: ‘Listen’ has a harder rock edge that features heavy electric guitar and organ passages. Ken on lead and rhythm guitar, others on drums, harmonica, bass, piano, organ and additional lead guitar. A few catalog numbers down from the same-label Concrete Rubber Band lp. (The Archivist, 4th edition by Ken Scott).
Gong est Mort, Vive Gong is a live album by the psychedelic rock group Gong. It is a double LP recorded 28 May 1977 at the Hippodrome, Paris, France, and released by Tapioca Records, France in 1977.
The concert was a partial reunion of the version of the "Angel's Egg"-era group with the return of Daevid Allen, Gilli Smyth, and Steve Hillage who had left Gong in 1974 and 1975, respectively, and were not part of the then-current Gong which would eventually change its name to Pierre Moerlen's Gong. Gong appeared as the headlining act in a 24-hour marathon festival; a poster advertising the event can be seen in the photo collage included with a later album, Gong Live Etc. During the concert, all the music from four entire albums was performed: Camembert Electrique, and the three albums of the Radio Gnome Invisible trilogy. Some songs are presented in extended arrangements, therefore the album documents less than half of the entire performance.