lunes, 15 de diciembre de 2014

Foxygen - Take The Kids Off Broadway [USA psychedelic 2012]

Foxygen, the bi-coastal duo of Olympia Washington's Sam France and N.Y.C.'s Jonathan Rado, don't make songs in the traditional sense as much as they mash every possible sonic reference point into schizophrenic micro-albums, cramming so many constantly changing sounds into their compositions, the songs threaten to overwhelm themselves. "Abandon My Toys," the six-minute opus that kicks off the group's first widely available release, Take the Kids Off Broadway, merges raw and wistful interpretations of '60s rock influences like the Kinks and Loaded-era Velvet Underground with some of the kitchen-sink freak folk of early Beck albums. Without ever repeating a chorus or verse, the song somehow keeps a plot that connects with the listener. "Abandon My Toys" has a hard time sitting still, but it's just a pace-setting first look into the album's frantic world of sound. "Make It Known" filters every era of Rolling Stones into a compact space, interjecting short, blasting horn sections and ending abruptly in a swell of electronics. The title track channels Bowie's glammy moments for a verse or two before making a series of sharp left turns into faux-girl group, blue-eyed soul, and back again. Much like the short-lived genius of the Unicorns, Foxygen's songs are bedroom symphonies, chock-full of precisely placed shifts so deliberate and chaotically orchestrated they risk sounding like alienating gibberish. The ten-minute plus "Teenage Alien Blues" runs an exhausting gambit of Suicide-esque vocal shouts to Jagger-meets-Reed snippets, borrowing melodies directly from each frontman's respective band before wandering into an inexplicably fuzzed-out bass section for a few seconds before moving on. Take the Kids Off Broadway is without a doubt a seemingly impenetrable beast, and it takes a moment to build up a filter from its ceaseless shifts and non-stop references to isolated moments from the history of classic rock. Despite its dense and initially off-putting nature, the seven songs become more than collages of favorite moments from the duo's record collections. Music this overbearingly organized and stuffed with spirit is no small feat, and repeat listens flatten out some of the insanity to reveal well-constructed if intentionally overwrought pop gems. Much like Of Montreal's self-analytical constant key-changing, or Olivia Tremor Control's homespun masterpieces, Foxygen has made something that reaches out for so many possibilities it ends up reverting inward, ultimately sounding insular, like a highway of endlessly firing synapses in someone elses' brain.


Bettye LaVette - Do your duty [USA soul 1969-70] Sundazed

Although it produced two medium-sized R&B hits ("He Made a Woman Out of Me" and "Do Your Duty," both on this compilation), Bettye LaVette's time with the Silver Fox and SSS International labels in 1969-1970 was short, yielding just four singles. That's not really enough for a good-value CD reissue compilation, so Sundazed sensibly gathered all eight of the tracks, plus three that were unreleased at the time, onto this 11-song vinyl LP anthology. It's more dependably earthy soul than excitingly groundbreaking, but it's solid material that matches Southern and edgy Detroit styles, though it tilts a little more toward the former in sensibility. Imagine if Erma Franklin were crossed with Carla Thomas and you get a little idea of how this comes off, though it's not obviously imitative of any singer in particular. Sundazed designed the LP to make it look very much like an album that could have been issued in 1970 (down to the brief exuberant liner notes), making this truly the Bettye LaVette Silver Fox/SSS International long-player that could have been issued, but never was.

sábado, 29 de noviembre de 2014

RICARDO RAY ORCHESTRA - Let's Get Down to the Real Nitty Gritty [USA latin soul 1968] 2002 Vampi Soul

A very wild album from Ricardo 'Ritchie' Ray - sort of a mix of Latin soul styles in the mode of work by Mongo Santamaria, but a lot more messed up! The album's got a number of 60s soul covers -- but they're done here by Ricardo in kind of a party Latin mode, touched with a bit of garage soul vocals, in a way that makes the whole album quite upbeat and playful throughout -- filled with non-stop groovers that keep on delivering the goods! 


viernes, 28 de noviembre de 2014

FAST CARS - Well...You Started It [UK revival mod] 2007 Detour Records

Hailing from Manchester, The Fast Cars were very under rated and never got the breaks they so deserved, often been likend to The Undertones and many punk related bands, judge for yourself, Punk, Mod, New Wave or even Indie! Who cares? They sound f'ing awesome!, thinking back to the good old days your mind always seems to link The Fast Cars with their awesome tune "The Kids Just Wanna Dance", well pass by anything else from that period and listen to this new offering from the powerpop kings! 

Formed way back in October 1977 after following their punk counterparts, The Buzzcocks, The Drones & Joy Division the quartet of Steve Murray--vocals, Stuart Murray--bass guitar, Craig Hilton--guitar & Tony Dyson on drums released their first single way back in 1979 and have rightly so, grown from strength to strength to such a level that their are more popular now than they ever were with fansites on the net all over the globe! And the highest accolade newer bands of today cite them as Influences! Up steps the remarkable undisputed king of Revival, Dizzy and his Detour Records crew to conjour up this album featuring classic tracks from the 70`s that have been lost in time and now re-recorded for our listening pleasure!
This new album (2007) from Manchester's excellent FAST CARS features not only new tracks but also five of their classic songs from the 70's that have been re-recorded and holy shit is it 
overflowing with enthusiasm and energy.

Fast Cars

jueves, 20 de noviembre de 2014

JOKERS WILD - Liquid Giraffe [USA garage psych 1967-69] Shadoks Music 159

Jokers Wild recorded three singles between 1967 and 1969 in Minnesota but the complete Liquid Giraffe was never released. Starting as a five-man band, most of the material was recorded by three main members: Lonnie KnightDenny Johnson, andPete Huber. Lonnie Knight later became the guitarist for The Litter, but only for a while. He eventually returned to Jokers Wild. What a powerful band this is. Huge amp stacks guaranteed a "wall of sound" on stage, and they had a double bass drum and cool outfits. Damin Eih, A.L.K., And Brother Clark wrote: "In '67 I saw two local bands that again amped up the juice, The Litter and Jokers Wild. Both bands played original music and had excellent psychedelic-raved guitar players, Zippy Caplan (Litter) and Lonnie Knight (Jokers Wild). That brought everything to a new level." Heavy underground rock with great composed songs, fuzz guitars, speedy drums, and tight bass lines. If you like The Litter, you should listen to Jokers Wild.

LOGOS - Firesides and Guitars 1974

Firesides and Guitars is the sole output of mysterious folk group Logos, a trio of three siblings from Kansas that produced this instantly vanishing private pressing of their gentle, home-recorded folk tunes in 1974. Logos were one of thousands of aspiring artists pressing small editions of their songs in the early '70s. Most of these acts faded into the ether, but some benefited from being just strange enough, tuneful enough, or somehow ahead of their time to be rediscovered by future generations. Firesides and Guitars presents 12 tunes of soft, semi-hip folk sung effusively by 16-year-old songwriter Steve Epley with help from Chris and Cindy Williams. Hippie sentiments come through on the anti-war ruminations of "If I Wanted To," and post-Beatles melodies show up on strong, optimistic tunes like "Slow Down" and the breezy, CSNY-like "What We Say (Everyday)." The album, absent of drums and probably recorded in a family den on a dusty reel-to-reel machine, glows with warmth and sincerity. The sound is decidedly private press, but Firesides and Guitars ranks among other obscure acid folk gems of its era like Deep Night by the Sixth Station or Linda Perhacs' classic psych folk wonder Parallelograms.


domingo, 14 de septiembre de 2014

the Barracudas - Live big gap 1978-1981

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.

big gap

sábado, 6 de septiembre de 2014

Lyres - Nobody But Lyres 1992

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

SOJOUNER - Wings like an eagle [USA 1979] Jesus Music

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).


The Maggots - Monkey Time 2007

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.


HAWAII MUD BOMBERS - Mondo Primo 2007

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.” -


lunes, 16 de junio de 2014

Ken LaBrie - Lost & Found [1975]

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 - Gong est morte, vive Gong [1977]

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.[2]

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.


The Fantastic Dee-Jays [USA garage 1966]

A Pittsburgh garage band whose high point was opening for a Rolling Stones concert in 1965. They might have been total unknowns in the grand scheme of things, but they actually managed to cut a few mostly self-penned singles on local labels in 1965 and 1966 that are well respected by '60s collectors. The trio featured two guitarists and a drummer -- a bass-less lineup, which is a rarity in rock music. Some of their singles were recorded at a local radio station, and indeed the crudeness of the production is fascinating, with mounds and mounds of reverb making the band sound like nothing so much as a garage punk version of Peter & Gordon. After five singles and an album, the group disbanded and evolved into the Swamp Rats, a harder-edged combo relying almost exclusively on nasty punk versions of big rock and R&B hits.

Fantastic Dee-Jays

lunes, 14 de abril de 2014

JOKERS WILD - Liquid Giraffe [USA garage hard psych 1967-69] Shadoks Music 159

Heavy underground rock with great composed songs, fuzz guitars, speedy drums and tight bass lines.

If you think The Litter is the one you should listen to Jokers Wild.

YA HO WA 13 - Ya Ho Wa 13 [USA 1974]

Ya Ho Wha 13 a.k.a. Ya Ho Wa 13 were formed in 1969 in the Los Angeles area by one of the most eccentric freaks of the time, a middle-aged beatnik called Jim Baker who believed himself a god and went by the nickname of Father Yod. Their extreme psychedelic sound, that employed tribal drums and distorted guitars in a deliberately childish manner (all unrehearsed live and with no overdubs, editing or design), was the ultimate product of the hippie era.

The band (tighly related to Father Yod' religious cult, the "Source", and to a vegetarian restaurant located in Hollywood) frequently changed name to The Savage Sons of Yahowha, Yodship, Fire Water Air, Spirit of 76, but the key players were always the same (Djin Aquarian on guitar, Octavious Aquarian on drums, Sunflower Aquarian on bass, and occasionally Sky Saxon of the Seeds).

BILL NELSON - Northern Dream [UK 1971]

Recorded on rudimentary equipment at Holyground studios in Wakefield in 1971. One of the first truly independently produced albums to be released in Britain, the album featured wonderful compositions such as Everyone’s Hero, End of the Seasons, Love’s a Way and Smiles . Championed by John Peel, the album paved the way for Bill’s future career with his bands Be Bop Deluxe and Red Noise and for his highly regarded solo career.


sábado, 12 de abril de 2014

Mushroom - Cream of Mushroom [1998]

MUSHROOM are a music collective based in the San Francisco Bay Area, known for an ever-changing lineup of rotating players. Alec Palao (bass), multi-instrumentalist Erik Pearson and drummer Patrick O'Hearn aka Pat Thomas shape the band's core since the beginning in the late 1990s. In collaboration with Graham Connah (keyboards), Tim Plowman (guitar) and Kurt Statham (bass) the first album 'Alive And In Full Bloom' was recorded around 1997/98 and released by Inbetweens Records. 

'Never make the same album twice' - this seems to be the band's motto up to now. So their huge musical output is basically derived from improvisational sessions comprising a thrilling blend of styles in total. Where acid psych folk is the fundament, they often combine this with jazzy respectively canterbury moments reminiscent to Gong/Daevid Allen and Miles Davis. Mostly provided with a trippy atmosphere the albums can be considered as really special. The rich instrumentation includes diverse ethno percussion instruments. Due to the band's experimental attitude they are even sometimes classified as a krautrock outfit. 

Appearing one year later 'Analog Hi-Fi Surprise' is frequently considered as their discog highlight. MUSHROOM's latest production 'Naked, Stoned & Stabbed' was released by UK label 4Zero Records. Ned Doherty (bass), Matt Cunitz (keyboards), Dave Brandt (percussion) and Josh Pollock (guitar, electronics) are additionally aboard this time to produce another relaxed album holding a great deal of improvisation. 

MUSHROOM are worth remarking if you like to enjoy psych music which is presented off the beaten path.


viernes, 11 de abril de 2014

Billy - One Way Jesus [1971]

Big strides forward as Billy’s bunch aims more for a low-tech garage band sound with Southern leanings ala Mylon’s We Believe. Mostly self-composed this time, the centerpiece being side two’s epic 17-minute ‘One Way Theme’, an ambitious piece with progressive overtones and Tommy flourishes that begins and ends with Chicago’s intro to ‘Does Anybody Know What Time It Is?’. That track affords Billy opportunity for heavier skin pounding, not to mention some decent sections of guitar jamming and fuzz action. More raw fuzz can be found on the opening basement rocker ‘He’ll Show You Love’ and a soulful cover of ‘With A Little Help From My Friends’ (the Joe Cocker version, with lyric changes). Also some quieter songs, including ‘Reflections (The Ballad Of Billy Blackwood)’. Female backup singers helping him out here and there. Incredibly cheap-o cover photo of Billy in big yard pointing finger up. (The Archivist, 4th edition by Ken Scott).


jueves, 10 de abril de 2014

SPOONER Every Corner Dance [1982]

Although obscure and overlooked during their tenure together, the late-'70s/early-'80s rock band Spooner became best-known years later as the launching pad for guitarist Duke Erikson and drummer Butch Vig of Garbage fame. The group (which also included members Dave Benton on guitar and vocals, Joel Tappero on bass, and Jeff Walker on keyboards) hailed from Madison, WI, and issued a total of three recordings -- 1978's The Fugitive Dance and Wildest Dreams, plus 1982's Every Corner Dance -- before splitting up. Erikson and Vig decided to stick together, launching another largely ignored outfit in the late '80s, Fire Town, which lasted for a pair of releases. Vig concentrated on producing alt-rock artists for the early part of the '90s (overseeing such classics as Nirvana's landmark Nevermind, Smashing Pumpkins' Gish and Siamese Dream, plus Sonic Youth's Dirty, among others). But eventually, he re-teamed with Erikson and the duo hooked up with singer Shirley Manson and bassist Steve Marker to launch the successful alt-pop outfit Garbage in the mid-'90s. Years after disbanding, a two-for-one release was issued, which included the group's second and third releases together, expectedly titled Wildest Dreams/Every Corner Dance.


sábado, 22 de marzo de 2014

BLAIR 1523 - Beautiful Debris [UK psychedelic 1993] Voxx Records

BLAIR 1523 Beautiful Debris (1993 8-track debut vinyl LP on Voxx a division of Bomp Records with psychedelic artwork designed by the legendary Greg Shaw. Discovered by Sonic Boom of Spacemen 3 Blair 1523 pick up where Syd Barrett & Pink Floyd left off in the sixties with a neo-psych shoegazing sound for the 90s.


martes, 11 de marzo de 2014

Les KARTOONS - Fais Attention [1997]

Their second EP was released in 1997 by Wiped Out Records (France) with four outstanding tunes. Les Kartoons (as written on the gatefold) have had lots of fun covering Fais Attention by Ronnie Bird (Find my way back home by The Nashville Teens) in its original language.


lunes, 10 de marzo de 2014

DIMENTIA 13 - Disturb the Air [1989]

Disturb The Air was the third Dimentia 13 album. It came out in 1989, though it was recorded in 1988. The producer was Glenn Rehse of the band Plasticland.

Dimentia 13

domingo, 9 de marzo de 2014

THINGS - selftitled 1988

One of the more obscure bands of the Southern California paisley underground scene in the mid-'80s, The Thingsfell prey to the fundamental shortcoming of the movement -- their style was wholly derivative, and their material not nearly as good as their '60s heroes.


ADRIAN SHAW & ROD GOODWAY - Oxygen Thieves 2009

Recorded at Ade's home studio between May 2008 and February 2009. "Oxygen Thieves" features fabulous progressive, psychedelic recordings, the emphasis alternately shifting from acid/space rock to blues, folk and beyond. 

THE AGENTS - Everybody's Gonna Be Happy 1981

The Agents were a post-punk band formed in 1980 in Bristol, England. In “1981″ they released this now, rare and obscure album: “Everybody’s Gonna Be Happy”.

The Agents

viernes, 28 de febrero de 2014

EXPLODING WHITE MICE - A Next Of Vipers [1985]

Exploding White Mice were formed in 1983 in Adelaide when Paul Gilchrist on vocals played a one-off show as a cover band at a party with Andy MacQueen on bass guitar (ex-The Deviants, Crunch Pets), Gerry Barrett on guitar (Del Webb Explosion) and Craig Rodda on drums (Screaming Believers).[1] The band's name was taken from a scene in the 1979 film Rock 'n' Roll High School, where a laboratory mouse spontaneously explodes upon exposure to music by The Ramones. Aside from The Ramones other major influences include Radio Birdman, MC5, The Stooges, Johnny Thunders and American 1960s garage punk.[1][2] The party gig went so well that the group decided to play regularly. One show was attended by Giles Barrow, who joined on rhythm guitar. In 1984 they started a residency at the Cathedral Hotel. Barrett left near year's end and was replaced on guitar by Jeff Stephens (Firm Grip, Spitfire, Tombstone Shadow).

Initially Exploding White Mice were a covers band, then they began working on original tunes. In 1985 after adding David Bunney on drums (Zippy & the Coneheads), they released a six-track extended play, A Nest of Vipers, on Australia's Greasy Pop Records. It was produced by Kim Horne. Also in 1985 their track, "Down on the Street" appeared on the label's compilation album, An Oasis in a Desert of Noise.[4] In 1986 Sydney rock publication, RAM, named Nest of Vipers as the best Australian record of the year.[3] The record was issued in the US on Bigtime Records, renamed as In the Nest of Vipers, but despite selling several thousand copies, the group received no royalties as Bigtime became insolvent soon after.[5] During 1986 and 1987 the group regularly toured major Australian cities and put out 7" singles. In March 1987 they issued the single, "Blaze of Glory" with a B-side being a cover of John Kongos' hit, "He's Gonna Step On You Again". In August 1988 they issued their debut LP, Brute Force and Ignorance, which had been recorded and engineered by Cran Wilton at Soundworks Studios in Kent Town. Shortly before its release, Barrow left and was replaced by Dave Mason, formerly of Primevils. In 1989 Jack Jacomos replaced Mason in turn.

In 1990 the group toured Europe and released a half-studio, half-live self-titled LP on Normal Records. Shortly after, Gilchrist left and Stephens took over on lead vocals. In early 1991 they began recording a new album, Collateral Damage, again at Soundworks Studios. However, when the Greasy Pop label went out of business that year, they could not find a local distributor and released it in 1992 on Normal Records in Germany and NKVD Records in the United States. David's brother Andrew Bunney (Zippy and the Coneheads) joined on rhythm guitar. The group's final album was 1994's We Walk Alone, on Au Go Go Records, Lucky Records (US), Subway (Europe) and 12" LP Rock & Roll Inc 008 (Spain). The group had a cameo appearance on John Winter's 1994 film The Roly Poly Man portraying a "punk-rock bar-band from Hell".[1] In 1995 they re-released Nest of Vipers with bonus tracks on Bastard Records. In 1996 they issued a single, "Prepare to Die", toured Europe with German band, The Richies. Exploding White Mice disbanded in April 1999.


Angel'in Heavy Syrup IV [1999]

Angel'in Heavy Syrup was an all-female Japanese psychedelic rock band formed in 1990 in Osaka. Emerging from the Japanese noise rock scene, they were influenced by krautrock bands such as Amon Düül II, but drew primarily from psychedelic and progressive rock, resulting in their characteristic ethereal neo-psychedelic sound.